Where: Manchester, UK
Another entry in the long line of British youngsters who have been producing since their teenage years, Sam Schorb's experiments with songwriting actually started on piano and guitar. But the 21-year-old beatsmith eventually made the switch to his laptop, where he first started banging out breakcore and hip-hop tunes before finding his groove in the world of house. Read more »
Just last week, San Francisco house and disco party-cum-label Honey Soundsystem released a 7" single for Oakland-based singer Alexis Penney's "Lonely Sea", a song produced by Nick Weiss, one half of Oberlin's hotly tipped Teengirl Fantasy outfit. For this remix, Portland house revivalists The Miracles Club teamed up with another member of its Ecstasy crew, Avalon K of Finesse, to refit the classically inspired tune with its own take on sprawling, vintage house. The collected producers inject a somber and deep mood underneath Penney's plaintive vocal melodies with warm synth pads, bulbous basslines, sparkling arpeggiations, and a bare-bones 909 rhythm. It's not a massive change from the original song, but hearing The Miracles Club's tasteful analog touch certainly adds a distinct element. Hear more of that sound when the PDX house combo hits San Francisco this Saturday, April 16 alongside Legowelt at Public Works. You can check out more info on that shindig here, and the new video for the original version of "Lonely Sea" after the jump. Read more »
Fresh from Wolf + Lamb and Soul Clap's recently released collaborative contribution to the renowned DJ Kicks series (artwork above), we have this track from Boston supergroup SECT, a collaboration between Soul Clap, Sergio Santos, and Tanner Ross. As it happens, the tune also features the vocals of burgeoning UK producer/vocalist (and recent XLR8R podcast contributor) Ben Westbeech. Mechanical percussion scrapes and rattles amongst a giant, sparse bassline and gorgeous pads as Westbeech provides a self-harmonizing chorus of voices which poetically describe an evening in the park. As the song progresses, it gently glides forward, sprinkled with moments taken by a lonesome woodwind, flowing gracefully around the track's machine-made elements before returning to SECT's vast production. "In the Park" is definitely not a burner, and it's better for it, as the song proves to be a powerful example of the moving possibilities that lie in subtle, intricately made house music.
Considering the giant footprint that Hessle Audio has left on the future-music world since its inception, it can be somewhat surprising that the imprint has existed for just over three years now. And with a roster of releases that reads like a who's-who of the post-dubstep elite, it's only right that the UK-based label has a comprehensive compilation in the works. Read more »
The good people at Red Bull have teamed up with German audio software developers Stereomusik Systems to create an incredibly in-depth app for DJing with an iPhone, iPad, or iPod touch. The Red Bull BPM app comes in a variety of forms depending on one's device and desired use, whether you're an amateur who simply wants to be prepared to throw down hot fire straight from your iPhone at a moment's notice or the more professional DJ who needs a larger surface and instant access to a host of DJ tools. Read more »
In the middle of last month, relatively prolific UK bass producer Toby Ridler (a.k.a. Becoming Real, pictured above) dropped his fifth release in under a year, the three-track "Closer" b/w "Antarctic City" 12", on the brand-new Cold World Industries imprint. Along with Ridler's original tunes came a remix of "Closer" by Night Slugs acolyte Jam City, and here we have Pictureplane's own take on the production, which is equally enticing despite the fact that it doesn't appear on the official release. What's really interesting here is that the Denver-based artist doesn't quite sound like the gothy, trance- and rave-obsessed producer we've come to know and love; this remix sounds more like the kind of angular, leftfield 2-step made by Zomby, Untold, and the like. Maybe Pictureplane decided to just go with the original vibe of Becoming Real's skittering bass tune as a one-off experiment, or maybe he's turning a new leaf—either way, we're happy with what's he done here. If you're fiending for a bit of old-school Pictureplane, make sure to check out these mixes that he just dropped for DIS Magazine. The post features a sort of retrospective of his work—including rare and unreleased gems like the April Fools' Day track he did for us—and a live recording, and apparently precedes the release of a new LP coming soon. (via Pitchfork)
Though UK producer Mark E has been hard at work crafting and releasing an array of minimally minded techno/house singles since 2005, he won't have a proper full-length under his belt until Ghostly sister label Spectral drops it on May 17 (read more about the album here). Stone Breaker is a nine-track behemoth of a debut LP, and this extended version of "Deny This" is just a taste of what those lengthy dancefloor burners have to offer. While the kick drum's incessant pulse carries Mark E's composition across its nine-plus-minute runtime, clattering percussive sounds, bouyant basslines, simple synth melodies, and ominous vocal samples come and go seemingly at random. Things rarely pick up in intensity on "Deny This (Extended Version)," and even when they do, the sonic shift is subtle and short lived. We look forward to hearing what other aural nuances are in store when Stone Breaker is released next month.
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