Adrian Michna refuses to stay in one place on his debut album. The recent Ghostly signee and former Secret Frequency Crew member jumps from symphonic jazz notes to distressed drum programming to ambient synths on Magic Monday, and let's not forget his abilities as a skilled trombonist, which are also put to good use on the album. This track wanders somewhere between the musical realms of Flying Lotus and perhaps Air, with heavy synths, a rhythm that's as erratic as the musical styles on Magic Monday, and the aforementioned trombone opening the song.
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Hot Chip continues its ongoing, deep-seeded love affair with synthesizers and highly danceable beat structures on this remix of Big Dada rude boy, MC Roots Manuva's track "Let the Spirit." In this glorious amalgamation of dance-rock-meets-dancehall-meets-hip-hop, the boys from Hot Chip bring an onslaught of booming synths and unyielding beats featuring a gospel-esque chorus and quick-witted, cunning rhymes to craft an upbeat, head-bobbing, body-shaking banger. The Let the Spirit EP drops digitally on October 28th. Justin Maxson
Having honed his skill for crafting solid beats as a producer during the last 10 years, Seattle-based Jake One has finally put out his own debut full-length album, White Van Music. The album features an impressive blend of up-and-coming artists, such as Freeway and Brother Ali, and well-known figures like Mary J. Blige. On “Trap Door,” the apt producer encases rapper MF DOOM’s gruff, deadpan vocals in a low-key, surf rock-tinged backdrop that rolls lazily past like a wave on a calm Hawaiian beach. Lulu McAllister
Blog villain and Palms Out favorite AC Slater has taken his magic hatchet to the house classic “Can You Feel It? (Jack Had a Groove)” by Fingers Inc. The resulting dance floor return, “Jack Got Jacked” (off of the namesake EP), begins like a plane taking off beneath hits of hyper-funk percussion and dirty pulses. “In the beginning, there was Jack,” proclaims a righteous voice, before the song breaks into frenzied, bouncing pulses of atonal synths and enough satisfyingly aggressive bass to fill the floor. Anyone willing to get jacked would do well to surrender. Photo by Clayton Hauck. Words by Lulu McAllister
The Lemonade boys are currently on tour, and they've left their recently released self-titled debut album safely in the hands of one Ryan Merry, known around the Bay Area (and likely soon, the rest of the country) as producer Ghosts on Tape. Merry gave "Sunchips," which was leaked some weeks back, this dizzying remix that shows off his taste for percussion. Where the original track was primarily concerned with the bass, here, Merry's added drum machines that could slice through a brick wall, layers of staggered synths, and lots of spooky, um, ghost-like electronic sounds.
Polish-bred, classically trained minimal house and techno produce, Marcin Czubala recently released his first full-length album since 2001, the Chronicles of Never. In his most comprehensive artistic proclamation yet, Marcin’s creations stay true to the fundamentals of minimal, while donning an expanded, highly evolved sound where each track generates its own distinctive, supple ambiance. With “Berolina,” he drops a buoyant number that features a barrage of animated percussion, lustrous synth elements, a sensual, distant female voice, and evocative climaxes that spawn a dynamic minimal masterpiece. Chronicles of Never 01 Daybreak 02 Berolina 03 Los Companeros 04 Pravda 05 Alibi Room 06 Dazed And Confused 07 Spectacles For Humans 08 30th May 09 At The Beach In San Foca 10 Be Water
Mat Ranson, well-known for his work under his Fisk Industries moniker, diverges from his usual dubbed-out hip-hop styled productions for a slow, synth-heavy techno-meets-dubstep sound as Kwaidan, his one-off project stimulated by watching a movie of the same name by Masaki Kobayashi. In this slowly evolving exclusive excerpt from Masaki, hard-hitting drum programming coupled with a cavernous, multi-faceted low-end lays the groundwork for profoundly eerie, shrieking effects and spacey, dithering synths. The track is saturated with ethereal, textured sounds that create a paranormal sense akin to Kobayashi’s original ghost stories.
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