German techno diva and Bpitch Control boss Ellen Allien has never been someone afraid to take chances, but we'd be lying if we said that we expected something like "Rain the Sun." Taken from her freshly released album, Dust, the song finds Allien's processed vocals hazily floating over what sounds like dance-friendly indie pop. It's not bad—it's just that the Interpol-esque guitar riffs and general Metric-y vibe sound a lot more like Bowery Ballroom than Berghain. We'll leave it up to you to decide whether or not that's a good thing.
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Dim Mak resident DJ/producer Them Jeans pilfered the first few seconds from fellow LA residents Nguzunguzu's "El Bebe Ambiente"—taken from the duo's free self-titled EP—to use as the basis for this booming bootleg remix. It sounds like he only managed to grab the high-pitched vocal rhythm and maybe a few percussion sounds from the original track, but the rest of the sounds in Jason Stewart's remix—filtered synths, bouncing kicks and snares, and a '90s rave-inspired melody—could've just as easily come from Nguzunguzu's repertoire. You can go ahead and add this to the other list of awesome Nguzunguzu-related things going down, like their upcoming M.I.A. mixtape—comissioned by Ms. Arulpragasam herself—and their show this Saturday at San Francisco bass party Icee Hot.
Environ label head, Metro Area member, and NY dance music icon Morgan Geist put his hand to this track from the auto- and Italo-obsessed production duo (Cosmo Vitelli and buddy Julien Briffaz, check out our recent profile on the duo here). Geist's remix of "Overdrive" sounds as if it emanates from a bunker on the Moon; a motorik bass line holds together icy synth tones and a propulsive drum beat while we receive indecipherable noises transmitted from the depths of outer space.
Earlier this week, the guys from Discobelle paused their blogging to bring an official, original compilation into the world. Turned On Vol.1 was curated by DJ Neoteric and features new tunes from the likes of Nadastrom, Brodinski, Radioclit, Crookers, and Schlachthofbronx alongside efforts from a grip of up-and-coming producers whose names we'll likely be repeating endlessly in the very near future. To help drum up some extra attention for the release, remixes of Expendable Youth's "Cannibalistic" were commissioned from the likes of Samo Soundboy—check that one out here—and Montreal/LA duo LOL Boys ("pictured" above). Slowing down the original version's tweaky electro, the LOL Boys layer its hyperactive synth riffs over a seasick tribal guarachero bassline and some galloping house beats, to glorious effect.
During the 10 years that Markus Popp (a.k.a. Oval) has refrained from releasing any of his melodically experimental electronic tunes, it seems the producer has been quietly reformatting his approach. Ditching form for function, Popp used a $500 PC and some run-of-the-mill computer software to flesh out his weighty 15-track EP (!) and 70-track double-disc album (!!), scheduled for release in June and September, respectively. "Ah!" is the second track from the upcoming LP O, and it offers just the smallest taste of what to expect from Oval's over-sized project: plinking synths played by hand, impeccably programmed drum sounds, and lilting atmospherics rising and falling behind it all.
It ain't Madlib or Dilla, but Tortoise side-project Bumps provides Detroit MC Guilty Simpson with a tailor-made, dirty and distorted breakbeat that we wouldn't mind hearing on the rapper's next album. Chances are we won't get our wish, so we'll just let this three-and-a-half-minute beat suite play on repeat while we dream of what could be, and maybe mix in Koushik's remix every once in a while to change things up.
NY's dub-minded bass DJ/producer Nate Mars worked out the South-of-the-Equator sonics heard on this of remix of "Aroro," originally done by oft-sampled Colombian vocalist Petrona Martinez. Amazingly, the singer didn't really start her music career until 2002 at the age of 63 (she made her money collecting sand for brick making prior to then), but continues to sing and perform now moving into her seventies. Mars' track places Martinez's vocals in the middle of spacey synths, tropical percussion sounds complimenting the 3/3 beat, and a rolling bassline that comes and goes—leaving the aging singer's words and melody relatively untouched. (via Ghetto Bassquake)
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