Earlier this year, we gathered the most important players in the Sweden's skweee scene at the Stockholm office of Flogsta Danshall, to get the lowdown on just what the music is about and how it's made. On top of that, we also checked out Daniel Savio and Mrs. Qeada at Oslo's By:Larm, and peeped a performance by Rigas Den Andre and Pavan at a teen community center in Stockholm. Read more »
San Francisco's Christopher Willits is a bit of a virtuoso—in the past 10 years he's produced 20 albums, both solo and in collaboration with experimental heavyweights, such as Matmos and Ryuichi Sakamoto. His most recent solo effort is Tiger Flower Circle Sun, his second full-length for the Ghostly International label and quite possibly his most organic offering to date. Read more »
Wiley is one of UK dance music's biggest personalities, and after he let loose a massive catalog of unreleased tracks earlier this year and then spent half the summer on Ustream, it seems that Wiley is basically doing whatever he wants. Apparently that list of activities includes this latest collaboration with UK garage fixture MJ Cole. The single is called "From the Drop" and will be released November 1 on Cole's own Prolific label. The release features a few different versions of the track, a b-side called "Angel Riddim," and includes remixes of the single from MJ himself as well as Night Slugs/Mad Decent badman L-Vis 1990. We have the L-Vis 1990 remix right here, which transforms the original into something woozy, dark, and urgent, topping things off with 303 acid melodies and relentless claps.
There are no two ways about it: Tensnake's "Coma Cat" is a tune and a half. And really, it doesn't matter too much that it borrows liberally from a random song that most of you have probably never even heard, because DJ/producer Marco Niemerski revamps the music thoroughly and with a distinct focus on the modern dancefloor (read more about his production antics in our recent feature). So, what else could the song use? Read more »
Not long after the party-starting UK production duo Hot City dropped its "Another Girl" single in July comes the pair's follow-up, a double a-side 12" for their "Twist" and "Lonely Boy" tracks. Before that record drops on November 1, we've got a stellar dub of "Twist" available here for your downloading pleasure. This version of Hot City's tune is stripped of the original's hyped-up vocal performance by UK garage luminary MC DT, so the skittering beats of its first half are instead interspersed throughout the bouncing future-house tune—helping keep "Twist (Chopped Dub)" true to Hot City's "two cheer point" rule. (Yeah... Apparently, Hot City has a rule that each of its tracks must have no less than two points where the crowd is encouraged to stop dancing in order to let loose a cheer. Not entirely sure how we feel about that, but we can't deny the tunes are good. Sooo... party on, dudes.)
Arguably the founders of dubstep, Horsepower Productions have garnered the respect of the electronic music community ever since their debut, In Fine Style, was released back in 2002. Now, eight years later, as the genre they pioneered continues to expand and explode, it is only right that Horsepower Productions have a new album to offer. Read more »
October is a busy time for London duo Warrior One. Positioning themselves as the bashment and bassline alternative to UK funky, the pair has two separate releases coming out by the end of the month. The first, out on Dre Skull's Mixpak Records, is the single "Lord of Bashy," featuring Heatwave MC Rubi Dan. The second release, the first on Warrior One's own King Pigeon label is a four-track EP entitled, well, the King Pigeon EP. Among the four tracks is "Bullring Riddim," which features ubiquitous UK rudebwoy Serocee, but right now we've got the EP's wobbly "Together Forever," which utilizes an understated version of niche's signature bassline melody and combines it with an equally tasteful injection of ravey piano stabs and the forever-epic use of a diva on the chorus.
Vis-Ed: AIDS 3-D—A Berlin-based expat duo mashes technology, theory, '90s graphics, and high art in mixed-media works
In the corner of a white room sits a tall, sleek, black pillar, a serene-looking symbol of some thoroughly modern form of ceremonial worship. On the front of it, the letters "OMG" (the well-worn internet abbreviation term for "Oh My God") appear in blue LED lights, blinking on and off. On either side of it sits a clump of lit black torches, suggesting that we are all bordering on religious zealotry in our ever-escalating obsession with technology. Read more »
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