At one time, the story of house music was an underground and niche thing. Like a futuristic oral history, its sagas were created and relayed to new generations of dancers via turntables and loud speakers. If you lived in ignorance of the regions where its influence fell, chances were that you'd be completely out of the loop. Yet, the past 10 years have seen the arrival of new modes of communicating the subtle nuances of this once secret tradition. The socially connected internet, and the database mentality it promotes, has given rise to a new breed of producer that is able to craft near-perfect simulations of classic dance music. Amidst this revival, some older artists have had a hard time establishing a foothold in the new school. Read more »
Manchester producer Damu has just shared "Sjunga" with the world, a new track hot on the heels of his debut LP, November's Unity. The short cut is steeped in the quirks of UK garage, with heavy doses of both two-step percussion and processed, pop-vocal sampling. True to the song's namesake (sjunga means sing in Swedish), vocal samples converge at the piece's climax, making for a quick, whimsical burst of melody. You can check out Damu's XLR8R podcast that he dropped last fall, here.
As was first unveiled back in February, Non Projects boss and Southern Californian musician/producer Brian Allen Simon (a.k.a. Anenon) will release his Acquiescence EP on March 27, but a day before it lands, we've got the exclusive stream of that record for your listening pleasure. Read more »
"Fun" isn't exactly the first word that comes to mind when discussing the grab-all term that is "bass music," but it does sound like Distal had a good bit of fun reworking "Flesh Eaters." Sure, there's nothing jovial about the music here—in fact, it's pretty sinister—but Distal does seem to have an effortless command over his sonic landscapes; we'd like to imagine he enjoys exercising this control as much as we enjoy listening to the results. Bouncing us through a few infectiously heavy rhythms, the Atlanta producer takes this rework to every imaginable corner, even cutting the drums entirely at one point and landing the tune in almost new-age territory for the briefest of moments. If the original version from The Pearl is half as good as this, then the forthcoming 7" from Circuitree (artwork above)—which will serve as home to both versions of "Flesh Eaters"—should prove a worthwhile use of wax. You can pre-order that 7" before it officially drops on April 12 over on the label's Bandcamp.
Veteran garage producer Jason Chue (a.k.a. Wookie), a man responsible for such legendary '90s cuts as "Scrappy" and who is credited as Soul II Soul's in-house prodcuer, has dropped a new promo mix for Fabric in preparation for his performance at the London nightclub on March 30. Read more »
When it comes to his hometown, UK producer Murlo (a.k.a. Chris Pell) has mixed feelings. Although he now resides in London, Pell grew up in Shepshed, a small place in the East Midlands which was once notable for being the biggest village in England. "Then it got turned into a town," he says, "and everyone got pretty pissed about that." He continues, "there's nothing really there... I still got my heart there, but musically, fortunately not." These days, Murlo is known for his dancehall- and soca-infused takes on the various strains of UK bass music, but growing up, the only dance music he heard, apart from whatever was on the charts, was donk—yes, that donk—or "abrasive, horrible" hardcore. "We never got the good bassline or niche," he says. "That was a shame." Read more »
Today, Debukas' newest EP, Pleasure Patterns, sees a release, and to help mark the occasion, the 2020 label has passed along this remix from Japan's A Taut Line (perhaps better known as one-half of the pair behind the Disktopia imprint, pictured above). You may recall from a few weeks back that we shared a remix of the Pleasure Pattern track "Golden Mind" from Spanish producer Pional, and this new rework ends up in similar territory. The presence of Latin percussion and gasps of vocal chants mix perfectly with the filtered chords and sunken bass, which effectively lands this one on the classier side of the summertime-dance-party spectrum.
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