Earlier this month, we posted Time Wharp's cosmic "yrLyf," a song with vocal samplings lifted from R. Kelly's "Real Talk." The track was taken from his then-forthcoming BLK EP (artwork above), which has now been released, prompting us to share another one of its offerings, "mdat." Instead of simply pairing his beats with R&B croons, this effort finds Time Wharp teaming up with fellow Atlanta native Divine Interface to create a morsel of dreamy, leftfield hip-hop. The track is held together by a slow and steady kick, while a crooked bassline tumbles beneath the song's various chopped and pitch-bent vocal samples. The BLK EP, Time Wharp's follow-up to last year's GRN EP, is available for free download here.
Brooklyn beatmakers Sam Haar and Zach Steinman of Blondes have let loose another tidbit from their self-titled debut LP, which is set to be released February 7 on RVNG. We showed you the music video for "Wine" last November; the song was originally released on the final chapter of the duo's trilogy of brilliant 12" releases last year. Like many of the pair's creations, the expansive track demonstrates Blondes' knack for whipping a few tasteful samples and stuttered synth lines into an improvised, ambient-house jam.
We first heard about Gang Colours' forthcoming The Keychain Collection LP when the UK producer shared his "On Compton Bay" track from that record, which will soon be followed by the album's first official single, "Fancy Restaurant." Read more »
The young brotherly duo of Disclosure has impressed quite a bit over the past couple of years, and the pair's upcoming release on Make Mine is looking to be just as good. Before it drops on January 30, British producer Amusement has put together this raved-out remix of "Flow," one of the two tracks from Disclosure's upcoming release. The sharp, funky edges of the original have been softened and accentuated with big 4/4 claps and airy synths. It's a Balearic yet bassy cut; grab it below and take a listen to the forthcoming single, which is streaming in full after the jump. Read more »
For much of 2011, a year that saw newcomer Gerry Read release a defining trio of singles for the Fourth Wave imprint, the shadowy producer from the North of England was a mere 19 years old. In the current era of electronic music, a time when it seems like ever-younger artists are apt to make waves, this may not be the most surprising of facts. However, when listening to the six sides of vinyl Read was responsible for last year, it's not obvious that the music is the work of a young artist finding his step. On the contrary, it sounds like something put together by a mature producer, one who has perhaps seen the trends and thought better of following them, instead choosing to forge his way with a different sound. "I was bored of trying to come up with post-happy-future-garage bollock step," says Read, so he didn't, and because of that, the electronic-music community has taken notice. Read more »
New York electronic-pop trio Young Magic will be releasing its debut LP, Melt (pictured above), via Baltimore's Carpark label on February 12, but the group has offered up this non-album remix as a sort of advance taste. Upcoming single "Sparkly" is smothered here by LA's Matthewdavid, who leaves behind little of the original song and instead takes a beatless path, squashing Young Magic's lo-fi pop into an undulating wash of vibrant synths, echoing guitars, and lost vocals.
With the abundance of collaboration, crossover, experimentation, and ceaseless genre subdivision in modern music, it's sometimes nice to know exactly what your going to get. Since 2008, Englishman and Berlin resident Tony Lionni has delivered a stream of steadfastly straightforward cuts on the deeper side of techno and house, and his latest EP, Higher Ground, is no exception. Like many of the 12"s Lionni has released, Higher Ground is essentially a record for DJs, especially those catering to crowds gathered at the after-afterparty. His tunes are perfect for house heads looking for a steady beat and simple melody, professional partiers pacing themselves for hours of revelry, and those whose late-night affairs with MDMA have rendered more complex music entirely too overwhelming. The mix-friendly tracks may not make for ideal home listening, but their lengthiness and predictability are ideal for a resident selector settled in for a long night behind the decks. Read more »
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