Leave it to Brooklyn trio Lemonade to seek out a relatively unknown (and most certainly forgotten) cut from the Beverly Hills Cop III soundtrack, and rework it into a fresh tune with slow-grooving dance rhythms, hazy equatorial vibes, and plaintive vocal hooks. The inherent elements of '90s R&B and the infusion of tropical motifs could come across as a bit über-trendy, even kitschy in the wrong hands, but Lemonade makes this cover sound like it comes from a place of true sincerity, without as much as a knowing wink to discredit their efforts. The band is playing tonight in San Francisco and later this month in New York, the details of which are after the jump. Read more »
Poutine. MUTEK. Smoked meat sandwiches. Montreal is known for a lot of things, and thanks to the efforts of producers like Jacques Greene, LOL Boys, Hissy Fit, and HGLDT, the city may soon be able to add forward-thinking bass music to that list. HGLDT (a.k.a. Henry Goury-Laffont) heads up the Swing and Skip imprint, which recently dropped its second release, a split 12" from UK beatmaker Damu and the label head himself. "Mo(ve)ments in Time" may not appear on the record, but it does offer the same kind of boundary-crossing spirit, combining snappy, Neptunes-style hip-hop drums with a whimsical synth melody and an adorably creepy vocal that kind of sounds like a mogwai—the creature from Gremlins, not the band.
Next Monday, Japan's Diskotopia imprint is set to drop its fifth release since forming last year, an EP (artwork above) presenting two individual tracks from label heads BD1982 and A Taut Line, the former of which who has offered up this remix from UK-based producer Murlo. "Calenture" is already a soca-flavored piece of futurism in its own right, but Murlo manages to propel the track even further into the unknown with an array of sharp sinogrime synths, whirling marimba melodies, precise drum programming, and some really nasty bass to hold it all together. After peeping the remix below, you can check out the original version of "Calenture" and its accompanying video full of cut-up, tropical-themed footage after the jump. Read more »
San Francisco-based vocalist/producer Courtship (who, we should mention, is the alias of XLR8R's own Patric Fallon) has a slew of remixes on the way for his Eve EP (artwork above), tapping the likes of Drop/Dead, :papercutz, Albert Swarm, and, here, tender beatsmith Drifter. Beginning with a simple, looping hand-drum pattern, the remix gradually turns into a blown-out mass of pitched vocal gasps, sliding bass, and dubbed-out horns. Utilizing his penchant for crafting intricate rhythms, Drifter places skittering rims and hats in the nooks and crannies found within the billowing rework, taking this song from its original form as a subdued hip-hop hybrid and giving it new life as a stoney piece of tribal beat work.
Has anyone come up with a conclusive explanation as to why there seems to be such a substantial crop of relatively young producers consistently turning out quality music over the past few years? There's definitely something to be said for the "computer age," and the fact that many of these young up-and-comers have had access to sophisticated music production software since the beginning of their creative endeavors, but maybe there's something deeper at work here. Perhaps there's something intrinsic within this generation which allows individuals to consume and create at a much higher quality and much faster rate than ever before. Gerry Read is one such individual, and at the ripe age of 18 the UK producer has been picked to present two songs for only the second single to come from Ramp's newest sublabel, Fourth Wave. Read more »
Started in 1991, and famously inspired by the legendary clubs of '80s New York, London super-club Ministry of Sound has had a long and wild run. So long, in fact, that this September the Elephant & Castle mainstay will be celebrating its 20th anniversary. Read more »
We've noticed that a lot of the good beat music we've been hearing lately has been coming from the more northern regions of the West Coast—as opposed to its usual home in Southern California. Case in point: Aybee (a.k.a. o1o) and his Deepblak label. The Oakland resident just released A Futurespective (via Seattle-based Further records, incidentally), a collection of tunes crafted throughout the past decade, the same amount of time his imprint has been active. "Moonstalk" is taken from the album, and demonstrates how o1o's music is informed by hip-hop rhythms, but also offers a skewed take on the usual 'beat-scene' sound by infusing it with elements of techno, ambient music, and IDM. It's an odd mix of styles that works surprisingly well, and might just help reignite our hope in the future of California's beatmakers. (via Altered Zones)
Emerging producers Matt Waites and JR Seaton have come together to form Call Super, a duo dedicated to exploring the possibilities of dark, yet slightly off, dance music. The pair recently released its debut EP, Staircase (artwork above), for the newly minted London imprint Five Easy Pieces. To help introduce the project, they've gone ahead and shared "Timora", which kicks off strong on an analog futurism tip before eventually revealing itself as a full-fledged techno endeavor. Utilizing brooding arps and dissonant synth blurbs, the duo keeps things moving with enough nostalgic drum-machine work to equally please both techno classicists and dancefloor junkies. In addition to this tune, the Staircase EP comes with two more original productions (of the muscular house sort), a re-work of the duo's own "Nosebleed" track, and a remix from burgeoning Berliner Objekt.
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