This never-before-released cut of gritty tech-house is the fruit of a collaboration between newcomer Lokiboi (pictured above) and bass-music regular Hackman. A clip of "Untitled" has been floating around the internet for a short while, but this is the first time the dark and propulsive tune has been posted up for a full listen or free download. And if the pair of producers keep making jams like this one, we certainly wouldn't mind hearing a whole lot more of their collaborative work.
While the name Dro Carey is one that has been increasingly bandied about in recent months, the Australian artist has been mostly recognized for his inventive musical production, not to mention his releases for the likes of labels such as Templar Sound, Hum + Buzz, and RAMP. As it turns out, the man possesses a multitude of talents, as he also put together this new clip for fellow Aussie 48/4. Read more »
The last time XLR8R mentioned indie darlings Trailer Trash Tracys (pictured above), its (very) long-awaited debut album was still lacking a due date. But after a period of false starts and delays, Domino offshoot Double Six has declared the album will see the light of day on January 16 of next year (February 7 here in the US). While a significant chunk of the album has already surfaced online during its long gestation period, we're positive this remix of the London foursome by Brooklyn oddball Ital (a.k.a. Daniel Martin-McCormick) isn't something you've heard before. The lo-fi pop of the original tune, initially a b-side to 2009's "Candy Girl," and then re-recorded for release as an a-side this past October 31, is almost completely omitted from Ital's compelling and subversive take. Frontgirl Susanne Aztoria's vocals remain, but instead of soaring over sugary shoegaze fuzz, they get torn, twisted, and thrown over rumbling bass and stuttering arrhythmia. The end result sounds good to our ears, but it's worth noting that Ital did manage to discard two of Trailer Trash Tracys' most talked-about traits: lyrics inspired by Sufi poetry, and the use of "solfeggio harmonics," a new agey approach to music that focuses on using specific frequencies that are said to have corresponding spiritual effects (for example, what a more traditional musician would call a slightly sharp Middle G is something that instead "liberates guilt and fear" for the practicing solfeggist). [Editor's note: Yes, we made up the word "solfeggist."]
Over the past few months, XLR8R has been curating a special set of charts for Beatport. London's Girl Unit is a key member of the Night Slugs family, and also the artist responsible for the label's biggest tune, the anthemic "Wut." While 2011 has been a relatively quiet year for the R&B- and hip-hop-indebted producer, with only a handful of new remixes seeing the light of day, anticipation remains high for his next musical salvo. Before it arrives, we asked him to put together a chart listing some of his favorite tunes of the moment. Read more »
Brooklyn-based producer Mux Mool (a.k.a. Brian Lindgren) has dropped a second track from his soon-to-be-released full-length album, and has announced his December tour dates, including his plans for 2011's end-of-the-year festivities. "Raw Gore" is taken from Planet High School, which comes out on February 7 via Ghostly International, and sees Mux Mool showing off his fluid, bass-centric brand of instrumental hip-hop. Another track from the album, "Palace Chalice," was previously made available for download. In addition to the tour dates listed after the jump, Mux Mool will also be touring the country more thoroughly in the spring. (via Stereogum) Read more »
Shadows is hardly an EP. Comprised of five tracks (the most on any solo Floating Points release to date) that total just under 40 minutes, Shadows has the feeling of a fully realized piece of music, and despite the two letters thrown at the end of the title, could really be considered the Ph.D student/UK wunderkind's first full-length. To his credit, Floating Points (a.k.a. Sam Shepherd) does not need more than five outings to fill an album-length release, as the songs here are immensely dense and show the artist's methodical ability to construct and tear down his own creations, which is, at times, simply awe-inspiring. Read more »
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