While attending a portion of this year's Red Bull Music Academy in Madrid, it would have been easy to only pay attention to the bigger artists that proliferated the ranks of the Academy's parties, lectures, and even the participants. But only shining a light on the more well-known folks would be contrary to the spirit of the entire RBMA, which brings artists—many of them unknown—from all over the world for an exchange of ideas, cultures, and, of course, music. As such, we wanted wrap XLR8R's coverage of RBMA Madrid by getting to know a few of the participants whose names haven't regularly appeared on XLR8R—at least not yet. Although profiling all 60 participants, or even just those attending the second term when XLR8R was in attendance, would have been just about impossible, here are three very different artists that definitely caught our attention. Read more »
When we spoke with Essex-based producer Stuart Howard (a.k.a. Lapalux) a few months back for our Bubblin' Up feature, he told us he had an album in the works for Flying Lotus' Brainfeeder imprint. And while we're sure he has every intention of releasing that record in due time, we're having a hard time fathoming how exactly he'll do that, as the artist has been churning out an evergrowing mass of remixes these days. This rework for UK synth-pop duo AlunaGeorge (pictured above) is one of the latest, and finds Lapalux turning the infectious "You Know You Like It" single into a patently disjointed, electronic soul jam. If it's even just a hint of what to expect from his forthcoming original tunes, we're sure they'll be worth the wait.
Taken from the recently released Mysterious EP by Copenhagen's ELOQ, "Why Don't You? (Lazer Sword Remix)" is a typically disorienting production from the multinational duo of Low Limit and Lando Kal. While the punch-drunk synth melody wafts over a spastic bassline and broken drum pattern, atonal sound effects fire off in the distance alongside chilly iterations of the track's title. It creates the kind of loosely robotic tension that we've come to love from Lazer Sword, which provides an ideal counterpart to the glowing neon of ELOQ's original track. You can hear the rest of the Mysterious EP after the jump. Read more »
It's been only two years since Roy Dank closed his venerable Wurst Edits imprint to make way for the Wurst Music Co. Yet, in that short span the label has managed to rise up and become one of New York's most respected sources for underground (and cheeky) disco and house-flavored dance music. Now, the label has released The Wurst Music Ever, a manifesto of a compilation that features 10 brand-new songs from its core roster. With those 10 songs, the LP fleshes out a style that, while openly reverential of the past, still sounds fresh for present and future. Read more »
British producer Nightwave (who, you may remember, was once known as 8Bitch) just finished up her tour of this year's Red Bull Music Academy in Madrid, and then promptly sent over this smooth cut from her forthcoming Night Heat EP for Unknown to the Unknown. The track is a remix of "Night Heat" by DJ Wilson, whose "Slow Mix" still manages to bounce and excite with its dreamy acid sound that's both soft around the edges and razor sharp. Make sure to check out the rest of Nightwave's EP, which features a few more originals and remixes (including one from Altered Natives), when it drops the day after Christmas. Thankfully, the release party at The Big Chill House in London is a lot earlier in the month, on Decemeber 2.
Atlanta-based beatmaker Distal isn't one to shy away from pushing genre boundaries—his recent experimentations with club tunes traverse all manner of bass music, hip-hop, house, juke, and R&B. Still, we were a little surprised to see that his latest effort is a remix of "In Knots" by singer-songwriter Carter Tanton (shown above on left, Distal on right). Granted, almost nothing of the original indie-folk tune remains in the remix; Tanton's typically tender vocals become chilling under Distal's furious warping, while the self-styled "boss of the south" forgoes holding true to the original and instead builds an acid-house track around Tanton's voice more or less from the ground up.
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