As Pyrénées, South London producer Jeremias Carroza (pictured above) makes music that explores the ideas and elements of nature and geography through dance music. "Jungle Exchange" is one of his latest excursions, one which is set to appear as one of two track on a 12" for the Numerology label next month, and has been remixed by roster mate Murder He Wrote. The Brighton producer's version of "Jungle Exchange" is a full-throttle bass track with aquatic sounds streaming over sunset-hued synth tones and straighthead dance grooves. It rides the uptempo patterns of pitched percussion alongside throbbing bass and misty melodies straight through to the end of its six-minute journey. Pyrénées' original "Jungle Exchange" can be streamed in full after the jump. Read more »
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Exotic Club, a French duo now residing in Portland, Orgeon, released its No Dance tape via the prolific Crash Symbols label earlier this week, closing out the darkwave-indebted record with this remix from DKA labelhead Matt Weiner (an Atlanta-based producer who more commonly works under the name Twins). On his rework, Weiner refits "Freaks" into a more house-minded template, letting the gurgle of acid-tweaked synths and a ghostly mass of looped vocals ride atop the machine-made shuffle pulsing underneath. The rest of Exotic Club's entire No Dance cassette can be heard over on Crash Symbols' Bandcamp.
Samo DJ's and Max Stenerudh's collaborative record as KWC 92, Dream of the Walled City O.S.T., is said to be a conceptual soundtrack for a movie set in the drug- and crime-addled Kowloon Walled City. Lifted from that forthcoming release, "Macau Ferry Terminal" takes the listener on a guided tour through the underworld, as sticky synth patterns and hollow drums illustrate the dank experience. KWC 92's track trails off into ambient passages infused with fog horns and sickly pads until it leads to a pressurized conclusion.
Just released by New York-based producer Feral is the five-track Haymaker EP, proof that there is still plenty of room for fresh voices in bass music. "Rollercoaster," a cut pulled from that release, is as exactly as gut-wrenching as the name implies; Feral runs a Middle Eastern-referencing sample through the grinder and splashes the results over a grimey bass riff that bounces around the room like a hungry panther. The beat weaves in and out of the production methodically, creating a tension-filled track with the type of low-end you need to feel to understand.
Romanian producer Silviu Badea has been crafting hyper, bass-informed cuts as Montgomery Clunk for a while now, but is rebranding his latest work with the abbreviated moniker C L N K, as it finds him going into darker, dub-inspired techno territory. "Dristor"—taken from the forthcoming Black Ecstasy LP (out on December 2 via Error Broadcast)—starts with cavernous bass blasts and ripping static that emerges as a resounding, textural slab of techno meant to overwhelm the senses, but somehow manages to never sound overcrowded. Near the halfway mark, a biting acid synth pierces the murky layers and the piece achieves its final phase in dancefloor metamorphosis.
While working on its sophomore record, Korallreven released a limited-edition 12" single at the beginning of October, featuring remixes by Cooly G, Panda Bear, and featured here, Airbird (a.k.a. Joel Ford of Ford & Lopatin). Beginning with stretched vocal harmonies, "Try Anything Once (Airbird Remix)" takes the lofty, drifting vibes of Korallreven's original track and binds them to lilting house grooves. As Airbird's vocal harmonies sustain and rise, the remix ebbs and flows before thrusting into a suddenly vaporous conclusion.
Ambient electronic artist Markus Guentner approaches his work from dream-pop, drone, and experimental angles, and on his next release, Shadows of the City (out on November 26 via Moodgadget), the German producer strives to elucidate the slow processes of the natural world through sound. The title track's glacial pads gradually simmer to a boiling point, where a four-to-the-floor pulse takes control, gliding the celestial layers of chords to new heights. With a pace and sound palette reminiscent of The Field and a shoegaze-inspired approach to production, "Shadows of the City"'s 12 minutes seem to blow by as one captured moment.
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