Nascent Brixton label 92 Points is one week away from the release of its third record, 813's Blend EP, and has offered up a bonus cut from the Russian producer to celebrate. At just over two minutes long, "Pleasures" isn't a whole lot more than a clip of a track, nonetheless, it's positively brimming with maximalist emotivity. The bubbly, bright sounds of fluttering synths nearly hide a hint of foggy vocals and make for a bright-eyed addition to 813's forthcoming record, his first release since Donky Pitch unleashed the Spectrum Riff EP back in January.
Belfast-born duo Bicep seems to be well on its way to making 2012 its own. Between the solid "$tripper" 12" and the forthcoming Bicep Presents Throne of Blood compilation, DJ/producers Andy Ferguson and Matt McBriar have just begun staking their claim, an effort which will be bolstered even further by the pair's forthcoming collaborative 12" for Aus. Read more »
Nguzunguzu is an outfit that has always been hard to pin down. The Los Angeles pair surely lands somewhere along the Night Slugs lineage, but has nonetheless always come to the table with a unique perspective, folding influences from modern R&B, coke rap, juke, dubstep, G-funk, grime, trap, and even new age into its sonic formula. The resulting productions fit the mold of what has become a largely Stateside take on bass music, one that offers more pieces of half-time boom-bap than pounding club affairs, yet still injects those efforts with neverending skitters, chopped-and-pitched vocals, and rolling kicks and snares. Fortunately, Nguzunguzu has always managed to approach its craft with a touch of eccentricity, a tendency which appears to be alive and well on its latest outing, the Warm Pulse EP. Read more »
With only four releases under its belt, the newly-minted Amadeus imprint has already dove into the deep end of carefully rendered atmospherics and smooth house sounds. A prime example would be Lawrence Black's sultry remix of "Glass Plates" for labelmate Tomas Rubeck, which emerged back in March. Now, Black is back with a sound more suited for the light of day than late-night dancefloors in the form of "All Day." Arriving with hints that he has an upcoming EP on its way via Amadeus, the producer's latest tune scales back to near-silence before building back up into a full-body, disco-flecked groove as if resurfacing from underwater.
When a collaboration involves back catalogs packed with names like Basic Channel, Rhythm & Sound, Vocalcity, Mutila, Sun Electric, and nsi., it's natural to expect something equally epochal. The Moritz von Oswald Trio has been delivering on that promise quietly while challenging our sonic expectations since debuting with Vertical Ascent in 2009. That said, even for confirmed fans of the group's core participants—Moritz von Oswald, Sasu Ripatti (a.k.a. Vladislav Delay), and Max Loderbauer—there's no retreading past achievements happening here. This is still dub techno, but the project works within an improvisational, exploratory framework that belongs to jazz more than a sequencer grid, and listeners have to relearn how to move through this seemingly alien space every time they take the plunge. Now four albums into its run, the Trio is still demonstrating that there's always something new under the sun, even for these decorated techno veterans. The music is startlingly different on the surface than what we expect, but its existence, and the level of quality maintained over the outfit's releases, make for an elegant gob of spit in the face of an ever-accelerating culture that increasingly appears to have less and less to say. Read more »
With the Sleepin' Giantz project, legendary garage and broken beat producer Zed Bias joins forces with two heavyweights of UK hip-hop, Rodney P. and Fallacy, to explore the fertile sonic territory between Top 40 radio and raving. The combination of Bias' dancefloor sensibility with Fallacy's and Rodney P.'s head-nod-inducing verses creates a propulsive sound that is equal parts chart material and sweaty rave workout. Sleepin' Giantz glamorizes the lifestyle of young urban England, and makes it sound like a hell of a good time. Read more »
The founder of Portland-based label Boomarm Nation, Jesse Munro Johnson, has just released the Running Times EP under his alias Gulls. Prior to that (last month, to be exact), we brought you the zappy "SOID," and today we have the record's title track. "Running Times" prominently features a sassy bassline that bubbles up from an abyss of ambient mist and metastasizes into a bouncing rhythm accompanied by a waggling, horn-like synth melody. So far, Gulls' EP is only available as a limited-edition vinyl record or even-more-limited cassette tape, but you can stream it now over on Boomarm Nation's Bandcamp ahead of the record's digital release on July 31.
Over the 18 months that have passed since his debut release, Bristol-based producer Kahn has proved a difficult presence to pin down. That debut—the Punch Drunk-released "Like We Used To"—was a note-perfect exercise in clean, hook-laden garage, a track that was energetic and catchy to the point of sounding like some long-lost UK garage edit of a turn-of-the-millenium R&B classic. The tunes that followed however, saw Kahn stepping back from garage to plunge headlong into mood-soaked tones of early dubstep; "Way Mi Defend" was pure 2-step dubplate classicism, while the Eastern samples of "Tehran" brought to mind vintage Pinch. Add to that his varied collaborations with fellow Bristol resident and Sureskank boss Neek—the bare-bones grime of "Percy" and the all-out dub revivalism of the pair's work as Gorgon Sound—plus his association with the ambient-leaning Young Echo collective, and you start to get the (somewhat confused) picture. Read more »
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