Now that we're into, oh, maybe the 653rd installment of Asthamtic Kitty's ongoing Library Music series, things are starting to get a bit more interesting—conceptually speaking. (It's actually only up to the 13th volume, but that's still a lot of library music.) Musician/producer Leb Laze (who moonlights as Prefuse 73's live keyboardist) ran into some problems with his MPC-2000 when working on the tracks for his forthcoming installment; it began to "uncontrollably spit out all of the sounds that are loaded in it in their unedited, raw form, over and over and over." Taking the opportunity as a chance to make proverbial lemonade, Leb Laze harnessed the sampler's sound vomit, turning its randomness into what will be released as Music For Troubled Machinery on March 29. "Toxic Knock (A)" comes from that offering, and sounds almost exactly like the artist described it: Underneath the swelling synth tones, lilting low-bit atmospheres, and smooth electronic grooves, a piece of music-making gear teetering on its last leg writhes and wriggles in a frantic dance of uncontrolled sound bytes. But the way Leb Laze handles the music, you'd have no idea anything was going wrong in the track without some previous explanation.
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Austin's Insect Records is getting ready to release a massive compilation of forward-looking funk and soul tracks made by over 20 producers from around the globe, and this sample-heavy jam is its flagship offering. "Didn't Wanna DJ" is LA beatmaker P.U.D.G.E.'s contibution to Starship 27 Vol. 2: Lift Off, which is squeezed in between tunes from the likes of Dibia$e, House Shoes, Devonwho, Dâm-Funk, B. Bravo, and Ras G, among many others. The boom-slapping tune steadily rides a few psychedelic samples—lifted from an obscure Indian record no doubt—for the entirety of its nearly three-minute runtime, with just enough space left in the mix for aggro bass tones, warbling space noise, and the occasional drop of silence. You can check out the artwork and full tracklist for Starship 27 Vol. 2 below, before it drops on March 29. Read more »
Berlin aural auteur Lucy is about to release his latest, a full-length concept album built on the sounds of deep techno grooves and thick layers of noise. Entitled Wordplay for Working Bees, the album is coming out on March 4 via Stroboscopic Artefacts, and this entrancing six minutes of ominous sound is one of its 11 tracks. "Gas" crawls out slowly from the primordial goop of producer Luca Mortellaro's creative psyche, into a chrome-lined incubation chamber warmed by distorted dissonance and thought-engulfing sub frequencies, before developing into a fully formed, dark minimal-techno track for the dystopic future. At only four cuts in, it's part of a decidedly strong start to Lucy's LP, the whole of which can be heard on his Soundcloud profile, here.
It has been a minute since we posted a proper track from West Coast beat-kid extraordinaire Shlohmo, but listening to "Places," it seems that the wait was well worth it. If this song is any indication, Shlohmo has been absorbing some smoother sounds lately, along the lines of say D'Angelo and others from the late-'90s neo-soul heyday, and flipped them seamlessly into his repertoire. The trademark stuttering clicks, pops, claps, and hiss that we've come to know and love are all still here, but thrown into the mix is a sultry guitar, gasps of falsetto vocals, and countless gorgeous melodies. One might even say that "Places," the title track from his forthcoming digital-only EP, is a step towards maturity as beat music goes, perhaps taking us a small step away from merely nodding our heads and taking a small step toward scratching our chins in contemplation as well. Places (artwork above) is set to drop March 15, followed by a "Places" b/w "Seriously" (a non-EP song) 7" that will be for sale at Shlohmo's upcoming performances during the Magical Properties 3 tour with Daedelus and Tokimonsta. You can check those tour dates after the jump. Read more »
Swiss DJ/producer duo Round Table Knights (pictured above) is releasing its first artist full-length today on Jesse Rose's Made To Play imprint and have passed along the LP's title track to give us a little taste of what we can expect. This particular cut actually comes with a little help from another duo, Vienna's Ogris Debris, who, among other things, contribute some tasty vocals that pop in and out of the track's funky, percolating rhythms. From its humble, side-chained beginnings, "Say What?!" is put together meticulously. Small details are constantly appearing, disappearing, and then appearing again in such a way that the track always feels like it's moving without overloading the listener with new, shiny elements meant to grab your attention. Rather, the track seems to draw you further and further into its web until you're caught up in a pleasant state of funky house hypnosis. Also, check the song's official video after the jump. Read more »
So-Cal beat head and Wedidit Collective member Groundislava steps a little bit outside his usual fare of crafting stony, bit-crushed head-nodders and takes Clive Tanaka Y Su Orquestra's bedroom funk for a spin. Stripping back and subduing the original track, Groundislava presents "I Want You (So Bad)" (from Tanaka's excellent Jet Set Siempre No. 1 LP, artwork above) as a sort of melancholy, contemporary piece of electro hip-hop where post-whatever soundscapes and Afrika Bambaattaa-esque breaks are enhanced with just the lightest touch of g-funk. Apparently the two producers have engaged in a remix swap of sorts, as we're told Clive Tanaka Y Su Orquestra has a remix of Groundislava that is due to appear on a forthcoming 7". If the remix talents go both ways in this exchange (which we're pretty sure they do), then the Clive Tanaka remix should be something to look forward to, but we're perfectly happy to stick with Groundislava's contribution to the swap for the time being.
Man of the moment Nicolas Jaar continues to exhibit his deft usage of space and noise on this heart-wrenching remix of "Fail Forever," the new single by Danish outfit When Saints Go Machine. (We've previously posted the original song and a remix by burgeoning techno outfit dOP, too.) The Brooklyn-based producer spends the first quarter or so of his track tweaking poignant harp plucks before gradually adding a few more sparse elements; steel drums, bass, violins, down-pitched vocals, and a soft, kick-clap rhythm make up just about the whole of it. Obviously, Jaar relies heavily on restraint and subtlety when composing his music, and here, he transforms what was more or less a navel-gazing dance-pop song into a sort of otherworldly lament, one sung by celestial beings who've since found themselves lost in a bleak, unfamiliar reality. (via FACT)
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