Make no mistake, Matías Aguayo's Cómeme imprint is a weird fucking label. While much of Cómeme's output could be roughly described as house, that overlooks the elements of techno, disco, funk, and various Latin genres that populate its tracks, not to mention its artists' penchant for bizarre vocals and the music's simultaneously raw and psychedelic vibe. Perhaps no producer encapsulates the label's spirit as well as Rebolledo, whose new album, Super Vato, offers the sound of sleazy, drugged-out Latin disco. That being said, it's the sort of disco everyone is desperate to get into and sure as hell doesn't leave until the party is over. Read more »
In the wake of new albums from both Martyn and Modeselektor, we here at XLR8R thought it might be fun to initiate a conversation between the veteran artists. What began as a casual chat pretty quickly became a lengthy discussion, so we've elected to run the whole thing as a five-part series throughout the week. Read more »
Much hullabaloo has been made of the role Berlin-by-way-of-UK producer Jamie Teasdale played as half of influential dubstep outfit Vex'd. It'll be the first thing you're likely to read in any article (this review included) pertaining to the artist or his solo debut LP as Kuedo, Severant, but that doesn't make it the best or even an ideal vantage point from which to experience Teasdale's latest work. The music of Vex'd is patently hard-edged to the point that it could cut through glass, if the glass wasn't flat out shattered by the sonic intensity in the first place. Those kinds of skull-crushing electronics couldn't be further from what Kuedo conjures on his new album. Severant is a massive step away from Teasdale's past output, and one that is confidently sure-footed. Read more »
UK funky ambassadors Renay & Stimpy and DJ Maxsin, collectively known as Funkystepz, have made quite a name for themselves since bursting on to the scene a few years back. Fresh off the release of the Trouble EP, the Hyberdub-inked trio has put together a brand-new mix for FADER. Read more »
Earlier this year, Grimes (a.k.a. Claire Boucher) was everywhere, dropping a slew of light and sugary synth-pop tracks and remixes on unsuspecting ears. In recent months, the stream of Grimes-related news has slowed significantly, most likely because the Montreal-based chanteuse was working on her next full-length, which she was still putting the finishing touches on when we caught up with her back in June at NXNW. That album, Visions, has since been completed and is set to be released on January 31 via the Arbutus label. "Oblivion" is the first offering from the record, and finds the pixie-voiced Boucher continuing to refine and polish her airy synth-pop sound. It's a sticky little number, something akin to a beefed-up take on the precious pop of '80s groups like Altered Images. Listen to and download "Oblivion" below, and take a look at the Visions artwork and tracklist after the jump. Read more »
Sun Glitters' "There" (from his split EP with Halls) has received the remix treatment from like-minded producer Stumbleine. The Bristol resident reels in the drama of Sun Glitters' original a bit, and manages to soak the wistful piano, distant vocal samples, and lush pads in an even more watery substance, but not without a touch of warm R&B to make the rework a proper slow-motion head-nodder.
Accomplished guitarist, producer, and all-around sonic experimentalist Christopher Willits has announced a remix project/contest that makes available all the stems which went into the making of his 2010 LP, Tiger Flower Circle Sun, for any and all ambitious producers to use for their own creative endeavors. Read more »
This may come as a bit of a surprise, but the joint Matias Aguayo- and Gary Pimiento-run Cómeme label has yet to put out a full-length in its two-plus years of existence. But all that's about to change, with Mexican producer Rebolledo set to release a proper album on October 24, appropriately titled Super Vato (artwork above). "Canivalón" is the first cut to surface from the forthcoming LP, and one that seems to fit the Cómeme aesthetic perfectly, with its brooding techno low end, layers of percussion, and dizzying loops of Rebolledo's (somewhat incomprehensible) vocals. The results are almost tribal, and even a little darker than what we're used to hearing from Rebolledo, but it's a welcome stretch of range, and one we're hoping he has time to fully explore given the full-length format.
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