In recent months, gripes about the oversaturation of recent bass music with edited bits of R&B have become more prevalent on XLR8R, as one producer after another seems content to simply lift an old R&B hook and pitch-shift it into oblivion. While most of these efforts are not worthy of much praise, our complaints do come with the caveat that some tracks are better than others. In the case of French producer Raziek's bass-laden take on "I Want," we do like and recommend the tune, but we must also point out that it is something of an absurdity that the chopped and sped-up vocal samples on his remix are taken from Ashanti's "Hey Baby," the very same tune utilized by Montreal duo Sibian & Faun on recent single "I'm Sorry." (To compound the oddity, note that "Hey Baby" was only a minor hit in 2007 and never had a physical release in the US.) On "I Want," Raziek reconstructs the rhythm of the track, turning a steady house beat from Toronto's Meech into a swinging garage pattern while adding a bit more punch to the bassline, but leaving the piano riff largely intact. This song, along with the original and three other remixes, can be found on the forthcoming I Want EP (artwork above), due out February 6 via Demento Mori.
London-based producer Raffertie, who will be releasing a new EP via Ninja Tune on February 6, lends his efforts on this track, a remix of "Unite Us" by Australian synth-pop duo PNAU. The original tune is a revoltingly sweet anthem by the same man who brought you hits like "Walking on a Dream" with his other project, Empire of the Sun. But this remix is anything but a listener-friendly, radio-ready sing-a-long. In fact, the original is completely indistinguishable as part of Raffertie's experimental sonic collision, which begins with jumbled percussion before dropping into a flurry of bass, insidious droning, and vocals played backwards (although there are no Satanic messages, as far as we can tell). Raffertie's warped version of "Unite Us" will appear alongside remixes by Douster and Savage Skulls, Kris Menace, Wookie, and others when the single (artwork above) comes out on February 19 through Ministry of Sound.
This plodding bass tune comes courtesy of 18-year-old producer Simply Ded, a Manchester-based beatmaker who will be releasing his debut record next month via the ADD Cat imprint. The main focus of the song is the vocal sample, which starts off chopped into bits, but eventually fills out into an entire phrase. As the tune breaks down, the main bass note switches from the down beat to the up beat for an interesting effect, and the song ends with a chilled-out, head-nodding rhythm. Simply Ded's Problems EP (artwork above) drops on February 9, but you can stream a preview of the record after the jump. Read more »
After straying towards the realm of techno on his last release for Glasgow's Numbers imprint, London-based producer Randomer (a.k.a. Rohan Walder) is going back to basics for his latest record, which is coming out next month through Untold's Hemlock label. Read more »
It's not often that XLR8R posts up a mix from an artist that the vast majority of our readers have never heard of, but Visions, an all-dubs, 40-plus-minute excursion from Los Angeles producer Floyd Campbell, isn't just another anonymous DJ session. Read more »
Japanese native Goth-Trad has been preparing for the release of his New Epoch LP for a little while now, sharing a music video for the record's lead single and doing plenty of interviews. Now, before the album drops on February 7, we're treated to this exclusive non-album banger, "Alone Warrior." The production is certainly informed heavily by dubstep, as it swells and heaves with an ominous bass tone and a half-time rhythm, but keeps things smart with the tasteful application of rolling percussion, dubby piano, and dark sound effects. If this tune didn't make it on Goth-Trad's new album, we can only imagine the caliber of the ones that did.
Matthew Dear has been an electronic-music icon for some time now, releasing myriad techno offerings under various monikers and serving as the flagship artist for influential record label Ghostly International. Since 2007's Asa Breed, his focus for work under his given name has moved away from techno and toward vocal-oriented avant-pop, culminating in the wonderfully dark and eccentric Black City in 2010. His Headcage EP, released yesterday via Ghostly, continues on that trajectory, moving toward music for a wider audience while maintaining much of the oddness that makes him popular in the world beyond the mainstream. That said, the Headcage EP isn't nearly as engaging as Black City, and aside from "In the Middle (I Met You There)," does not offer anything especially praiseworthy. The goal of the EP is easily accomplished, however, as it is certainly good enough to pique interest in Beams, Dear's full-length album due out later this year. Read more »
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