One of the most alluring aspects of the anonymous UK production outfit Gescom is the stylistic freedom the group exhibits from one release to the next. This is likely due to the constantly shifting personnel responsible for the project's 16-plus-year-spanning discography, a roster that has been known to include Sean Booth and Rob Brown of Autechre. Nevertheless, despite the fluidity of Gescom's sound and cast of producers, there's always been a disjointed, hip-hop-indebted framework tying it all together. Four years after the release of its last record, the acid-tinged A1 - D1 EP, that inherent style is apparent as ever on the new, five-track Skull Snap EP, although it's been skewed this time with samples of horns, strings, and other live instrumentation. Read more »
Forgive us for stating the obvious, but London-based grime MC Wiley is exhaustingly prolific. With last month's just-dropped album, 100% Publishing, in the bag, he's now going into full-on promo mode for his next LP—previously announced as an EP—Evolve or Be Extinct. The lead single is called "Link Up," and Wiley has offered up the "Alex D Remix" of the track as a way of whetting our appetites. Taking the original song's detuned bassline and replacing it with a fuzzy, overdriven synth-bass, Alex D's remix turns the track out, doing the party-rap vocals justice with an overhaul that's simultaneously stripped down and amped up. "Link Up" is out now. Evolve or Be Extinct drops later this summer.
Poutine. MUTEK. Smoked meat sandwiches. Montreal is known for a lot of things, and thanks to the efforts of producers like Jacques Greene, LOL Boys, Hissy Fit, and HGLDT, the city may soon be able to add forward-thinking bass music to that list. HGLDT (a.k.a. Henry Goury-Laffont) heads up the Swing and Skip imprint, which recently dropped its second release, a split 12" from UK beatmaker Damu and the label head himself. "Mo(ve)ments in Time" may not appear on the record, but it does offer the same kind of boundary-crossing spirit, combining snappy, Neptunes-style hip-hop drums with a whimsical synth melody and an adorably creepy vocal that kind of sounds like a mogwai—the creature from Gremlins, not the band.
Leave it to Brooklyn trio Lemonade to seek out a relatively unknown (and most certainly forgotten) cut from the Beverly Hills Cop III soundtrack, and rework it into a fresh tune with slow-grooving dance rhythms, hazy equatorial vibes, and plaintive vocal hooks. The inherent elements of '90s R&B and the infusion of tropical motifs could come across as a bit über-trendy, even kitschy in the wrong hands, but Lemonade makes this cover sound like it comes from a place of true sincerity, without as much as a knowing wink to discredit their efforts. The band is playing tonight in San Francisco and later this month in New York, the details of which are after the jump. Read more »
Next Monday, Japan's Diskotopia imprint is set to drop its fifth release since forming last year, an EP (artwork above) presenting two individual tracks from label heads BD1982 and A Taut Line, the former of which who has offered up this remix from UK-based producer Murlo. "Calenture" is already a soca-flavored piece of futurism in its own right, but Murlo manages to propel the track even further into the unknown with an array of sharp sinogrime synths, whirling marimba melodies, precise drum programming, and some really nasty bass to hold it all together. After peeping the remix below, you can check out the original version of "Calenture" and its accompanying video full of cut-up, tropical-themed footage after the jump. Read more »
San Francisco-based vocalist/producer Courtship (who, we should mention, is the alias of XLR8R's own Patric Fallon) has a slew of remixes on the way for his Eve EP (artwork above), tapping the likes of Drop/Dead, :papercutz, Albert Swarm, and, here, tender beatsmith Drifter. Beginning with a simple, looping hand-drum pattern, the remix gradually turns into a blown-out mass of pitched vocal gasps, sliding bass, and dubbed-out horns. Utilizing his penchant for crafting intricate rhythms, Drifter places skittering rims and hats in the nooks and crannies found within the billowing rework, taking this song from its original form as a subdued hip-hop hybrid and giving it new life as a stoney piece of tribal beat work.
Has anyone come up with a conclusive explanation as to why there seems to be such a substantial crop of relatively young producers consistently turning out quality music over the past few years? There's definitely something to be said for the "computer age," and the fact that many of these young up-and-comers have had access to sophisticated music production software since the beginning of their creative endeavors, but maybe there's something deeper at work here. Perhaps there's something intrinsic within this generation which allows individuals to consume and create at a much higher quality and much faster rate than ever before. Gerry Read is one such individual, and at the ripe age of 18 the UK producer has been picked to present two songs for only the second single to come from Ramp's newest sublabel, Fourth Wave. Read more »
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