So, San Francisco's post-noise-punk outfit Mi Ami is a duo now, and Daniel Martin-McCormick and Damon Palermo have also shed their guitars and drum kits, wielding synths, sequencers, and drum machines in their stead. The band's first release with its new format is the forthcoming Dolphins EP, which will drop on March 15 via Thrill Jockey. The first sounds offered from that new record come in the form of "Hard Up." On that opening cut, Mi Ami's TR-909 and Juno-106 work out a psychedelic underground dance anthem with sporadic, Devo-esque vocal bits resonating over the top of it. And on the music video (check it out after the jump), directors Amanda Brown and Ben Shearn splice together fuzzy VHS footage of a lovely '80s babe traipsing around what looks like Miami Beach and scenes of Martin-McCormick and Palermo rocking a house party with their pulsing jam. We don't know about you, but we're kind of falling in love with Mi Ami all over again. Read more »
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The Endless Flight imprint (one of three labels that make up the Mule Musiq family) is set to release Unknown Parts, the debut LP from burgeoning nu-disco producer Eddie C, and has passed along this cosmic disco number to introduce us to the stylings of the Canadian producer. "Dub Me Gwen" is a deep disco edit, one with a somewhat sluggish step that twists and turns as the track goes through its various movements. Eddie C kindly invites you to drift away as shuffling percussions and space-age synths are joined by chopped and dubbed disco vocals and lush horn samples, all the while keeping the consistent, thumping bass as an anchor to your galactic voyage. A trip to the stars and back indeed, and one we're hoping to do more of when Unknown Parts drops on March 28.
Eliot Taub (a.k.a. Ulysses, pictured above) has a long history as part of the NYC nightlife, becoming a prominent promoter in the late-'90s electro scene and more recently making music as one half of the NYC duo The Nuerotic Drum Band. His time spent in New York's electro-days-of-yore seem to not have left him unaffected, as the title track from his latest solo EP, Acid Reflux, is completely drenched in acid-house throwback elements (tweaked 303 lines and the customary creepy voice saying something or other about acid), which Prins Thomas keeps relatively intact for this remix. The Norwegian producer manages to masterfully expand on Ulysses' acid-synth ideas, turning the song into an almost ten-minute affair full of percussive layers, endless arpeggios, and some funky bass. After an almost four-minute intro, Thomas finally hits us with the beat, and an explosion of irresistibly tweaked and filtered 303 lines take over, riding the constantly-changing rhythmic elements below until they're stripped back one by one as the song finally comes to a halt. The Acid Reflux EP, which features this remix, its original counterpart, and two more original tracks, is out now.
Oxford band Fixers recently hooked up with its neighbourhood tunesmith Chad Valley (pictured above), resulting in this starry-eyed remix of the indie-pop outfit's "Iron Deer Dream" song. As he often does, producer Hugo Manuel cuts the vocal samples into candy-coated hooks that should keep listeners humming along while his thumping dance beats move your feet from side to side. The rest of "Iron Deer Dream (Chad Valley Remix)" is all glowing synthscapes, spacey percussion loops, bouncing basslines, and a couple of classic piano breakdowns that add a new level of sophistication to the artist's repertoire. You can check out what the original version of Fixers' number sounds like here, and pre-order a copy of that 7" here.
Chairman Kato is a new producer on the London bass music scene who recently joined the ranks of the Pictures Music crew—a roster that also includes the likes of Dark Sky and Seams—for his debut EP, Wildfire (pictured above). You can preview some portions of that forthcoming release here, but first we've got a full download of the second tune on Kato's debut, "No Coincidence." Of his music, the producer has said, "I knew I wanted to make something that was cohesive and not necessarily something that was going to move dancefloors," a sentiment which rings particularly true on this cut. Kato's song certainly has beats, but these are broken rhythms more closely associated with the Flying Lotus continuum than that of the UK club scene. And over those herky-jerky drum patterns, sheets of sizzling white noise compete with ghostly moans and rickety synth loops. It's certainly no coincidence this production made it onto an EP called Wildfire; Chairman Kato makes it sound like you're in the middle of one.
Keeping hard at work after releasing his second solo album in four years, 2010's XXX, Jimmy Edgar just dropped a brand-new single via !K7, called "New Touch." That 12" holds a few remixes of the track, including one from Montreal's Jacques Greene and an alternate version by Edgar himself. "New Touch (Jimmy Edgar's Hard Makeover)" is just about exactly what its title implies: a dark, sharp-edged rework à la the producer's usual proto-techno, '80s sex-jam style. Chilly synth arpeggiations dance around low-octave basslines and smashing dance beats while the auteur waxes robotic every so often, delivering tinny, vocoded hooks, sounding not unlike much of his recent output. Edgar might as well have called the track "New Touch v2.0."
Matthewdavid just gave word that he'll be releasing his first proper solo effort, the International EP (pictured above), this March via Flying Lotus' Brainfeeder label, and all we have to say is: It's about damn time! Well, that's obviously not all we have to say, especially after listening to that record's title track, a warbling and dense beat composition with a perfectly understated vocal performance from Atlanta's Dog Bite. As we suspected from the artist's long foray into tape-driven noise and ambient music, Matthewdavid has inundated his scattershot beat patterns with the hiss and glow of his beloved cassettes—also tossing in bits of bucolic field recordings and underwater ambiance to fill whatever sparse blank spaces are left in "International"'s soundscape. And while the instrumental of the song lurches along with each muddled boom and bap, Dog Bite's low-slung vocal melodies give Matthewdavid's music a distinctly human element never before heard in his work. Like we said, it's about damn time. (via Altered Zones)
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