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 »
There are no frills on Zoé Zoe's Church EP. There are no leftfield curveballs, ambitious bendings of genre, or avant-garde experimentations—and that's certainly not to the record's detriment. Rather than attempting to create a daring new sound or spearhead a micro-movement, the elusive Lithuanian producer born Mantas Stonkus has achieved a more modest (but no less demanding) accomplishment: he has crafted an expertly tailored bundle of deep-house tunes on what appears to be his first official release as Zoé Zoe. Read more »
Milan-based producer Aquadrop's Synthetic Landscapes From Future EP dropped just last week via Seclusiasis. The artist born Aron Airaghi's penchant for grime, jazz, and funk all shine through on on his new record, and yet Synthetic Landscapes From Future pushes somewhere past the realm of singular genres, sounding more in line with the likes of Rustie, a solid example of which is the synth-driven "Eagle Nebula". Aquadrop's tune is a club-ready, electro-tinged production with interludes of extremely uptempo synths and bouncy basslines supported by the banging of the kicks. Hoover samples, 8-bit sound effects, and handclaps are dropped randomly through it all, leaving just about zero negative space in the tightly packed soundscape.
Throughout the week, a whole lot of material gets posted here on XLR8R. And while we know—and love—that some hardcore readers will eagerly pour over every single news story, interview, podcast, video, and MP3 download that appears on the site, we also realize that for most people, it's impossible to see everything, which means that some quality XLR8R content is likely to get missed in the hustle and bustle of everyone's daily lives. In the interest of making it easier for everyone to catch up, we've created The Lowdown, a weekly wrap-up of the best tidbits from our site. Read more »
London's Pusherman has been all over the place; earlier this year, he released two EPs, Shake It Off and Still Feel, via LNUK and Dench respectively. July 30 marked the release of his third offering, this time for Audio Doughnuts, aptly entitled Donuts. While the "Donuts" single has been floating around for quite some time now (its video, which you can watch here, has been out since last year), it only received an official release this past Monday. However, Audio Doughnuts has padded the single with new material, including a remix of "Donuts" by Diamond Bass, a b-side titled "The People," and a reworking of that same track by Naive Machine. Although Naive Machine's members hail from the UK, the outfit's collective mindset on this remix is rooted in Chicago's footwork traditions; Pusherman's original shuffling, syncopated beat is cast aside and replaced with frenetically repeating samples and skittering juke-inspired rhythms.
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