The team of Tignino and Leo pair up with Mark Kerr to create a bouncy tech-house track displaying wet handclaps, a dubby mid-frequency synth stab, and an apex that leads into a creepy, sexual vocal element. Somewhat reminiscent of Glimpse's or Itamar Sagi's recent work, and an ass-shaker for sure, this piece is bound to end up getting some major props during earlier club sets. "Into the World" is culled from Great Stuff's Munich Disco Tech Vol. 5, which also features Juan Sanchez, Denis Horvat, and a remix by Oliver Klein.
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Matias Aguayo never does what is expected of him, so it is no surprise that the first single from his upcoming Kompakt album sounds like a bit like an outtake from an early TV on the Radio session—though a slow beat forms the track's backbone, much of the remaining sonic texture comes from multi-layered vocal elements reminiscent of a barbershop quartet. Of course, Aguayo's sexy croon is on full display throughout, though the track can't hold a candle to anything from the Closer Musik discography. With this piece as a teaser, let's hope the rest of Ay Ay Ay is as equally puzzling and pleasing.
In preparation for the can't-come-soon-enough release of Hudson Mohawke's debut album for Warp, the wonkily soulful Butter, Scotland's Wireblock and Lucky Me crews have put together a limited re-release of HudMo's 2008 breakout track, the bass-heavy bootleg remix of Tweet's "Ooops (Oh My)." The single that took a burgeoning scene by storm a short while back still sounds as fresh as the day it was delivered from Hudson's Glasgow studio. Their generosity isn't exactly a surprise, as both Wireblock and Lucky Me have graced XLR8R with exceptional podcasts that can be found here and here respectively.
Somewhere between the tenacity of Ratatat, the cinema-scope of Mogwai, and the experiments of Tortoise you'll find Milwaukee's Cougar. XLR8R recently took a closer look on the quintet, and now we're happy to bring you a cut from their latest album Patriot, the choir-led "Rhinelander." The track builds slow, eventually coalescing vocal melodies and dueling guitars with heavy beats and distorted basslines into a transcendent post-rock sound.
Italian club lover Congorock has always promoted the more playful side of electro, in contrast to his more sinister peers like The Bloody Beetroots or, in this case, Fukkk Offf. On his remix of the second single from Fukkk Offf's Love Me, Hate Me, Kiss Me, Kill Me Congorock uses a blown-out, four-on-the-floor beat to carry the track's hyperactive synths, choppy vocal loops, and frantic percussion into a raved-up oblivion.
Apparently the robot baby from Daft Punk's "Technologic" has found itself a full-fledged singing career, as it croons the chorus for Dre Skull's latest single, the shimmering club ballad "I Want You." On his remix, Brooklyn's AC Slater turns the track on its head and cranks the hype to eleven with a plethora of cut-up vocal work, breakbeats, and swelling bass lines. Slater's offering isn't even the best of the single's remixes—he's got plenty of competition from Alex Gopher, Bok Bok, Bobmo, and Dre Skull himself—but it's certainly the most energetic. The original version's not-to-be-missed, Tron-inspired music video is below.
The UK's Rival Consoles reminds us of another time in electronic music, when Ableton wasn't an option and hardware was an absolute necessity. Taken from his debut full-length album, the favorably reviewed IO, "1985" is a darkly anthemic piece of antique-sounding electro that slowly rises, falls, and twists upon itself while always harkening to a simpler time in dance music history.
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