This may come as a bit of a surprise, but the joint Matias Aguayo- and Gary Pimiento-run Cómeme label has yet to put out a full-length in its two-plus years of existence. But all that's about to change, with Mexican producer Rebolledo set to release a proper album on October 24, appropriately titled Super Vato (artwork above). "Canivalón" is the first cut to surface from the forthcoming LP, and one that seems to fit the Cómeme aesthetic perfectly, with its brooding techno low end, layers of percussion, and dizzying loops of Rebolledo's (somewhat incomprehensible) vocals. The results are almost tribal, and even a little darker than what we're used to hearing from Rebolledo, but it's a welcome stretch of range, and one we're hoping he has time to fully explore given the full-length format.
Accomplished guitarist, producer, and all-around sonic experimentalist Christopher Willits has announced a remix project/contest that makes available all the stems which went into the making of his 2010 LP, Tiger Flower Circle Sun, for any and all ambitious producers to use for their own creative endeavors. Read more »
In recent weeks, Martyn and Modeselektor, both heavyweight electronic-music acts in their own right, brought new albums into the world, Ghost People and Monkeytown. Rather than simply picking their brains ourselves, we decided to get them talking to each other and see what would happen. Read more »
Despite having a fairly deep discography that reaches all the way back to 2004, this is really the first time T-Polar has appeared on our radar, and he pops up in the midst of readying a new EP, Apollo, set to drop on the Saigon imprint October 24. Although "Quarter" is not a track featured on said EP, the tune does show the kind of dark, house-infused bass music the Irish producer is turning out at this point in his career. Amongst the obvious bass-music touches (skittering drums, vocal chops, and smooth chords) there's an undeniable vein of vintage rave and house to be found here, and it's these elements that keep you slightly on your heels as to where the track will turn next. After giving "Quarter" a listen, you can also peep the borderline NSFW video for the forthcoming EP's title track after the jump. Read more »
In case you needed any more proof that juke had moved far beyond its roots in the streets of Chicago, here we have an EP from a Houston native who's now based in Boston while studying music at the renowned Berklee College of Music. Those who only champion juke of the utmost authentic origins may see this as a red flag, but a conversation about musical authenticity in the internet age is requires a much larger discussion, and should almost always be superseded by a simple question: Is the music good? In the case of Wheez-ie, it's pretty good. Read more »
Arizona's Yojimbo Billions is set to release his debut for the burgeoning Waaga imprint next month and has shared this cold, undulating cut from the forthcoming Our Bodies Are Machines LP (artwork above) before its release on November 15. Interaction between humans and machines seems to be a bit of a fascination for the young producer, a fact evident not only in his album's title, but also in his brief biography (which goes so far as to claim he was visited by a robot who told him to make music) and, of course, in the way his productions come together. Combining some extensive musical training (including the study of musical theory in college) with his computer-based compositions, the Phoenix resident creates music that really only lightly bubbles at the surface, but, for those willing to pay attention, brims with detail and sophistication below.
Up-and-coming producer Yoin technically hails from Scotland, but judging from this tune off his recently released 7" for the Tuff Wax imprint (Aberdeen Truth Vol.2), he could just as conceivably be a resident of Bangor, Maine (as in, "That shit's a banger, mang"). Starting off with some tasty percussion and classic claps, Yoin unfolds a propulsive kick pattern and almost-too-far pitched vocals over the course of the track's first 50 seconds or so. Following that, we get our first taste of bangerdom with ravey stabs and a locked-groove rhythm, leading to the customary breakdown/build-up somewhere around the two-minute mark. Then—of all things—the young producer decides to pitch up the vocals even further and chop them into an inescapable loop. And after that? He serves up even more rapid-fire percussion and stuttering snare fills.
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