It seems like the sounds coming from Bristol's purple dubstep scene are working their way stateside. From the Battle Hues EP by Vermont's Guttstar (out now on a new label also based in Burlington, VT, Party Guy), Kastle's remix of "Not Money or Show" injects the original's sound with an extra dose of soulful hip-hop and R&B influence, effectively changing its aura to a royal hue. The Pittsburgh-based producer (pictured above) piles melody upon melody to help characterize his remix, and does so with a handful of buzzing synth tones, some low-rent piano samples, and a bassline you can feel more than you can hear. You can check out more of the Battle Hues EP, which includes another remix by Dev79, on the Party Guy website, here.
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Parisian tunesmith Manaré finishes out his recently released Quiet Riot EP with this hyperactive, UK funky-ish club tune, "Blitzkrieg Riddim." The booming production is an extremely clean, well-made track whose pristine sounds were tailor-made for the world's dancefloors and the brilliant soundsystems that power them; this isn't headphone music. Manaré's bass tones are full and bone-shaking, and his melodies cut like gems through every thickly layered sound effect; each sound on "Blitzkrieg" hits with a biting punch, forcing the listener to pay attention. You'll find that the rest of the producer's new release, which includes three original tunes and remixes from folks like L-Vis 1990 and French Fries, follows suit. You can preview the Quiet Riot EP here.
This previously unreleased slice of street bass heat from Philly native Starkey premiered the other day on FACT, and we just couldn't resist sharing it with our readers as well. "Gasping for Air in this Void" is introduced with a sample-based orchestral melody that sounds like it was lifted from one of hip-hop's strongest beatsmiths, but is quickly traded out for Starkey's trademarks: dirty bass synths, razor-sharp beat work, and intergalactic noise. The producer's hot new tune switches between a slow-grooving shuffle that could soundtrack a head-nodder's wet dream and a grimy breakdown that Three 6 Mafia ought to consider for its next mixtape—all before Starkey finishes "Void" off with skittering hi-hats and staccato synth melodies riding a booming 808 off into the distance.
DJ Spoko is a South African DJ/producer who came up under the tutelage of Shangaan Electro mastermind Nozinja, and, consequently, mentored DJ Mujava, eventually helping produce the massive "Township Funk" song. Lately, he's been working on a new style of dance music he's calling bacardi house, and this track is one of his latest experiments. "Mzansi," which is a local slang term used to refer to South Africa, is a sharp, bouncing kwaito mover produced with a distinct ear for old-school synth and drum machine sounds. Whether the effect is inadvertent or not, DJ Spoko's track invokes the spirit of another time when simple production techniques paired with a strong groove were all you needed for a good tune. He forgoes the plug-in-obsessed production tactics of most contemporary electronic music, aiming for a stripped down, straightforward, hardware-based house aesthetic, which effectively bolsters the soul of "Mzansi" more than any glossed-over computerized sound ever could. (via Altered Zones)
This overstimulating remix of the new Steve Starks (pictured above) track, "Git Em," didn't make it onto the official release because the producer was a bit late in getting it to the label, the Tittsworth- and DJ Ayres-run T&A. But that doesn't make this rework from Dutch tunesmith Munchi any less deserving of praise or attention. Most people know him for his experiements with moombahton (like this one here), but this kuduro treatment of Starks' bass-heavy club smasher is an intricately crafted track filled with a number of energetic micro-samples, a huge amount or percussive sounds, and enough hyped-up, atonal synth noise to push a dancefloor over the edge into 'crazy' territory. Truthfully, you could say that for just about any of the five songs that did make it onto the Git Em EP, which includes remixes from Zombies for Money, Dillon Francis, and DJ Ayres. You can preview and purchase the whole thing here, and keep an eye out for Munchi's own T&A EP, which should see the light of day in the next few months.
Either Andreya Triana sold her soul to the gods of electronic music or she's just got awesome connections. Case in point: she follows the brilliant Flying Lotus remix of her "Lost Where I Belong" song (a collaboration most anyone would pine for, at this point) with another re-work produced by one of the hottest outfits in post-dubstep, Mount Kimbie (pictured above). And yes, Kai Campos and Dominic Maker deliver another bit of their trademark sound—complete with the pops, clicks, fuzz, bass, and soul that we've so thoroughly enjoyed on Kimbie's Crooks & Lovers debut. The duo's treatment of "A Town Called Obsolete" works especially well thanks to the natural pairing of the R&B-flavored instrumental with Triana's buttery vocal work; it sounds like something we might hear from Mary J. Blige decades from now.
"FM Tan Sexy" is the latest track to leak off of El Guincho's much-anticipated new album, Pop Negro, and actually fits its nonsensical title quite well. It wears a radio-friendly sheen on top of its funky, Timbaland-esque beat, the twinkling hook and surrounding melodic elements are all reminiscent of carefree days spent soaking up the sun, and when the bass really starts to work, things get downright steamy. El Guincho's new song is certainly a departure from the warbling, psychedelic soundscapes of 2008's Alegranza!, but as other bits of Pop Negro have shown, it's a trajectory that producer Pablo Díaz-Reixa follows with aplomb.
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