Darkside is NY native and musical wunderkind Nicolas Jaar's side project with guitarist Dave Harrington; that brief description alone just about encapsulates the sound of the duo's debut release. The three untitled tracks that make up the Darkside EP aren't a far cry from the sparse, downtrodden productions heard on Jaar's debut album, Space is Only Noise, as the only discernible difference between the two records is the presence of warbling guitar sounds. The two musical styles actually mesh together quite well, but aren't explored much beyond the realm of moody, midtempo dirges. Read more »
Earlier this week, Kentucky-based producer Milyoo (a.k.a. Tommy Wilson) released his first long player on Subeena's Opit imprint. The 10-song album, Archeology (artwork above), which includes previously released singles "Colours" and "Dasein," as well as this track, gives Wilson plenty of room to explore different sonic influences, including hip-hop, house, and bass music. "Tough Enough" starts off dark and quiet, but eventually drops into a driving house banger with a forceful, rumbling bassline.
In addition to the three days and nights of mostly electronic music presented by Sónar at its flagship festival in Barcelona, it will also be expanding this year to Brazil, where it will promote a two-day event in São Paulo, and will return to Japan, where it will take over the AgeHa nightclub for a weekend in April. Read more »
Yesterday, we revealed our top downloads for the month of November, and sitting perched atop the heap was a remix from up-and-coming Glasgow producer Soosh (a.k.a Soroosh Khavari). "Take My Hand" is the latest sonic offering from the artist, a leisurely and atmospheric track with various vocal samples and recordings stretched over quiet blips, soft synth pads, and light percussion. This track is not on any officially released material, but Soosh does have plans to unload three separate EPs in the first part of next year, releases that will include remixes from Lapalux, Jameszoo, and Greenwood Sharps, to name a few.
This never-before-released cut of gritty tech-house is the fruit of a collaboration between newcomer Lokiboi (pictured above) and bass-music regular Hackman. A clip of "Untitled" has been floating around the internet for a short while, but this is the first time the dark and propulsive tune has been posted up for a full listen or free download. And if the pair of producers keep making jams like this one, we certainly wouldn't mind hearing a whole lot more of their collaborative work.
While the name Dro Carey is one that has been increasingly bandied about in recent months, the Australian artist has been mostly recognized for his inventive musical production, not to mention his releases for the likes of labels such as Templar Sound, Hum + Buzz, and RAMP. As it turns out, the man possesses a multitude of talents, as he also put together this new clip for fellow Aussie 48/4. Read more »
The last time XLR8R mentioned indie darlings Trailer Trash Tracys (pictured above), its (very) long-awaited debut album was still lacking a due date. But after a period of false starts and delays, Domino offshoot Double Six has declared the album will see the light of day on January 16 of next year (February 7 here in the US). While a significant chunk of the album has already surfaced online during its long gestation period, we're positive this remix of the London foursome by Brooklyn oddball Ital (a.k.a. Daniel Martin-McCormick) isn't something you've heard before. The lo-fi pop of the original tune, initially a b-side to 2009's "Candy Girl," and then re-recorded for release as an a-side this past October 31, is almost completely omitted from Ital's compelling and subversive take. Frontgirl Susanne Aztoria's vocals remain, but instead of soaring over sugary shoegaze fuzz, they get torn, twisted, and thrown over rumbling bass and stuttering arrhythmia. The end result sounds good to our ears, but it's worth noting that Ital did manage to discard two of Trailer Trash Tracys' most talked-about traits: lyrics inspired by Sufi poetry, and the use of "solfeggio harmonics," a new agey approach to music that focuses on using specific frequencies that are said to have corresponding spiritual effects (for example, what a more traditional musician would call a slightly sharp Middle G is something that instead "liberates guilt and fear" for the practicing solfeggist). [Editor's note: Yes, we made up the word "solfeggist."]
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