We know Raffertie (pictured above) best for his restless and bassy remixes and productions, but the UK producer has taken an unexpected left turn with this subdued remix of Get People's "Macaw." Raffertie tones down the vocal-led deep-house track, transforming it into a extended ambient soundscape of synth pads and bells. At times, the remix hints at Raffertie's jittery output with a synth or hi-hat flutter, but the most agitated tones come from a subtle kick, which keeps the track pulsing under a wash of big, dramatic chords.
Coming soon via Planet Mu, The Host is the 12-track, debut LP (artwork above) by producer Barry Lynn's new alias, The Host. This warm, understated cut is a slight departure from the music Lynn creates as Boxcutter; under this new guise, he seems a bit more interested in airy soundscapes and experimental beat work than warping samples of '80s funk. Check out this "Alternative Mix" of "Summer Solstice at Cape Canaveral," and then check out snippets of The Host before it drops on March 20, here.
Eric Michael Vallely (a.k.a. EMV) is set to issue his debut full-length album, Resolutions, on February 21 through Matthewdavid's LA-based Leaving imprint. "Blue Pop" is one of 16 somewhat difficult, noise-leaning compositions on the album (artwork above), and features a considerable amount of static, feedback, white noise, and melodically droning sounds. The record will be released digitally and on cassette tape, and while the recent hipster fad of cassette-only releases sometimes seems inane, Leaving Records has once again found something that offers an interesting congruity with the antiquated format, as EMV hearkens back to the early days of sonic experimentation through tape manipulation conducted by the likes of Steve Reich and Terry Riley.
London producer Visionist (a.k.a. Louis Carnell) is a confident artist, but he's also not afraid to give credit where it's due. "I can't lie," says the 22-year-old beatmaker. "I'm heavily influenced. I'll hear someone's tune and [think], 'This is amazing.' And then, I'll make something, but I'm very aware of not copying anyone." He continues, "As much I get influenced by someone's tune, my production style is, like, 'You love that vibe, now do something with it.'" It's a refreshing attitude, and one that perhaps explains how the admittedly shape-shifting artist has swiftly managed to carve out his own corner in the crowded bass-music landscape. Read more »
This freshly crafted and undeniably gloomy piece of bass music is the debut work of anonymous UK producer Touch. While the artist's Soundcloud and Twitter accounts were opened only hours ago, Touch tells us that he/she has previously released music under another, as yet unknown, alias. "Lost" is a somewhat experimental number, with heavy bass colliding into warped vocal snippets, sporadic drum samples, and haunting synth pads. Consider us officially intrigued.
How could Burial properly follow an album like Untrue? That 2007 LP has practically become a sacred tome, and not only for dubstep, but the whole of electronic music. The adoration and respect that fans and critics have awarded to Burial since Hyperdub released his second full-length has put him in a bit of a pickle; if he turns out more of those desolate soundscapes and rickety beats, he'll be called a one-trick pony, but if he changes too much, he runs the risk of alienating those who treat his music like a religion. Read more »
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