Admittedly, if we keep posting material from Teen Daze we'll probably run out of poorly Photoshopped images from the anonymous Canadian producer's MySpace page to run with each story. But still, the more we hear, the clearer it becomes that this guy's forte is melody above anything else. His beats are appropriate, though safe, and the production is relatively amateur, but damn, if Teen Daze doesn't know how to tug at your heart strings with a host of memorably poignant melodies. For this remix of "Wide Eyes," originally by new indie-rock favorites Local Natives, the music maker transforms the song's guitar work into a thick bed of wafting, reverb-heavy synths, romantic melodies, and twinkling textures—creating a perfect mix between beautiful swirling ambience and ecstatic dancefloor rhythms.
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Sounds like the whole future-boogie movement is making its way into the hip-hop game, too. Californian producer Terrace Martin produced this number from Frank Nitt's recently released debut solo EP, Jewels in My Backpack, which also features flows from DJ Quik and J. Black on the track's chorus. The soulful jam, "L.O.V.E.," tackles jealousy, fidelity, disagreements, and all the various relationship issues in between. Nitt and Quik both declare their frustrations with and devotion to a special someone simultaneously over Martin's funky instrumental, making for an unusually heartfelt hip-hop tune.
This new taste from Mount Kimbie's forthcoming debut album, Crooks & Lovers (released July 19 via Hotflush), is a particularly interesting piece of electronic music—mostly so because it's at least half based around a couple of frantically strummed guitars. The production duo of Dominic Maker and Kai Campos have long been touted as artists constantly pushing the boundaries of dubstep, but on "Field" they've broken completely through to another side. Pattering electronic sounds and finger snaps barely tap out a percussive rhythm amidst the distorted acoustic sounds, and put the track into a whole other realm completely outside of anything remotely related to Kimbie's post-dubstep peers.
OK, maybe Baths' face (and music) has been plastered all over the interwebs during the past few months, but how can you not love this chubby-cheeked kid from the Valley? The guy takes all his youthful emo urges and runs them through a bedroom hip-hop filter. People are tripping over themselves to crown him the new prince of chillwave-hop (or some other similarly invented genre), but we just think it's some smile-inducing electronic pop. And somehow, when Baths (a.k.a. Will Wiesenfeld) hands the reigns of "Hall" over to fellow Southern Californian The One Am Radio (a.k.a. Hrishikesh Hirway), the song becomes even more delightful, as Hirway makes the whole thing a little more organic—think real drums—and swaps out Wiesenfeld's falsetto for the dulcet tones of the Los Feliz Ladies Choir. Baths' debut album, Cerulean, will be released on July 6. (via Streogum)
There must be something in the water down in Texas, because it seems to be the only place on Earth with a steady supply of cumbia crunk. Yes, cumbia crunk. It's exactly what it sounds like—low-slung, hard-hitting hip-hop beats with all kind of chopped-up accordion riffs, classic cumbia-isms, and rap acapellas layered over the top. And for whatever reason, all the best stuff comes from Texas. The latest participant to pop up is Corpus Christi's DJ Dus. He's part of the Peligrosa crew along with DJ Orion and has already digitally released one album this year, entitled Soy Yo!. "Noche de Estrellas" comes off his freshly released Enemigo Publico EP, and it's a zoned-out version of the vintage cumbia anthem that slowly thumps over some screwed hip-hop beats. More new music from Dus is expected later this summer on Ernest Gonzales' Exponential label.
Here's a quick piece from Arp's forthcoming second album, The Soft Wave. The two-and-a-half-minute "White Light" is an experience of fuzzy static and other variously manipulated noises, all wrapped around a constant loop of soft guitar strums. Occasionally, a semblance of melody outside of the hypnotic guitar work bubbles to the surface, but those flute puffs and electronic hums are short blips in the timeline. "White Light" is a small, temporary place, most likely created by Arp as a doorway to a larger room. (via Pitchfork)
The translation of "Saanko Jäädä Yöksi?," the first single from Finnish electronic twee-pop trio Regina's new album, Puutarhatrilogia, into English is "Can I Stay the Night?". But if you're listening to Ghosts on Tape's (pictured above) remix of the song, it comes across much more like "I'm Not Going Anywhere, So Let's Fucking Dance." The drastic shift in vibe and genre (from lighthearted pop tune to late-night club heater) might lead one to wonder what—outside of the etheral vocal samples that waft in and out of earshot—exactly did producer Ryan Merry use from the original song to color in the thick rhythms of his version. Really though, it doesn't matter; the tune crafted by Ghosts on Tape is full of enough of his own style (crunchy tropical percussion, floating melodic elements, massive wallops of bass, and hypnotic rave tendencies) to allow his production to stand confidently with or without the "remix" tag.
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