Last time we checked in with San Francisco producer Eprom, he was hanging out with people like the Glitch Mob and contributing to crunked-up, heavy bass remixes of Lil Wayne that practically blew up our website. Now that 2010 has rolled around, it appears that Eprom has done a bit of growing up, as he's not only got a split 12" with Eskmo slated for release on Warp, but he's given us "Never," a mature slice of post-garage wonkiness that wobbles, skitters, and pulses its way through more than five minutes of genre-bending magic. The song appears on the about-to-be-released Never EP, the debut release on the Surefire Sound imprint, and also features a remix from New Yorker and XLR8R fave FaltyDL.
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Boston's Many Mansions exist somewhere between the tropicalia of Tanlines and the spaced-out synth trips of Experimental Audio Research. On "Frontier Gnosis," the group utilizes a swirling synth drones, high-frequency tinklings, and a propulsive beat to create the feeling of being completely unmoored—and loving every minute of it. With incomprehensible but nicely delayed vocal lines coming in and out of the mix, the piece could fit nicely next to Animal Collective, or even something a bit more subdued. Taken from the group's upcoming split 12" with Truman Peyote, which is available for pre-orders here.
With ten years of music-making as Epstein under his belt, not to mention recent collaborations with Prefuse 73 and last year's full-length under his Helado Negro alias, Roberto Lange's latest album continues nicely along the aural pathway he has set for himself. "A Lost Animal" is indicative of this sound, featuring chattering vinyl samples, fuzzy syncopated synth lines, and complicated rhythms as influenced by hip-hop as they are by South American folk music. And with the soaring vocals of School of Seven Bells floating over much of the track, "A Lost Animal" is the perfect ear candy for a lazy afternoon.
The disco-punk aesthetics of former DFA associate Tim Goldsworthy are all over Archie Bronson Outfit's first single from their forthcoming third album, Coconut. With its bouncing disco bass riding over deep kicks and dry snares, the angular guitar melodies and pulsing synths of "Shark's Tooth" are given a lovely dancefloor energy, and the track's wistful vocals make it a certain indie-dance night floor-filler.
Polish electro-acoustic composer Jacaszek is riding a wave of interest in his work, what with his recent Resident Advisor podcast and numerous soundtrack projects under way. "Lament" is exemplary of Jacaszek's work, which shares Henryk Górecki's ponderous movements, Arvo Pärt's neo-classical melodic sensibilities, and dark atmospheric flourishes that wouldn't be out of place on a Burial record. Tonight, Jacaszek will be playing with members of the ACME orchestra at Le Poisson Rouge as part of a showcase of Polish composition, which has been given a special spotlight as part of this year's Unsound Festival, wrappin up this Sunday in New York.
What starts as a provocative non sequitur reiterated over handclaps and heavy percussion turns into something of a mantra for Femme En Fourrure as their track, "Plump Bisquit," gains momentum and intensity. Classic disco elements give way to a particularly bass-heavy style of minimalistic house that eventually reaches higher and higher with stabbing horns and tense, ascending vocal samples.
Brazil's Edu K gets down on this four-to-the-floor, jackin' slice of house, created exclusively for Bacardi B-LIVE. Though many producers have been incorporating marimbula samples into their tracks in recent years, "Flutesnoot" uses the thumb piano in a most effective way, bringing it in only when it is needed to maintain forward momentum. By coupling the sounds with Indian-seeming flute trills, vocals snippets, and some wonky synths bookending the piece, Edu K is proving to be one of the more exciting young producers from South America.
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