Los Angeles rapper/producer Jonwayne has garnered a good deal of buzz within the SoCal beat community over the past few months, and next week will see the release of the producer's first proper full-length, Bowser (artwork above). Yes, that's right, Jonwayne has chosen to name his newest LP after the legendary antagonist from the Mario Brothers series, and maybe not just for nostalgia purposes; it's also as a nod to the chosen fidelity of the majority of the producer's sound sources—8-bit. Nestled a little before midway into the video-game homage of an LP is "Crumbled Luna," which begins with a slightly off-kilter arpeggio that somehow teeters between blissful and menacing while tiny drums skitter below. Then come the chords; swelling, lush, and vibrant, they evoke a sense of drama that's not easy to come by within the sonic realm of outdated microchips, and yet it's a realm which Wayne seems to walk through with a confident, concentrated swagger. "Crumbled Luna," along with Bowser's 18 other 8-bit opuses, can be heard in full when the LP is released April 19.
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London label House Anxiety has a new EP coming down the pipeline from Miracle, a sort of art-rock supergroup whose members have spent time in Zombi and Sun O))), among other bands. "The Visitor" is one of the tracks on the outfit's forthcoming Fluid Window record, and is remixed here into something entirely different by Stockholm micro-techno auteur The Field (pictured above). The producer does away with original track's vocals altogether, focusing instead on turning the duo's dark synth-pop instrumentation into a lengthy bout of mesmerizing dance grooves and wispy soundscapes. As one would likely expect from The Field, he accomplishes his goal with taste and aplomb, and provides the music world with yet another ambient techno epic to lose ourselves in.
In less than a year, the totally on-fire Tri Angle label has quickly made a name for itself as a respectable source for dark electronic music influenced by hip-hop and R&B, but now the hub seems to be inching just a bit closer to releasing more or less straightforward hip-hop. The recent addition of burgeoning beatsmith Clams Casino—who's already produced for the likes of Lil B and Soulja Boy and dropped a much-lauded instrumental mixtape—to its slowly expanding roster is testament to that claim, and this distorted slow-burner of a tune further solidifies it. "Gorilla" is taken from Clams Casino's Rainforest EP (pictured above), and exhibits the artist's penchant for crafting thick washes of grimy fuzz, pitched-up/down vocal samples, syrupy basslines, and slow-slapping beats—then shrouding the whole thing in more shadowy atmospheres and gritty textures. We wouldn't mind hearing a flow over this tune, but seeing as how Clams Casino says that "these songs have always existed purely as instrumentals," we're more than happy to take the Rainforest EP's five tracks unencumbered by another artist's ideas when it drops on June 27. (via Pitchfork)
Clearly it's not all sunshine and beach parties down in the SoCal metropolis from which the beat scene sprouted. Yes, we've got another LA beatsmith of sorts on our hands in Chaz Lewis, who has delivered this menacing, dark journey through the land of heavy boom-bap under his ELOS alias. Staying true to the "gangster" for which the "g" in g-funk stands for, Lewis implements a simple kick-and-clap pattern, on top of which he throws harrowing side-chains and ungodly bass sounds that beg for the kind of stoic, slow-motion head nod often found in the grimiest of rap videos. A slippery, Transylvania-esque synth melody tops off the affair, making it one of the most deliciously evil beats in recent memory to come from the Low End camp. You can find "DunDeals" on ELOS' forthcoming debut EP, Flying Sky Fortress (artwork above), which is slated for release April 26.
There's not a ton of information floating around about Doctor Jeep—we know that his real name is Andre Lira and he's a Boston resident currently attending Northeastern University—but that doesn't lessen the potential enjoyment of "Level II." Fueled by rapidly rolling snares and a flurry of drum-machine beats, the song touches on vintage house—the chopped diva vocals certainly help with that—but also features enough negative space and swirly sonics to fit nicely alongside many of his fellow forward-thinking bass-music contemporaries. We're hoping the rest of the Aztec EP is similarly on point when it drops in June. (via Cluster Mag)
Released today by magazine-cum-label Rebel, "Skipping Puddles" is the brand-new single by a fresh producer from San Jose, CA, named Abel. His airy tune is paired with some equally soulful remixes by Essex beatmaker Lapalux (who just dropped his own EP on Pictures Music) and Brooklyn's Obey City to fill out the digital release, one of which we're offering here. Though all three tracks are excellent in their own ways, this rework by Lapalux stood out with its deft applications of the sampled vocal hook (the sadly sung "Girl, I've been watching you" is twisted into a number of forms), its dense, glittering atmosphere, and its potpourri of R&B-inspired synth riffs. It sounds sort of like a couple of our favorite Brainfeeder producers (like, say, Matthewdavid and Teebs) and some of our favorite post-dubsteppers (Mount Kimbie and early James Blake) were forced to collaborate on a three-minute flurry of musical ideas and genre experiments, which would be awesome. You can grab the rest of the Skipping Puddles EP (picutred above) for free here.
On May 17, the illustrious DFA label will release the brand-new LP from Germany's dramatic, leftfield electro-pop artist Planningtorock, W. The album's first single, "Doorway" (pictured above), will drop prior to that on April 28, and features remixes from the likes of Mt. Sims and Brooklyn dark-pop alchemists Creep, whose work is featured here. As one might expect from Lauren Flax and Lauren Dillard, the duo has dragged "Doorway" further into the depths of reverb-heavy electronics, but also highlights the rework with brighter touches of melody from string instruments and other sparkling sounds sampled from Planningtorock's original track. In the end, Creep's remix actually sounds less ominous than its predecessor, which is quite refreshing to hear from one of the earliest proponents of witch house. (via FADER)
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