Earlier this year, Grimes (a.k.a. Claire Boucher) was everywhere, dropping a slew of light and sugary synth-pop tracks and remixes on unsuspecting ears. In recent months, the stream of Grimes-related news has slowed significantly, most likely because the Montreal-based chanteuse was working on her next full-length, which she was still putting the finishing touches on when we caught up with her back in June at NXNW. That album, Visions, has since been completed and is set to be released on January 31 via the Arbutus label. "Oblivion" is the first offering from the record, and finds the pixie-voiced Boucher continuing to refine and polish her airy synth-pop sound. It's a sticky little number, something akin to a beefed-up take on the precious pop of '80s groups like Altered Images. Listen to and download "Oblivion" below, and take a look at the Visions artwork and tracklist after the jump. Read more »
UK funky ambassadors Renay & Stimpy and DJ Maxsin, collectively known as Funkystepz, have made quite a name for themselves since bursting on to the scene a few years back. Fresh off the release of the Trouble EP, the Hyberdub-inked trio has put together a brand-new mix for FADER. Read more »
Sun Glitters' "There" (from his split EP with Halls) has received the remix treatment from like-minded producer Stumbleine. The Bristol resident reels in the drama of Sun Glitters' original a bit, and manages to soak the wistful piano, distant vocal samples, and lush pads in an even more watery substance, but not without a touch of warm R&B to make the rework a proper slow-motion head-nodder.
Accomplished guitarist, producer, and all-around sonic experimentalist Christopher Willits has announced a remix project/contest that makes available all the stems which went into the making of his 2010 LP, Tiger Flower Circle Sun, for any and all ambitious producers to use for their own creative endeavors. Read more »
This may come as a bit of a surprise, but the joint Matias Aguayo- and Gary Pimiento-run Cómeme label has yet to put out a full-length in its two-plus years of existence. But all that's about to change, with Mexican producer Rebolledo set to release a proper album on October 24, appropriately titled Super Vato (artwork above). "Canivalón" is the first cut to surface from the forthcoming LP, and one that seems to fit the Cómeme aesthetic perfectly, with its brooding techno low end, layers of percussion, and dizzying loops of Rebolledo's (somewhat incomprehensible) vocals. The results are almost tribal, and even a little darker than what we're used to hearing from Rebolledo, but it's a welcome stretch of range, and one we're hoping he has time to fully explore given the full-length format.
In recent weeks, Martyn and Modeselektor, both heavyweight electronic-music acts in their own right, brought new albums into the world, Ghost People and Monkeytown. Rather than simply picking their brains ourselves, we decided to get them talking to each other and see what would happen. Read more »
Despite having a fairly deep discography that reaches all the way back to 2004, this is really the first time T-Polar has appeared on our radar, and he pops up in the midst of readying a new EP, Apollo, set to drop on the Saigon imprint October 24. Although "Quarter" is not a track featured on said EP, the tune does show the kind of dark, house-infused bass music the Irish producer is turning out at this point in his career. Amongst the obvious bass-music touches (skittering drums, vocal chops, and smooth chords) there's an undeniable vein of vintage rave and house to be found here, and it's these elements that keep you slightly on your heels as to where the track will turn next. After giving "Quarter" a listen, you can also peep the borderline NSFW video for the forthcoming EP's title track after the jump. Read more »
In case you needed any more proof that juke had moved far beyond its roots in the streets of Chicago, here we have an EP from a Houston native who's now based in Boston while studying music at the renowned Berklee College of Music. Those who only champion juke of the utmost authentic origins may see this as a red flag, but a conversation about musical authenticity in the internet age is requires a much larger discussion, and should almost always be superseded by a simple question: Is the music good? In the case of Wheez-ie, it's pretty good. Read more »
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