This dark, textured slice of bass music finds one Shades of Grey co-head, Duct, enlisting label partner Fybe:One for remixing duties. On his slightly elongated rework, the UK producer plays around with miniature percussion, descending synths, and a few distant rumbles for roughly three minutes. Then, following the customary drum-dropping breakdown, the man gets serious, and unleashes some monster bass tones and appropriately huge side-chained pads which chug at a steady neck-snapping pace for the rest of the tune. The original version of "Blackheath" dropped today as a part of Duct's new EP, Circles (artwork above), previews of which can be found, along with the accompanying tracklist, after the jump. Read more »
In a cultural climate where rehashed VHS footage spliced together with found YouTube clips and fuzzy JPEGs constitutes most brand-new, independent music videos, it's a welcome change of pace to discover people who are dedicated to pursuing the arts of cinematography, production, storytelling, editing, and directing. Sure, there are likely many nascent filmmakers scattered around the globe who are hard at work honing those exact skills, but few are doing so with such distinct style and exuberance as Brendan Canty and Conal Thomson, the Irish pair who makes up the production studio Feel Good Lost. Read more »
It came as quite a surprise that Martyn's sophomore album, Ghost People, was something of a polarizer between fans of the techno-informed dubstep (or was that dubstep-informed techno?) that characterized his first full-length, Great Lengths. Maybe his second record was more or less "basic," stylistically speaking, but it was also responsible for providing 2011 with two of its strongest floor-fillers: the unprecedented choon of a tune "Masks" and "We Are You in the Future," an epic homage to dance music's history that claimed the LP's last nine minutes. So, despite whether you think Martyn's latest could or could not have been better, the DC-based producer certainly deserves a victory lap, which is basically what the "Hello Darkness" 12" is. Read more »
Late last year, Stockholm-based duo The Whendays dropped its first release, a self-titled EP that arrived via the oft-reliable Cascine label. Now, rumor has it the duo in the midst of writing and recording its debut full-length (which should see a release on the same label later this year), but in the meantime, the pair have cooked up a fresh version of its EP's lead-off track, "Untru Love II." Noticeably toning down the compression-heavy crunch of the original, this new version is a much smoother and more upbeat affair, one that lays down a four-on-the-floor kick amongst a housey bassline, pillowy synths, and just a touch of pitched-the-fuck-down vocal snippets.
Earlier this year, we reported that Levon Vincent would be responsible for putting together the next edition of Fabric's fabled mix series. Now, the Berlin transplant has revealed the details of the forthcoming mix, and shared some insights into his creative process. Read more »
Kouhei Matsunaga is a veteran of experimental electronics, one who has seen his music released in many forms across a number of imprints since embarking on a production career back in 1992. Lately, the Osaka-based artist has utilized his talents as one-half of the NHK duo, but here, the artist chooses to fly solo under the name NHK'Koyxeи, offering up a cut from his recent Dance Classics Vol.1 LP (artwork above). For his new album, Matsunaga has gathered up a collection of his more club-appropriate material, picking productions that focus "more on bass/base electronics, music for the dancefloor and/or altered-state reflection." In truth, these songs come nowhere near to what we currently think of as club bangers, but on "587," the Japanese producer does find an intriguing—and rather unique—middle ground between dancefloor grooves and his more experimental inclinations.
It would appear that Berlin-based producer Antaeus Roy (a.k.a. Lando Kal, one half of Lazer Sword) has been quite busy these past few months. In addition to preparing his outfit's forthcoming second album and getting ready to drop live knowledge at SXSW tomorrow night, he's also releasing a new single via the illustrious Hotflush label next month. Read more »
Here, London up-and-comer Error Operator (pictured above) has tried his hand at reworking fellow UK outfit Man Without Country, warping the group's "Puppets" tune into something much more XLR8R-friendly. Error Operator strips the original track's live drums in favor of an array of percussion patterns and club-ready kicks and snares, on top of which he drizzles spacey vibraphones and a host of slippery chords. Touches of Man Without Country's vocals come through drenched in effects processing, nonetheless giving the production some pleasant refrains between the instrumental sections of bubbling beat work.
Berlin's Tresor label is approaching its 250th release, and to celebrate, the label has planned a reissue series of Juan Atkins (pictured above) tunes made under his moniker from the mid-to-late-'90s, Infiniti. Read more »
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