London duo Zombie Disco Squad has been delivering party-ready house jams for several years now, releasing original productions on labels like Made to Play and mixing an XLR8R podcast several years back. Now, the team has remixed "Superimposer," a bubbling track by Amsterdam's Mason. The remix is a warm, crisp slice of funky house, a tune that's perfect for an early-morning haze. It's out now as part of the Superimposer EP (artwork above) on Animal Language, which also includes remixes from Harvard Bass, Arveene & MiSK, and Polymath.
Just last week, Brighton up-and-comer Ambassadeurs shared a video for his tune "M.O.P.E." Now, he's passed along a new track, "Duke Red," which is said to serve as the first taste of the producer's as-yet-untitled forthcoming debut album. As on "M.O.P.E.," Ambassadeurs manages to combine a number of genres here, as traces of West Coast beat music, UK bass, and the now-ubiquitous touch of modern R&B are all present. It's the kind of tune a beatmaker can appreciate, one that moves in measured steps and is held together by its solid drum work and an impressively precise aesthetic.
Late last year, Suspect teamed up with Creepy Autograph (an alias of the prolific Jimmy Edgar) for a split EP (artwork above) on the freshly minted Thug imprint. The release came stacked with an original track from each producer along with remixes of each other's tunes, which unfortunately left no space for Australian duo Stereogamous' sleek rework of "Inurface." On its remix, the pair from Down Under manages to take Suspect's cut into even deeper territory, dropping the original song's robot vocals and injecting a healthy amount of undulating low-end into the affair, ultimately yielding a cut as primed for the dancefloor as either of its counterparts.
If there is a still-active group whose past discography is undoubtedly ripe for revisiting, it's German duo Mouse on Mars. Composed of veteran artists Jan St. Werner and Andi Toma, the band boasts a rich and unprecedentedly varied musical history during which the pair has experimented with elements of glitch, dub, ambient, noise, acid, IDM, classical, and even pop music across the span of 18 years or so. But Mouse on Mars aren't out-of-touch has-beens; in fact, the duo's music might be more relevant now than ever before. It's not difficult to hear the influence—both direct and otherwise—that the trailblazing artists have had on the evolution of electronic music (they started utilizing oversized bass wobbles before anyone had even considered the ideas of dubstep), and now, Mouse on Mars' forward sounds have culminated in another offering of patently skewed and challenging tunes, the Parastrophics LP for Modeselektor's Monkeytown label. Read more »
In less than a month's time, Lorca will be dropping a new 12" via the label arm of Dummy Magazine. In the meantime, the rolling "What You Don't Need" has found its way into the world, effectively whetting our palettes while we wait. As Little White Earbuds points out, this tune is noticeably less garage-oriented than the two tracks which make up the forthcoming single, but still comes imbued with the same genuine love for grooving, percussive house. After giving the song a listen below, you can stream the aforementioned 12" in full after the jump before it drops on March 19. Read more »
Mike Wall, the newest face on Hidden Recordings, has just dropped his first record for the label, a five-song EP titled Out of Fire. "Cosmic Kick," the final song on the EP, is a slice of locked-in techno, featuring a big, four-on-the-floor kick, synth stabs, a circling bass line, and driving percussion. The resulting combination is a bouncing dancefloor number with an unyielding punch. After the jump, take a look at a teaser video for Out of Fire, which came out last week on vinyl, with a digital release to follow this week and spy the 12" artwork and tracklisting. Read more »
About two weeks ago, Paul Rose (a.k.a. Scuba) released his latest single, "The Hope." Considered a teaser for his forthcoming third studio album, Personality, the single painted a picture of a man edging ever closer to big-room commercial appeal. Yet, unlike the smartly hybridized trance of previous single "Adrenalin," "The Hope" sounded like an over-the-top attempt at co-opting the bravado of late-'90s big-beat acts like The Prodigy and Crystal Method. The track wasn't without its guilty charms, but fans of the producer's more subtle material—the likes of which he built his name on—were understandably wary of what kind of album such a move might signal. Read more »
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