Most of us don't know a whole lot about London/Berlin-based avant-lo-fi-electro-pop duo Hype Williams, and it seems likely to remain that way for sometime; their music is just about everything but a window into the artists' heads, and more like the memory of some of our favorite songs filtered through the stoner sensibilities of two artists who really like being inside. Like on "Businessline" from their forthcoming LP for Hippos in Tanks, One Nation (pictured above), Hype Williams lets a simple hip-hop beat carry a few precious synth melodies that simultaneously sound lifted from the love scene in a late-'70s sci-fi B movie and like two kids just jamming in their basement on a rainy day. The pair's music may not be the most well-planned, intricately orchestrated, or revealing material coming out these days, but it is certainly some of the most evocative and oddly intimate we're hearing lately. That said, we can't figure out if it's because of or despite Hype Williams' inherent lack of identity. For now, we'll let the music speak for itself. (via Altered Zones)
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Nicolas Jaar’s debut LP has been generating quite a lot of noise (or is it space?) lately. Between his excellent XLR8R podcast that he dropped on us back at the beginning of the month, and his debut LP, Space Is Only Noise (artwork above), being released to much critical acclaim (including our own) earlier this week, the 21-year-old Brown University student seems to be garnering quite a bit of buzz. If you're still not convinced, we've got this slow-moving cut from his LP, in which giant claps, dubbed piano, pitched vocals, and, eventually, screeching saxophone bursts all make an appearance alongside Jaar's trademark rich textures and luscious sonic space. Let's hope it does the trick for anyone still skeptical of the hype. (via Pitchfork)
Jacque Polynice is yet another musician/composer/producer working just outside the relatively well-known beat communities across the globe—operating out of Miami, Florida, as opposed to the bustling hubs of LA, NYC, or the Bay Area. But here, Brooklyn tunesmith and LuckyMe standard Mike Slott pushes the producer's name closer to the limelight with his inclusion on the "Skidda" single (out now on Bandcamp). Slott's version of "Obama O's" takes its time to grow into a fully formed track—sonic treats flicker and fly about from the onset, allowing plenty of space for the stuttering hip-hop rhythm to get its bearings before the low-end frequencies start to wiggle their way in. It makes an ideal companion to Polynice's own monster beat composition on the a-side.
LA's Alpha Pup label will be releasing an album of remixes for producer Take next week, and were kind enough to give us a preview of the kinds of electronic beat jams we can expect from the 16 tracks that make up Only Mountain: The Remixes with this re-interpretation by instrumental hip-hop staple Tokimonsta. Using a bulbous bass tone, a grab bag of slick drum-machine samples, handfuls of synth melodies, and a wide-open sound space, the producer crafts a spacey and emotive remix of "Horizontal Figuration" that's not too far off from its original form. And if you'd like to see what other surprises are in store on Take's remix LP, you can check out the full tracklist after the jump. Read more »
Norway's Dødpop label has been at the forefront of the funky, synth-driven music called skweee since its inception in 2008. Now, three years later, the imprint gathers together its handful of 7" releases to be reissued on the forthcoming compilation Dødpop: A's & B's. Oslo producer Sprutbass contributes "Ulykke"—from a split 45 with fellow Norwegian Beatbully—to that record, which we also have to share with you today. The playful track has an almost comically, not to mention cosmically, sinister vibe, almost like you can picture the tunesmith grinning ear to ear in a not-so-maniacal way while he drops the crunchy synth fragments and skittering beat work of his production. It's a welcome change of mood, as opposed to the über-seriousness often plaguing artists with a similar sound pallette. We'll see if the rest of Dødpop: A's & B's will follow in suit when it drops on February 25.
Coming somewhat out of leftfield is this fresh cut of deep, Italo-inspired disco from the UK's Gatto Fritto, an elusive artist crafting solid dance tracks on the fringes of obscurity. And yet somehow, the producer's forthcoming record is being championed by the likes of Tim Sweeney, Prins Thomas, and JD Twitch, including the epic "Hex" number. The lengthy jam brings to mind the kinds of tracks you'd catch blaring from Johnny Jewel's ghettoblaster in the middle of a late-night house party at first, but expands its psychedelic synthscapes and motorik beat work to better fit something Lindstrøm might throw on the hi-fi during a drug-addled séance. Look for more of these shapeshifting sounds when Gatto Fritto drops his self-titled debut LP on April 26.
Here's a question for you: When (if ever) does Justin Broadrick sleep? Seriously, we'd like to know. The prolific musician gets the same amount of time in each day as the rest of us, but somehow manages to divvy it all up between working on his myriad projects—like Final, Jesu, Greymachine, The Blood of Heroes, and Pale Sketcher—without ever sacrificing quality for quantity. You have to imagine that the guy spends at least a night or two a week without sleep, and maybe that's when songs like "Seventh Heaven" are born. The ethereal groove of the title track from his latest Pale Sketcher release, a five-song EP for Ghostly (pictured above), bounds about like a nocturnal imp, always accompanied by the mesmerizing song of ghoulish waifs floating just above the late-night revelry of sub-busting bass, lurching beats, and textural synthscapes. And if you feel like traversing darker territories still, you can follow King Midas Sound's remix of "Seventh Heaven" further into the shadows, after the jump. Read more »
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