This bit of future-boogie brilliance from SF-based producer B. Bravo is catching a re-release on a forthcoming compilation from BBC Radio 1 personality Gilles Peterson's Brownswood label (who also had Bravo interviewed recently on his website). Brownswood Electric is a beat-centric affair focusing on up-and-coming producers from across the US and UK's satellite electronic music scenes, which also includes tracks from the likes of DevonWho, Shlohmo, Mount Kimbie, and Mosca. B. Bravo's contribution, the title song from his previously released second EP for Frite Nite, Computa Love, opens the 15-track release with a thick, confident bass groove, slow-knocking beat, and loads of shimmering synth tones floating all around the smooth rhythm.
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On this upbeat remix, Brooklyn's tropically minded dance-pop duo Tanlines (above) have rearranged the pieces of Memory Tapes' Seek Magic single "Bicycle." A bouncing 8-bit dance beat kicks off the track before loads of percussive sounds and the original vocal melody are introduced. A booming percussion noise slams from one ear to the other throughout the song's four minutes, initially sounding a bit out of place and overbearing but ultimately fits better in the mix once Tanlines' rework turns into a joyously straightforward club tune. (via Gorilla vs. Bear)
We Are Standard (pictured) may be stuck in a time when Franz Ferdinand ruled the hearts of indie kids, but John Talabot performs a breathtaking and new turn on this remix of "Don't Give Up." The track is slowed and given a nice proto-house kick along with pulsing synths that recall KZA, or even the early lushness of Luciano. The original's vocals are almost nowhere to be found except in a pitched-up recurring snippet, and shimmering harmonies cascade towards the piece's end. Quite impressive work from one of Spain's best new exports! (via Pitchfork)
Another addition to Los Angeles' near-capacity beat scene, Asura sent over this track from his recently released self-titled debut LP, which is also the first album from LA label Non Projects. "Manzanita" takes its time to introduce any kind of rhythm; the whole first minute and a half is void of drum sounds, and is filled instead with thick atmospheric noise, delayed guitars, and a distant, muffled booming. As far as beat music goes, the classically trained Asura seems to be one of the most interested in melody, mood, and, surprisingly, singing along with his bedroom productions.
Here, rising star CFCF lends his slow-motion disco vibe to Finnish producer Jori Hulkkonen's dark synth-pop track. While bringing out the melancholy synth undertones of the original and adding a deep space-disco kick to the mix, CFCF allows the plaintive vocals of Jerry Valuri to come through in a manner recalling Alphaville, or perhaps a more mature New Order. Though his version of "I Am Dead" is definitely not for the dancefloor, CFCF's remix is certain to be pumping out of countless earbuds in the months to come.
UK dancehall MC Lady Chann lent her strong vocal presence to Sticky's instrumental production to create "Sticky Situation," the first 12" to come from Toddla T's new Girls Music imprint. To help send his label's debut release out in style, Toddla T hooked up his own version of the party tune, which warps Sticky's original riddim into a buzzing, hyperactive, electro-tinged dancehall track. Lady Chann's MCing is hardly touched through the next-level rave-up, save for the small number of times he chops and screws the delivery to fit the rest of his glitchy elements.
Veteran bass music producer Matt Shadetek has a solo instrumental album on the way for Dutty Artz. Entitled Flowers, it finds the Brooklyn artist indulging his ongoing love affair with thick low-end while exploring new influences from the world of UK garage and funky. While this first taste from the record is somewhat reminiscent of Shadetek's work with DJ /rupture on the XLR8R-championed Solar Life Raft mix album, in that it relies heavily on melody, the song ultimately distances itself immensely from that notable collaboration by ditching the thick atmospheres for a more stripped-down, upbeat, and dancefloor-minded production style. In doing so, "iHop" excels as a futuristic dubstep number with its focus on strong shuffling rhythms, thick bass melodies, and soulful, pitch-shifted vocal sampling on par with UK funky's finest.
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