Japan's Metome sounds like the kind of producer who enjoys reveling in the details of his work. "Water Cycle" is full of so many miniature chops and twists that it's almost painful to imagine the hours Memtome must have spent dissecting the many bits of audio, mouse in hand. His work was not in vain, though, as "Water Cycle" is an impressive piece of micro-house which updates the sound of sample-collaging producer's like Akufen with an extra dose of bassy girth and a welcome funky touch. Metome's Phreatic Surface EP, from which "Water Cycle" comes, is out now via King Deluxe, and a lovingly animated video for EP track "Paper Moon" can be viewed after the jump. Read more »
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After taking a cursuroy listen through Suplington's archive, "Escapism" might come as a shock to the listener. The 19-year-old tunesmith first came up making chilled-out, hip-hop-slanted productions, which makes his recent move into house music somewhat surprising. His latest tune marks a full reverse for the young producer, turning his penchant for mellow vibes into a dancefloor-ready slowburn with a slowly rising bassline, spacious synths, and moaning vocals. There's an especially nice synth shudder that opens the tune wide midway through, and it's impressive to hear how Suplington throws all of the aforementioned elements outward before reeling them back in by the end of "Escapism." In addition to a forthcoming collection of his old work, the producer is also readying an EP of tunes more in sync with the new direction exhibited on this track.
Opening with a wash of cloudy texture, distant percussion, and detuned vocals, the latest offering from Larkin & The Sky is quite a dark affair. Despite the somewhat innocent start, "Polygon (Empty Mix)" makes a gloomy run for the dancefloor early on, and maintains a similarly eerie persona throughout its seven minutes. The sub-infused track remains fresh thanks to the London producer frequently changing the pitch and rhythm of the drum kit, making for the ideal closer of a late-night DJ set. The rest of the Polyrhythmic Series #1 compilation will be released on July 12 as the first record issued by Munich/London-based label SVS.
Iranian-born producer Navid Izadi's music comes imbued with nostalgia right from the start, recalling more than a few lost mid-'80s boogie records that have been reformed through busted 808s. The greatest strength of "Hard to Find" is the warm Rhodes chords that propel the throwback funk forward, sounds which are especially luminous once the San Francisco artist brings vocal pops and lazer-guided synth swells into the fold. It's refreshing to hear a sound that doesn't seem to have many contemporaries outside of Stones Throw mainstay Dâm-Funk, and there's more of that unfilted and infectious soul to hear on Izadi's recently released, five-track Feelin' Purple record for Wolf + Lamb.
The fast-growing Local Talk imprint is a few days away from unleashing the second volume of its Talking House compilation series, a collection which will showcase the Stockholm-based label's past and future roster while covering a wide array of house flavors—from the deep and soulful to the jacking and futuristic sorts. Timmy P's contribution falls somewhere between the two with its jacking ryhythm and deep organ bassline which come complimented by rising chord stabs and just the faintest touch of melody. Ultimately, it's a tune that bodes well for Local Talk's take on "underground house," which will be displayed across 14 tracks come June 14, when Talking House Vol. 2 sees an official release.
There's a tight sense of control and restraint that hovers like a drone over London-via-Argentina DJ/producer and Sneaky Music co-founder Pablo Ranacat's Love is Superfood EP (out now via Mobilee). Like on "The Real Milton Flow," which clocks in at hefty eight minutes, the slow-to-ignite house tune begins to spark with muted piano chords and impeccably clean drums, eventually locking them into a controlled burn around the two-minute mark. Once the holding pattern is set, the majority of "Milton" then sees Ranacat playing around and improvising in the space he's made, fading stretched vocal samples and shifting string melodies in and out of the mix. This track feels especially loose and not too excited to repeat itself—once a sample is gone, its often gone for good—and that helps make it a consistently interesting listen.
Olympia-bred Braxton/Palmer had his blueprint set in stone since the outset of his remix for indie-pop darlings Keep Shelly in Athens. On his version of "Madmen Love," lush chords swirl alongside deep kicks and reverb-drenched vocals which zig-zag in the spaces between his trademarked squelching bassline. While Keep Shelly in Athens is no stranger to forward-thinking music, their latest single for Cascine might be the most off-kilter thing they've ever done, a droning, skittering slab of trip-hop tinged paranoia. But Braxton/Palmer's surprising five-minute remix turns the affair inside out, bringing all the hallmarks of his sound to the tune and burying the vocals from Sarah P. underneath a persistent house groove.
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