We can't help but be a little surprised at how good the taste of NPR has been lately. We've seen artists like Brian Eno and Balam Acab on its website, and now Warp wunderkind Rustie has been tapped to make a mix of some of his favorite summer jams from the current crop of UK producers. Read more »
This mellow slice of moody electronics marks the debut of a new collaborative project between West Coast producers Boreta (of Glitch Mob fame) and Comma, both of which have separately built solid reputations for themselves crafting bass-heavy music that has rarely approached the kind of tranquil sounds displayed on "Geometer." Collectively working under the name Slidecamp, the two have offered up the opening track from their self-titled debut EP, which sees its release today through, of all places, the Glitch Mob-run Glass Air imprint. Amongst the the tune's warm, floating core, there are still traces of the manic beat work one would expect from this partnership, mainly found in the ADD-style programming which places an innumerable amount of clicks and glitches between the track's steady hip-hop beat. Strangely enough, this welcome expansion on the two producers' respective catalogs seems peculiarly aligned with another member of the Glitch Mob crew's past, as we can't help but to hear faint echoes of edIT's Crying Over Pros for No Reason swirling beneath this melodically melancholy outing.
This buoyant track is ripped from a split 7" (pictured above) that Norwegian imprint Sellout! recently dropped, featuring a single from both South Carolina's Hard Mix and Nordic producer Torkelsen. "Upkeep" is the American's offering, and finds the tunesmith continuing his work with bouncing hip-hop rhythms, layering over them cascading melodies and a load of eclectic samples from who knows where.
Pretty much every rework of a Burial tune comes with a disclaimer like this one: "I know. No one should remix or edit Burial, but I found a beat I made with a friend almost two years ago and I wanted to share this with you guys." And just like Shlohmo's recent stab at recreating the dubstep diety's music, German producer Essáy's edit of the drifty "Dog Shelter" sounds pretty great. So, maybe we should change this whole hands-off approach to Burial's music after all. Just a thought.
Next week, Argentina's ZZK crew is once again taking its electronic, neo-Latin rhythms to the shores of Europe. As always, ZZK is running with a thick crew, as Tremor, Fauna, Mati Zundel (a.k.a. Lagartijeando), El G, and VJ Mariela Bond are all making the trek, as is El Remolón, who has put together a brand-new mixtape for the occasion. Read more »
As you may have noticed, we like to collate the amount of traffic and numbers of downloads the tracks posted on XLR8R generate, and then make a list of the top-ranking tunes from the past month. Sometimes the results are a bit surprising, sometimes they're painfully obvious, sometimes (like this time) they're dominated by one or two hard-working producers, but no matter what, the music is always great. Let's see what you guys were grabbing from our Downloads section this August. Read more »
It was only last month that we tipped you to Murlo's futuristic, soca-infused remix of BD1982's "Calenture." Now, the UK-based beatmaker is back with a funky bashment version of Mr. Vegas' (pictured above) ode to manly values, "Certain Law." Taking the original's rapid-fire vocal delivery and stripping it of its instrumental (a composite of "Barbwire" riddim and Harry Toddler's "Bad Man Nuh Dress Like Girl"), Murlo rides the vocal over a twisted, detuned, and beefed-up take on Rebound X's grimey "Rhythm and Gash." We're not sure if there's some implied alternative meaning there, but who cares when a track bangs this hard?
With the magnitude of the names and backstory attached to Solvent's RDJCS5 EP, analogophile Jason Amm's new 12" has quite a legacy to live up to. The tale goes: "In April 2006, a Yamaha CS5 monosynth, having been owned by Richard D. James (a.k.a. Aphex Twin), with the actual liner notes for his landmark Selected Ambient Works Vol. II etched into the bottom, was sold at a VEMIA auction for approximately $1200, a bargain in retrospect. The winning bidder was, in fact, a friend of Solvent's, and the synth resides not in a display case but in Solvent's studio, on generous long-term loan." Luckily, this enviable piece of electronic-music history is in the hands of a veteran producer, one who uses it to craft four excellent additions to the annals of the genre. Read more »
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