It makes perfect sense that this track from Detroit's Sherard Ingram (a.k.a. Urban Tribe) comes courtesy of Carl Craig's Planet E label; the vintage aesthetic and warm analog timbres are wholly reminiscent of fellow Craig cohort Etienne Jaumet. From Ingram's recently released Loyal Opposition EP, "Insolitology" takes you on a relatively slow-paced, scenic journey through wavering synth melodies and sparse bits of spacey sonics, all floating along past the song's elegantly tumbling bassline and steady house beat that carry you the whole way. By the time it drops you off at the five-minute mark, you'll be ready for whatever intergalactic excursion Urban Tribe has in store next. Loyal Opposition is on sale now right here.
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This remix of Parson's "I Rep the Dirty South" from Austin's Dubbel Dutch (pictured above) first premiered in the podcast the DJ/producer put together for our XLR8R City Guide series, but was just released from its mix confines and shared over on FACT. Producer Marc Glasser treats his remix almost like an anthem for his home state, as he forms the body-shaking bass tones, shuffling future-house rhythms, and rave-inspired synth melodies around pitched-down vocal samples of "I rep the dirty south" and "Lone Star State," and makes the whole thing sound mighty big.
This Oneohtrix Point Never remix of Blondes' "Moondance" has been floating around the internet for a few months, but we never got around to posting it and, more importantly, we're once again in the grips of Blondes fever, as the Brooklyn duo has finally unveiled its official debut, the Touched EP, on the Merok label. While the original "Moondance" is a blissfully building piece of handmade techno powered by washy analog synths and a pulsing backbeat, OPN's take strips out all the dancefloor vibes and instead focuses on layering spaced-out synths on top of one another. The remix may not be suitable for peak time at the party, but when it's 5 a.m. and you're sleepily settling into a corner while waiting for your friends to reemerge from whatever shady holes they crawled into earlier in the evening, this song could serve as an awfully cozy sonic pillow.
This slow and steady groove comes from the collaborative efforts of Hyperdub tunestress Ikonika (pictured above) and fellow UK producer Optimum. The duo not only co-produced the dub-heavy "Space Rock," but also recently started up the new Hum & Buzz imprint together. While there's certainly nothing "rock" about the track (it's really not overtly "space"-y either), the tune does flex a strong presence of sub-bass melody, shuffling dubstep rhythms, and enough to aerial-sounding synth wizardry to at least warrant its residency within the stratosphere.
UK-based DJ/producer and Numbers associate SRC remixes this eclectic, electro-leaning tune from Spain's Crystal Fighters (pictured above). The original version of "In the Summer"—which is available for free download here and has a video you can peep here—is far less dancefloor oriented than this rework, which basically ditches everything but the song's nonsensical refrain and inherently hyperactive nature for a hard-hitting dance beat and massive helpings of thick low-end paired with bouncing, soulful synth melodies. SRC's track is taken from Crystal Fighters' "In the Summer" single, which is out now along with other remixes from Telepathe, dBridge, Shortstuff, Sepalcure, and Canblaster.
This warming bit of analog sonics comes to us from Dublin's latest Planet Mu signees, Solar Bears. The duo has crafted one of the more uplifting electronic tunes to be heard as of late on "Neon Colony," from the forthcoming She Was Colored In album. Amidst a backdrop of steady drum-machine beats and a handful of vintage synth tones, John Kowalski and Rian Trench introduce an unexpected bit of slide guitar riffage that effectively takes the composition to another level of inspiring melody. The instrument eventually fades away and allows twinkling synths to overtake the track—not unlike watching a slow sunset transition into a brightly lit night sky. (via 20JFG)
This cut from Oscar McClure's forthcoming album for matthewdavid's Leaving label, Compost (that's the artwork up top), may be a short piece, but it wastes no time getting to the point. After a quick moment of harsh scratching noise, "Weeds" settles on a thick rhythm that sounds like it emanates from the rumbling core of an industrial power plant. The beat's elements themselves seem like purely organic sounds deconstructed and reformed into a vignette of otherworldly beat music, much more of which will be available when McClure's full-length is released July 27 with an album of remixes from the likes of Teebs, Baths, Asura, and matthewdavid.
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