Vancouver duo Evy Jane has no business being this good. After all, there's nothing particularly innovative about the group's music. The plodding, purple-tinged beats sound like a toned-down version of what producers like Guido were turning out a couple of years back. Singer Evelyn Mason has an oddly seductive little voice, but she's not exactly a virtuoso and her vocals are literally all over these songs. At first glance, it would be easy to write off Evy Jane as a watered-down, pop-oriented take on what's being bandied about as "bass music." There's only one problem: the songs are actually quite good. Read more »
Barcelona's John Talabot, the artist responsible for the brilliant ƒin LP, has remixed "Kill Me," a track by NYC synth-pop duo The Golden Filter, the original of which is taken from the group's 2011 soundtrack album, Syndromes. The remix offers more of the same from the quasi-anonymous producer, and we mean that in the best way possible—this brilliant, mildly downtempo cut would have fit in perfectly on ƒin. For seven-and-a-half minutes, Talabot develops gorgeous, tastefully Balearic synth swirls over a simple house bassline and Golden Filter vocalist Penelope Trappes' loose serenade. It all amounts to a pleasant and soothing track, but it's packed with just enough emotional gravity to warrant repeated listens.
This Saturday, February 25, German record hub Poker Flat will be hosting a showcase of producers at an underground location in London. (Find all the details here.) Label boss Steve Bug, Josh Wink, MANIK, Martin Landsky, and Burnski will be spinning records at the party, as will Berlin-based producer Daniel Dexter, the man responsible for serving up this cut, "Who Knows Motor City." As part of the showcase in London, Poker Flat will be also be reveling in the forthcoming release of its ninth label compilation, Gunslingers and Greenhorns (artwork above), on which this track will appear. "Who Knows Motor City" is a floor-stomping house banger, with hooks and drops tailor made for getting a high-energy response from a late-night crowd. The synth patch used for the main melody sounds like a phased horn from another planet, which gives the tune an almost electro-swing feel.
Gremino's latest EP, Let's Jack (artwork above), doesn't quite "jack" like a mid-tempo, 909-filled Chicago house track does, but the Finnish producer didn't set out to make jackin' Chicago house. He's the newest addition to Kingdom's young imprint, Fade to Mind, and thus we should be more prepared to hear his high-octane, bass-heavy productions, which only offer subtle nods to the jackin' traditions of classic Chicago. "Time to Heat it Up," a non-EP exclusive, subverts the acid-heavy approach of the EP's title track; this is a start-and-stop, sample-laden bomb, one that's mostly devoid of any analog bits. And if we're to listen to the wise, normalizing words of Chuck Roberts ("No one man [or style] owns house... house is an uncontrollable desire to jack your body"), then yes, Gremino, although more a purveyor of "bass" than of straightforward "house," still makes music that brings us to jack. Check out the preview stream of the entire EP, which is out now, after the jump. Read more »
UK ambient/techno producer Nathan Fake (pictured above) is lending his efforts to the latest release from Neon Jung, supplying this remix of "Delirium Tremens." Fake's version is a touch experimental, with spacey synthesizer noises stretching out over a lo-fi kick drum that ebbs in and out of the production. About halfway through, the percussion drops out altogether, leaving only long synth notes and ambient noise for the song's final four minutes. "Delirium Tremens" is out now via Magic Wire, an imprint headed up by Lone, which has so far only released tunes from Neon Jung (who has also operated under the name Keaver & Brause) and the label boss himself, who has also collaborated with Jung as Kona Triangle.
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