Norwegian duo Mungolian Jetset's bizarre mythology—which includes constructed languages, whimsical characters, and fictional sects, such as The Knights of Jumungus—is an extensive one comparable to that of a modern-day Parliament-Funkadelic, and with their music, Pal Nyhus and Knut Saevik have proven that they can put out offerings that are every bit as danceable and heady as anything in George Clinton's catalog. A sound best described as psychedelic disco dominates their music, and it's a sound that the Jetset brings into even the most unlikely settings, such as this reworking of Jaga Jazzist track "Toccata." The pair manages to make something dancefloor-friendly out of the original track, a grandiose and prog-inspired endeavor that clocks in at almost nine minutes, by eschewing the jazz rhythms and odd time signatures in favor of a standard 4/4, as well as adding a huge helping of graceful, shimmery synths into the mix. The rework should hopefully keep you sated until the August 21 release of Mungolian Jetset's upcoming album Mungodelics, where it will be featured.
Just last month, Anticon co-founder and underground hip-hop veteran Doseone released G is For Deep, an album that heralded a more direct movement into electronic music for the Bay Area artist, as well as a departure from the rapid-fire delivery Doseone became famous for in his myriad of projects over the years. In this remix of album cut "Arm in Armageddon," California beatsmith and WEDIDIT Collective representative D33J (pictured above) introduces a departure of a different sort. He tones down the MC's trademark nasal vocal contributions, leaving whatever heavily altered syllables and vocal chops that remain to be entirely subsumed by the relentless staccato of the Nintendo-esque synths and jerky percussion.
Hailing from the Bay Area, Kouta has a new EP he's preparing to release as a follow-up to last year's Orinda, which featured the crunchy standout track "Granola." Despite the tune's age, a new video has cropped up recently that resonates well with the song's thoughtful and laid-back vibe. Read more »
"Back 2 Bassics" doesn't waste any time getting into the meat of its proposal: This is classic bassline house injected with a minor dose of wobbly garage that belongs squarely on the dancefloor. Off of DJ Q's forthcoming compilation, The Archive (we previewed it here), the jam throws R&B vocals through the London blender and parades them out across a shuffling beat which is anchored by an addictive, jaunty bassline that should bring a shit-eating grin to any early-aughts dance music head. It's not surprising DJ Q, a BBC Radio 1 host and long-standing member of the UK DJ scene's inner circle, would have this stockpile of garage and bassline tunes, but what is somewhat surprising is that the producer's old work sounds as relevant today as it ever did.
After unveiling our profile of one Washington, DC-based house music entity today, we've discovered yet another treat from our country's capitol, a fresh mix by DJ/production duo Benoit & Sergio. Read more »
Portland-via-San Francisco producer Eprom has long been obsessed with the future of music and its production methods, consistently issuing loads of EPs and singles boasting his obsessively updated style of beat work ever since 2007. The artist born Alexander Dennis recently appeared on our radar once again, this time with news of his first full-length album, Metahuman. (Not to mention, he also commandeered our Downloads section with his well-received "Realization" tune, and subsequently scored sixth place in our Top 20 Downloads of May.) Before Eprom's LP arrives on July 2 via Amsterdam's Rwina imprint, we've been treated to the exclusive stream of its 13 mind-bending productions, all of which you can listen to, after the jump. Read more »
Future Times began simply with a 7" from Maxmillion Dunbar, the solo alias of DC-area DJ/producer Andrew Field-Pickering. After putting out the "Outrageous Soulz" b/w "Dreamerzzz" single himself towards the end of 2007, Field-Pickering eventually got to talking with friend and fellow DJ/producer Mike Petillo. Petillo explains further, "Andrew had put out a single of his own and had called the label Future Times. I really liked the music, and we were talking one day—literally shooting the shit on some bus ride—and we both said, 'Let's just put out more records, fuck it.'" Initially pulling from a fertile crew of local musician and producer friends, Future Times has built a reputation for continually evolving releases landing somewhere along the more adventurous threads which tie together disco, boogie, and house. Now on its 13th release, the label has established itself as a consistent hub for genuinely creative, fun, and often cleverly weird electronic music, christening outfits such as Beautiful Swimmers and Protect-U along the way. Read more »
A static-laden slice of peak-time house morphs into a funhouse of blips and swiveling synth stabs on this tune from Delect, a newly formed collaboration between electro-house veterans Chris de Luca and Leonard de Leonard. Out on Wednesday via the Berlin-based Leonizer imprint, "15Mid" revolves on a gyrating four-to-the-floor axis that constantly threatens to spin out of control, seemingly held into place by knee-buckling kick drums and an effortless cycle of tension-building crescendos and breakdowns. It certainly has a seething undercurrent of rave nostalgia in its veins, splashed with a dab of Ibiza-ready appeal for heated, peak-time play in big rooms. Delect's Love Songs EP is a four-track take-no-prisoners approach to mainstream and underground dance music, the rest of which you can check out, along with a music video for the title track, after the jump. Read more »
On Digital Native, the "first proper album" by Polysick, Italian hardware obsessive Egisto Sopor (or Paul Kersex, depending on where you look) presents a wide array of synth-centric music, ranging from lush ambient compositions to unhinged flurries of noise to squelching acid workouts to retro-minded techno jams. It's a smattering of analog sounds that the producer has spent years quietly perfecting on small releases for labels like 100% Silk and Legowelt's Strange Life imprint, and he presents them on his LP for Planet Mu in some of their finest forms yet. But with 15 tracks clocking in at a full hour, Polysick's album is also his longest release to date, which presents an obstacle for any listener with a short attention span and a less-than-insatiable taste for modular synth noodling. Read more »
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