Apparently, the well of quality vintage post-punk hasn't gone dry just yet. While the onslaught of post-punk nostalgia over the past decade often makes the latest reissue of a previously hard-to-find "gem" a dubious prospect, Brooklyn's SoftSpot label has seemingly discovered the genre's last great untapped field—Belgium. Last year the label kicked off with the reissue of a 7" from early-'80s Belgian outfit AA, and just this month has followed it up with the release of We Live in a System, a 12" LP featuring the work of fellow Belgians Kebab. "Life It's a Joke" originally appeared on a 1982 7", and finds the quartet's angular guitars and bouncing basslines sounding a lot like those of contemporaries Delta 5 and Bush Tetras. The original "Life It's a Joke" 7" was long a staple on record collector want lists, but now it's been reissued on vinyl and compiled with all of the band's known studio recordings and key selections from its original 1981 demo tape. The We Live in a System 12" is available for sale here.
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Brooklyn producer Brad Loving (a.k.a. Lobisomem) is one of those guys who is anything but married to a single style or sound. Lazy journalists might just slap the IDM tag on him and call it a day, but that glosses over Loving's extreme attention to detail and ability to fold together minute slabs of audio from varied genres, influences, and even continents. On September 14 he'll be releasing Onze Pedras, his full-length follow-up to the Brightest Solids EP that came out earlier this year. "Concussus" is the only snippet we've heard so far, but it appears that Loving's desire to elegantly combine sounds from across the musical spectrum remains unabated. Utilizing a sparse casio beat that could have been borrowed from the Morr Music catalog, Loving brings in a warbling trumpet, crackling bits of static, finely chopped vocal snippets, and slowly boiling synth swells before the track's four minutes come to an end. Let's hope that the rest of Onze Pedras contains similarly unique recipes.
Here is a new take on London-based outfit Allez-Allez's "Weird Science" track, from its recently released Hideous Racket EP. The distorted, warbling dance number is fairly lo-fi and psychedelic in comparison to most club music that comes from the duo's home turf, but still manages to carve out some relatively sluggish grooves. The original is a bit more clear-headed and dancefloor appropriate, but we could still imagine hearing the alternate version close out—or maybe even slowly open up—a DJ set or two.
What's so enjoyable about French producer Canblaster's (pictured above) remix of Wafa's "Pop Up" track, which is taken from his Ewid Disco 12" for Sinden's new Grizzly label, is the many forms the house-inspired number takes while always remaining focused entirely on the dancefloor. This new version goes through a few movements with its five-minute runtime; an energetic synth melody and pumping future-house beat kick off the tune before the rhythm cuts into halftime and some massive bass tones are introduced, which is then followed by a fresh marimba melody and more pulsing synth sounds and spaced-out effects. As much as it seems like Canblaster's remix can't decide exactly which direction it wants to take, the quick changes in trajectory blend well with the track's other moments—making for not only great get-down possibilities, but exciting headphone experiences, as well. (via FACT)
The UK's Throwing Snow (pictured above) put together this hard-hitting remix for fellow countryman Greymatter and his "Mind Over Matter" track. After a brief intro, the remix's elements are slowly introduced one at a time; beats, synths, sound effects, and bass all step into view at their own leisure, and eventually work out the best way to lead Greymatter's original number into new territories. It's an understandably typical build into a well-produced dubstep tune, one which is bolstered more so by the sounds chosen by Throwing Snow than the directions they head. The Mind Over Matter Remixes Part 2 EP is out July 12.
It's starting to seem that Dâm-Funk releasing a two-disc/five-LP/24-track debut album last year really wasn't that big of a deal for the SoCal funkster. Judging by the extended run of new music Dâm's been doling out at will, dude could probably deliver us a few more Toeachizowns before the Mayan calendar expires. Luckily, each tune added to his repertoire is as consistently rad as those before it, and this one for the Proximal label compilation, Proximity One: A Narrative of a City (out August 10), is no different. "A Day at the Carnival" rocks a particularly high-tempo and upbeat rhythm that are somewhat uncharacteristic for Dâm-Funk, but his standard collection of vintage synth tones and G-funk basslines are as warm and groovy as ever. Dâm-Funk may not be trying out new hats, but at least the one he's got on won't go out of style any time soon. (via Pitchfork)
Lots of bands and producers seem to use the whole 'elusive artist' schtick as a crutch, trying to add an element of mystery to music that's nothing particularly out of the ordinary. Hidden faces, uncertain origins, and poorly defined band line-up aside, ceo makes music that is actually unfamiliar and blurry enough to be called mysterious. "Everything Is Gonna Be Alright," a bonus track not found on the outfit's debut, White Magic, carries a mixed bag of influences—dubstep bass and rhythms, Balearic fuzz and buoyance, tropical instrumentation, simple pop harmonies, and club-inspired vocal sampling—that mesh into a sound as ambiguous as it is inviting. The song is a standard length, but feels like an all-too-brief glimpse into a realm of new musical possibilities.
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