Much like Fort Romeau's excellent Kingdoms LP earlier this year, Just Black's debut outing on Amanda Brown's 100% Silk imprint eschews much of the lo-fi experimentalism that we've come to expect from the Not Not Fun sub-label in favor of classic-sounding, emotive house locked around multiple layers of percussion. On Can't Put My Finger on It, the Detroit producer serves up two sprawling, unlabelled mini-mixes of original material, spread across both sides of a cassette and clocking in at just under a half hour in total. It's hypnotic, loop-driven dance music fixed around strong grooves and subtle melodic lines that prefer to slowly fade in and out of view rather than making any kind of grand entrance. Read more »
A fortnight ahead of the release of his "mini-album," Knights, the São Paulo-based producer known as Babe, Terror has offered up a quiet, sprawling cut from his record. The five-track LP promises "34 minutes of primitive drum-machine beats," which the tunesmith delivers in full on "War." Babe, Terror's production opens with a simple, lo-fi rhythm that is eventually overtaken by the timid synths. Throughout the seven-minute fog, "War" passes through periods of unfocused calm and teeth-gritting paranoia generated from the slowly building synths and vague, stretched-out vocal samples.
Vienna-based producer and latest addition to the LuckyMe family Cid Rim (pictured above) recently delivered this remix for German producer Sam IRL, which originally appeared on last month's Slower Bavarian EP on Jazz & Milk. Comparatively, the remix is a futuristic, bass-driven refix of the original "moody deep-house tune," and has already been played out by the likes of Ben UFO and Jackmaster. Cid Rim—who has a self-titled album of his own coming out on LuckyMe tomorrow—completely reworks "Safety Hertz," deepening the soundscape with layers of crunchy noise, punchy synth stabs, and whirlwinds of spaced-out sound effects.
Although Grand High Priest's "Mary Mary" was released almost six years ago, the folks at Sheffield's MoreAboutMusic label have enlisted the likes of Altered Natives, Bok Bok, and Yannah Valdevit (pictured above) to revamp, rework, and resurrect the Chicago house tune for 2012. Although the first two remixes bang as hard as one would expect, Valdevit's remix may come as a bit of a surprise to those who know her for the lighthearted vocal stylings she'd put out as part of the duo Eddy Meets Yannah. However, she proves herself to be a more than capable remixer; although the original track's blistering synth lead is left mostly untouched, Valdevit does away with the steady marching beat of the original "Mary, Mary," replacing it with a syncopated stomp that weaves in and out of the mix and allows Dajae's soaring, gospel-tinged vocals to stand front and center. You can stream the rest of the EP, which is out today, after the jump. Read more »
Two weeks ago, techno/house/drum & bass beatmaker Jon Convex (a.k.a. Damon Kirkham) helmed an intense mix for the XLR8R podcast series, which contained several cuts from his upcoming solo album, Idoru. Today, FACT unveiled a stream of that record, which will see a release next week on the producer's own Convex Industries imprint. Read more »
Slugs. The word could mean unsightly garden pests or lazy dudes, but in the case of London's Night Slugs imprint, it clearly refers to bullets. Each release on the label is a deadly, precision-crafted thing, whether a swift, blunt grime rhythm or a crisp and carefully sculpted garage riff. A similarly detailed approach is given to Night Slugs' artwork, under the direction of Bok Bok (a.k.a. Alex Sushon), a DJ/producer and the label's owner alongside partner L-Vis 1990 (a.k.a. James Connolly). Since the dawn of the Night Slugs label in January 2010, Sushon has designed nearly everything the imprint has put out, from over 20 record sleeves to its iconic logo, a blueprint-like font composed of 3-D building blocks. Read more »
Future Classic has made a name for itself in its native Australia as a bastion of electronic music. After all, the label has brought a litany of artists to its temperate environs (including the likes of John Talabot, Mount Kimbie, and Little Dragon) and now, it's stepping things up by announcing the first official compilation by the Future Classic DJs. The forthcoming release will include originals and remixes from producers such as Soul Clap, Perseus, and Slow Hands (pictured above), who contributes this unique reworking of Aphex Twin's seminal track "Rhubarb." For all intents and purposes, "Rhubarbarum" stays mostly true to the timeless melody of its namesake, but Slow Hands makes his own distinctive mark on this interpretation by adding something that Richard D. James originally left out: percussion. The NYC producer crafts a steady, upbeat rhythm out of delicately tapped hi-hats as well as syncopated hand drums and shakers, and adds his own carefully strummed guitar chords into the mix to create a summery, almost Balearic sound. Although "Rhubarbarum" won't be officially released until the Future Classic DJs mix (and its corresponding unmixed compilation of exclusive tracks, which will be available as a standalone release) drops on August 13, you can peruse the tracklists and artwork for both of those records, as well as the 12" vinyl sampler, after the jump. Read more »
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