It takes two minutes for MyKill's "Flashback" to really get moving, but move it does. Funky guitar and piano samples slowly filter into the mix, and hold on tight to the propulsive disco-house beat. The San Francisco DJ/producer fades back and forth between a couple different classic disco samples throughout his clubby track for the Solid Bump compilation Pleasure & Pressure Vol. 2—maintaining a vibe not unlike Mylo's more energetic moments, all the while.
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A shuffle of distorted, percussive noise starts off this smooth diddy from Toronto's subtle and smooth crooner Chris Cummings (a.k.a. Mantler). While the singer-songwriter waxes poetic on the pitfalls of love, Jeremy Greenspan (of Junior Boys) provides some slow-grooving beats to serve as the soulful backdrop of "Fresh and Fair." All in all, the song comes off sounding like it could be an actual Junior Boys number, but with Cummings' forlorn baritone traded out for Greenspan's usual falsetto.
Apparently, just being a hotly tipped DJ/producer isn't enough for Kingdom. Fresh off the release of his Mind Reader EP, the NYC artist has decided to launch his own party with a little help from his pal Dre Skull. They're calling it Club Infinity, and the first one is going down this Saturday at NY's The Studio at Webster Hall. They'll be joined by Jubilee and Cubic Zirconia, and Toronto's Egyptrixx will be performing live to celebrate the release of his new EP on Night Slugs (for which Kingdom contributed a remix). For those who won't be in NY this Saturday, or simply can't wait that long to get the party started, Kingdom has dug into his archives and unearthed this remix of Brooklyn Auto-Tune dancehall whiz kid Ricky Blaze.
Scotland's Loops Haunt crafts noisy, industrial dubstep sounds, and on this edit from Oakland's NastyNasty, the noise is brought to new levels. Perhaps it is the percussion's more pronounced stutter, or maybe it is the addition of a cut-up vocal snippet, but the piece is infinitely more disorienting and strange than the original's Richard D. James-does-dubstep feel. Quite something here, though its dancefloor efficacy is questionable.
The first full-length from Thomas Moen Hermansen under his Prins Thomas moniker is coming soon, and if "Uggebugg" is any indication, the record doesn't depart much from the sound that Hermansen has created with Hans-Peter Lindstrøm. Featuring sentimental, heavily delayed guitar lines evoking expansive vistas, a monstrous bass sound, and an organic balearic percussion sound, "Uggebugg" is certainly a move away from Hermansen's work under the Major Swellings alias, but will definitely please fans of his past singles and collaborations.
Cloud Seed, the "lost" second album of dubstep pioneers Vex'd is finally seeing the light of day in April, and "Disposition" is taken from that release. Though low, atmospheric bass still rumbles through the track, its less frenetic pace and rhyming courtesy of Jest are nice surprises. The vocal intonations are somewhat similar to those of Aesop, so paired with the industrial thrum of the instrumental and the soulful vocal snippets punctuating the piece, "Disposition" is a 21st-century take on hip-hop tropes that really works.
Thomas Fehlmann's latest effort is a soundtrack to the longest documentary film in history, 24H Berlin, which follows Berlin residents around their city for 24 hours. Fehlmann, known best for his ambient works and membership in The Orb, gets balearic on "Permanent Touch," utilizing arpeggiated synths, sunny high-frequency squelches, and lush, watery pans to create an atmosphere that reminds one more of the beach than Berlin's concrete jungle. Like an exemplary Lindstrom & Prins Thomas collaboration, "Permanent Touch" is the sort of track that will definitely be blasting from smoky car speakers this spring and summer.
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