What began as an eight-plus minute expedition into meandering, spacious techno, "Far End of the Graveyard" has been reworked by a number of up-and-coming producers on Ghosting Season's (pictured above) recent remix EP. Here, we have a contribution to that release from UK newcomer Enjoyed, whose hybrid combinations of Balearic pop and chilled-out house we first caught wind of a few weeks back. Electing to forgo the elongated structure of the original, Enjoyed quickly moves into a swirling production that leans heavy on the house side of his sonic palette, placing a bouncing combination of kicks and claps alongside an array of heavenly pads and glistening melodies. After peeping Enjoyed's take on "Far End of the Graveyard," you can stream the rest of the EP (which features contributions from Polinski, Nedry, and Relmic Statue), here.
Nascent Chilean producer Daniel Klauser is set to release his debut EP, Rootz, later this month through French label Get Flavor. The title track is a chugging, tropical-flavored house number with shuffling drum patterns, thudding bass, fast-paced, dancehall-style vocals, and a looping, high-pitched sample of what sounds like a flute. In addition to three other originals, the EP also contains remixes by The Phantom, Look Like, and Mantanza.
Last we heard from David Kennedy (a.k.a. Pearson Sound) and his Chicago house alter ego, Maurice Donovan, was the "Babeh" b/w "Satisfied" record back at the end of April. Now, a one-sided 12" has dropped under the Donovan moniker for the tune "Call My Name." Read more »
Distal's Embassy imprint is set to drop its eighth release next week, a five-song EP by Houston producer Wheez-ie (who happens to be living in Boston these days, where he's a student at the prestigious Berklee College of Music). Titled Keep Yer Chin Up, the EP features three frantic, juke-leaning originals and a couple of somewhat toned-down, but no less bass-heavy, remixes from DJ Assault and Salva. Here we have the latter, which finds the Frite Nite founder adding some groove while taking the pace down a notch, ultimately winding up with a creative and danceable piece of bass music that owes a lot more to old-school electro than new-school footwork.
London-based record label, event producer, and artist collective Earnest Endeavours is set to release its first record, a five-song EP by San Francisco's B. Bravo (pictured above), on Monday, October 24. Although this is the imprint's first release, Earnest Endeavours has already thrown parties in Barcelona, Los Angeles, and London, produces an ongoing radio program on NTS, and also has a print magazine in the works. Read more »
Dre Skull's Brooklyn-based record hub, Mixpak, just dropped a batch of remixes for French producer Koyote's Midsummer Tales EP, which features the likes of Altered Natives, Ceephax Acid Crew, and, featured here, Marble Players (a.k.a. Para One, Bobmo, and Surkin). The French trio's version of "Night Train" employs pulsing club rhythms, rolling basslines, and a large number of percussive sounds to create the core of their tune, and wraps the skeleton with airy synth melodies and recordings of rain and thunder for a truly unique dancefloor sound.
There is one over-arching question at the core of any examination of M83's fifth proper studio album, Hurry Up, We're Dreaming: What artist in their right mind would write, record, and release a double LP in 2011? The answer to this question is also the single most important reason why French mastermind Anthony Gonzalez's 22-song epic (yes, the E word is applicable here) is a contemporary feat of musical craft: He's a uniquely inspired and wildly talented artist with absolutely no stock in the way music is currently perceived, who is driven, above all things, by pure, childlike emotion. Read more »
It's always odd to hear a song and think, "this is really cool," but then also realize that it's something your mom might like. "Vatican Vibes" by New York's Fatima Al Qadiri—who also records as Ayshay—is one of those tunes. On the one hand, it's a slow-burning jam that pairs inventive drum-machine percussion with haunting synths, steel-drum melodies, and a decidedly futuristic vibe. On the other hand, it's not that far from being the 2011 version of Chant. Read more »
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