While minimal techno may have died in a storm of rote blips and clicks set against 4/4 kicks, some of the genre's better practitioners haven't given up the ghost, and Pantha Du Prince is a member of this small coterie. With a penchant for melancholic chord progressions, small rifts, and icy sonic landscapes, "The Splendour" is a slice of deep techno that keeps some minimalist aesthetic alive, but eschews the genre's microscopic tendencies in favor of a dichotomy between smaller aural gestures and grander, more lush synth sweeps. Like a more detail-obsessed Lawrence, Pantha Du Prince is sure to remain at the top of the minimal field with his next full-length, Black Noise, which arrives on February 9 of next year.
Two distinct LA flavors that taste great together!
A few weeks back when we were sitting around fantasizing who in Los Angeles we'd want to collaborate for our recurring series, Tune in an Afternoon, we pretty quickly came up with Dam-Funk and Nite Jewel. When we contacted them, it turned out they were fans of each other and had been looking for an excuse to collaborate. It was decided that Nite Jewel would produce and that their favorite store, LA's Future Music, would serve as the afternoon's launching pad. From there, things just got creepy.
Be sure to download their song, "Am I Gonna Make It," here. Read more »
New York's Bisco Smith definitely knows how to spit, with an intelligent flow similar to Aesop Rock's early work. It is safe to say, though, that Blockhead's remix improves on the stuttering beats of the original, instead placing Smith's rhymes over a more traditional, yet more hype, late-'90s sound, replete with triumphant brass loops and low-slung, heavy bass. These are "freshwater flows," but Blockhead knows how to make them work in the most proper way.
When Uproot Andy rolls out the names of rhythms, he savors them deliberately, like a hoodoo priest chews on a root: kuduro, bullerengue, cumbia. And like a root doctor, it’s from the mixing of these ethnically diverse musical styles that Andy Gillis draws power. Read more »
Ku Bo's Latin-flavored "Su Manita" gets punched up a few notches by Daniel Haaksman, who not only speeds the track's BPM to 145, but also adds enough intense electro melodies, elided vocal snips, and percussive flourishes to make any club go absolutely insane. Taken from the Ku Bo Remixes EP, which comes out today.
Only a total genius nutcase like Dan Deacon could remix a remix and get away with it. Baltimore's most infamous party-starter makes GZA's take on Salvador Santana into a synth-drenched, vocoder-laced piece of hypnotism that almost begs the listener to smoke some heady weed and put it on repeat. With high-frequency whirs and GZA's voice panning throughout the track, it is difficult to even conjure the idea of the original, which was elegantly produced by The Hood Internet.
It’s tough to top this album’s closing horrorshow. For the 10 minutes of “Woods Flesh Bone,” the Australian ambient duo known as Solo Andata recorded a stroll through a forest where ominous guitar drones and queasy, gurgling liquid noises cut through the wilderness. The rest of the album is bathed in otherwise placid dronescapes crafted from acoustic and homemade instruments. Read more »
The Google-proof London School of Economics has created one of the weirder dubstep tracks in recent memory, liberally sampling The Rolling Stones' "Cocksucker Blues" as well as Primal Scream, ending with a dark, atmospheric piece that will certainly be echoing at late-night parties throughout the winter months. Read more »
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