Known to many as Helado Negro or as collaborator with Guillermo Scott Herren on Savath y Savalas, Brooklyn-based overachiever Roberto Carlos Lange has contributed his productions to Volume 5 of Asthmatic Kitty's ongoing Library Catalog Music Series. His 12-track exploration of elongated rhythms, warped analog effects, and found-sound collages, entitled Music for Memory, is a stand-up addition to the series' other installments (we previously shared tracks from Volumes 1 and 3). Here, "Amazonian Pacific" starts out like a warbled Flying Lotus b-side before it descends into rhythmic field recordings, vocal loops, and reverberated machine noise; returning occasionally to friendlier, head-nodding beats.
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Los Angeles beatsmith and FlyLo compatriot Samiyam is yet another foot soldier in Southern California's army of electro-crunk futurists. Taken from the Cinnaman- and Jay Scarlett-compiled compilation Beat Dimensions 2, "Swamp Tarts" glides on a stuttering beat while speaker-rattling synth stabs and woozy melodies creep into your earlobes. Blunted beats for 2010 and beyond.
San Francisco's NastyNasty is one of the Bay's up-and-coming masters of bass, and on "No Names," he kicks it down with dark bass rumblings, synth blips, and some truly impressive polyrhythmic intensity. Though the genre can often get a bit tired, this track is particularly noteworthy because of a prominent Marvin Gaye vocal sample, which turns a well-done but standard bass track into a much more sentimental affair, with a resonance approaching that of Burial. Next month sees a new single on Frite Nite, featuring remixes from wonky leftfield bass producer Slugabed, among others.
LA's Busdriver is one of the more hated MCs in the game, with his quirky spitting style and harsh words for other rappers' excesses and blandness. With battle star Nocando, "Least Favorite Rapper" finds Busdriver tackling these issues head on, tossing off insults to Lil' Wayne, New Boyz, and a load of other 'fashionable' hip-hop artists and trends. It makes sense, then, that MegMan of recently reunited experimental hip-hop troupe Anti-Pop Consortium has remixed the track, crafting a more electronic, synth-driven sound in place of the dusty hip-hop samples that ruled the original. With bits of weird squelch above significantly deeper kicks, MegMan has delivered a real treat with the help of the original's searing rhymes.
Though music aficionados have been calling disco edits the 'new electroclash' for a while now, they continue to proliferate like mushrooms, and despite the naysayers, some of the edits are quite tasty. Here, Portugal's Social Disco Club takes The Sarr Band's 1978 obscurity "Magic Mandrake," pumps up the cosmic synths, stretches the beat out significantly, and cuts much of the silliness out of the vocal parts, making the track infinitely more sexy. With releases on the venerable Bear Funk label and accolades from Pilooski and diskJokke, Social Disco Club is setting himself up to inherit the Idjut Boys' throne.
Belgium's excellently named The Brown Acid gets the remix treatment from Philly's king of street bass, Starkey, who transforms the electric soul-funk of the original into a monstrous, grimey tune, with bits of Baltimore club and stuttering dubstep thrown in for good measure. With source material so soulful, it would be hard to mess up a remix of "Try Humanity," and Starkey delivers, with lush, dark synth lines, a shimmer of juke, and bass so high in the mix that it pounds you.
Irish fidget-er Detboi contributed his Lil John-indebted track "Get Low" to the first compilation from Joshua 'Hervé' Harve's (one half of The Count & Sinden) Cheap Thrills label. The hyperactive rave-up has everything a song called "Get Low" should—wonky basslines, sporadic breakbeats, tweaked vocal loops, and an unflinching dedication to making you move. Cheap Thrills' massive, double-disc compilation, featuring tracks from Jack Beats, Fake Blood, Trevor Loveys, and more, is out now.
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