"Go Go Wine," Vybz Kartel's ode to stripper gymnastics, has been out for a little over a month now. Riding a red-hot riddim constructed by the inimitable Dre Skull (check out a recent interview he did with Strictly the Best), we just can't get enough of it, which is why were stoked on the release of the official video. Read more »
Minneapolis-based producer Huntley Miller (a.k.a. Cepia) just dropped this one in our inbox, saying not a whole lot more than "Hello" and "Thanks!" Miller's refreshing brevity—not to mention his solid musical background and time spent as a Ghostly-signed artist—lead to a couple of quick mouse clicks, and before we knew it, we were nodding our heads to the angular, steel-drum grooves of "Algiers." It brings to mind a handful of Warp's finest artists, particularly the clattering piano melodies from Aphex Twin's Drukqs and the drifty polyrhythms of early Autechre, but manages to distill those sounds into something fresh and original. It's anyone's guess whether this track is a one-off freebie or part of something larger; we're just glad Cepia shared it with us.
It's doubtful that when Mark Pritchard and Steve Spacek named their new collaboration Africa Hitech, their production techniques were in some way trying to approximate African technology. Case in point: One of the commonly used pieces of gear on their new record, 93 Million Miles, is actually an iPhone program called iSyn. So we had Spacek tell us a bit about the process, and which other iPhone-compatible software is out there: Read more »
As a young co-founder of the Club Cheval crew, French DJ/producer Myd hasn't released that much material, but what he has released, we've liked. Last year, we shared with you his "Train to Bamako", a playful romp through an imagined African soundscape. Now he's back with the titular track from Octodip, his new EP on Marble. Sharing similarly playful atmospherics as his previous work, "Octodip" takes the rhythm of funky and melds it with a distinctly Gallic club sensibility, complete with pulsing compression, a "funky worm" synth line, and chopped-up vocals that wouldn't sound out of place coming from an ambulance. The Octodip EP is out now.
What is it with the standard bearers of minimal techno these days? If it's not Isolee noodling around on his bass, or Wighnomy Brother Robag Wruhme going ambient, it's Ada (a.k.a. Cologne-based producer Michaela Dippel) testing out jazzier waters with finger-picked Spanish guitar. Whatever the case, it's clear that nearly a decade after the great minimal hype, the style required a bit of a makeover... and we're probably just in its foundation stage right now. That said, while it's not an impeccable album, Ada's Meine Zarten Pfoten (German for "my tender paws") does offer some pretty exciting experimentation and a few really great pop songs. Read more »
Really, it was only a matter of time before these two dark-pop outfits came together on a track. Taking sparse elements of an unreleased cut from 2009 by Brooklyn duo Light Asylum (pictured above), fellow goth fiends Salem create an ominous remix of "Shallow Tears" that sounds much more like a cover than anything else. The Midwestern band uses its own deep synth sounds, skittering drum-machine beats, and warbling, distorting effects to give the already sullen ballad a blown-out, far-gone tone. And though we miss the soulful, commanding baritone of Shannon Funchess, the treatments Salem uses on her voice really drive home the otherworldly vibes. (via Altered Zones)
Detroit-born, Abu Dhabi-based techno producer Kamau Baaqi (a.k.a. Darling Farah) is set to release his first EP, Exxy, on June 28. At a youthful 19 years of age, the influence of Baaqi's birthplace shines through his music. A gentle blend of dubby house and techno, Exxy is exactly what you would expect to hear in the early morning hours drifting out of a cavernous warehouse in Detroit. "Picture" is a perfect example of Baaqi's dub-tinged style with its lush, chordal stabs filtered and drenched in delay, sweeping amorphously over the top of a swung house rhythm. Faint voices reverberate in the distance as the stabs pulsate around the beat, demonstrating Kamau's ability to strip back beats while maintaining his productions' simplicity and patience.
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