Here we've got a bit of a different step from the usual fare over at San Francisco's Elevated Press imprint, which usually focuses more on drum & bass and hip-hop. SF-based producer Touchphonics slows this track down to a steady 128 BPM, utilizing an army of percussive elements, including some colossal kicks and snares, to pound out a steady UK funky-esque pattern. Rhythm is definitely the focus of this track, as the only signs of melody can be found in the gurgling synth warbles and occasional shouted vocals of the Ragga Twins. Not that it's a bad thing; rhythm is also "Ragga Styles" strong point too, as the unrelenting clattering of hand percussion and giant drums are impossible to escape, as if you would even want to. "Ragga Styles (128 Mix)" can be found with its original counterpart on the forthcoming "Ragga Styles" 12" (artwork above) slated for release on March 29.
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Cascine and Moodgadget have masterminded a remix trade between the synth-poppin' Trenton, NJ resident Teeel and Nashville's future-funk duo Jensen Sportag (artwork above). We've gotten our hands on the latter's contribution for the project, on which Jensen Sportag has managed to take the '80s pop throwback feel of the original "Ojai Valley" a little further back to the golden days of Quincy Jones production and the funkier outings of Herbie Hancock. Seamlessly bringing the retro-electro vibe into a modern, dancefloor-ready sound, the remix is lead by a shameless slap bass that glides underneath an onslaught of tasty, percolating synth lines, popping and spinning from left to right as Teeel's vocal soars in and out of earshot. Teeel's contribution to the remix trade, a blissful reworking of Sportag's "Everything Good" (the original of which we posted back in January) can be found over at the project's Soundcloud.
Apparently crafted to help spread the word of his forthcoming new EP for R&S, Lone's (pictured above) remix of vintage cut "Kinetic," originally by label alumni Golden Girls, finds the hotly tipped producer still digging deep into his bag of old-school rave and classic Detroit techno sounds—presenting them expertly mixed with his patented woozy synth tones and underwater atmospheres. And even though he's sampling the much of his melodic backbone from the early '90s dance jam, everything here sounds exactly like an original Lone track. It just goes to show that tunesmith Matt Cutler is an artist with a singular vision, one he fully realizes time and time again, and always in fresh and exciting ways. (via Pitchfork)
London-based producer Om Unit is one of those producers who operates outside of traditional genre definitions, melding together sounds and trying on different styles whenever it suits him. On his latest EP, The Timps, which comes out March 21, Om Unit delves into the world of electro—real electro, not the buzzsaw bangers that have been masquerading underneath its banner in recent years. "Prawn Cocktail" is a prime example, a track that sounds a lot more like Cybotron than MSTRKRFT. Powered by pulsing synths and 808 beats that recall vintage Detroit, the song doesn't have many bells and whistles, but it doesn't really need any. It's just a sleek piece of dancefloor-friendly magic, a tune that's also prime for remixing; the re-work by Salva, which also appears on the five-track release, is quite potent. To hear more, check out the EP's teaser video, posted after the jump. Read more »
Glasgow's Graeme Clark is The Revenge, a contemporary artist mining the classic sounds of New York and Chicago house music for use in his modern productions. This analog-built tune, "Elements of Fife (Tone Mix)," is one such composition, and comes from a forthcoming compilation of similar tracks to be released via Steve Bug's Poker Flat imprint, called Forward to the Past (read more about it here). Clark wastes no time laying down the heavy 909 groove for his seven-minute jam, but does quite slowly add to the sparse, percussive mix with ticking rhythms and the subtlest of melodies. And though The Revenge calls upon the salad days of house to inspire "Elements of Fife," its aesthetic is still perfectly in line with many of the club burners we've been hearing of late. Here's to timeless dance music.
A seeming newcomer to the San Francisco electronic music landscape, National Park System is Bay Area resident Nicholas Yu, a producer of interstellar atmospheres, moody beatscapes, and the occasional leftfield pop hook. On his latest short-format release, A Visitor's Guide (pictured above), Yu offers four songs that highlight each of his stylistic strong points—sometimes all at once. "Silver Miner" melds together heavy industrial rhythms with brooding synth washes, audio snippets from otherworldly source material, and a hint of psychedelia. National Park System's music explores an eclectic range of styles that interplay quite effortlessly, setting him apart from most of the other production work coming out of San Francisco lately. You can hear the rest of National Park System's A Visitor's Guide before it's released in June, here.
Nearly a month after we heard the first song that trickled off the forthcoming new EP (and LP, for that matter) from LA cassette-music guru Matthewdavid, we're treated to another of its four tracks—this one being exclusive to that impending release. The Leaving Records boss starts things off playing with a thick and heavy bass drone surrounded by obscured audio artefacts, sounding not unlike his more formless noise/ambient output, but eventually joins those psychedelic sounds with a light-hearted rhythm seemingly built from the sounds of a Casio SK-1 or some such vintage toy keyboard. However, the song is anything but child's play; Matthewdavid's production rises and falls on your head with a crushing weight, and leaves an indelible mark on your psyche that can only be filled by more of his warm, hiss-addled beat work. (via Pitchfork)
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