This fuzzy, funky piece of vintage disco comes to us courtesy of The Fatback Band's 1976 chart-topping hit "(Do the) Spanish Hustle)" and the man who saw fit to rework it to his liking, NYC's master editor Danny Krivit (pictured above). This number is part of Krivit's forthcoming second volume of upbeat soul, funk, and disco edits for Strut, which will see the light of day come September 14. Along with this lengthy version of "Spanish Hustle," the renowned veteran and proclaimed King of Edits includes his own takes on Chairmen of the Board's "Life & Death," Patrice Rushen's "Music of the Earth," and Black Blood's "Chicano," among others, on Edits by Mr. K Vol. 2. You can check out more about the forthcoming compilation and watch Krivit tell the story of his DJ/production career here.
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As pointed out in last week's write up for Gold Panda's "Snow & Taxis" track (there's a video for it now, here), we showed up a tad late to the Essex-based producer's party due in part to a moniker that evoked certain indie genres we'd just as soon leave be. Thankfully, we were totally wrong about that, as evidenced on the new music we've been catching off his forthcoming debut full-length, Lucky Shiner. The latest number to help bolster our opinion of Gold Panda is "Same Dream China," a song that holds tight to flitting micro-samples and dense layers of melody that float high over a bouncing rhythm. It reminds us of some of Nobukazu Takemura's more playful, plinking compositions, if they were re-imagined by, say, The Field. As it turns out, that makes perfect sense, as The Field had Gold Panda rework his "I Have the Moon, You Have the Internet" track last year, and with excellent results. We should have known. You can stream Lucky Shiner in full before it's released on October 12, here.
We've got a pretty sizable weak spot over here at XLR8R for pitch-shifted vocals. Whether you're tweaking them up or down, and especially if they've got some obvious flavor to them, it'll score you a few points in our book. So, for NastyNasty's new track, "Bleeding," the well-sampled and soulful vocal clips that litter its three minutes are more of an icing on the cake. The San Francisco producer closes his forthcoming Puke Paint EP (that's the cover up top) with this relatively stripped-down dubstep beat—making sure to precisely color in its edges with bits of space noise, a handful of wobbly bass tones, and, of course, those infectiously warped croons. It's no new idea, but dammit if NastyNasty doesn't work it with aplomb. The Puke Paint EP is out on September 14 via Frite Nite.
This fresh new tune from LA beat scene icon Daedelus not only turns the Men Without Hats classic "Safety Dance" into a quasi-anagram for its title, but also seems to sample a few other bits of the '80s hit. Along with the female voice spelling out nothing in particular, producer Alfred Darlington tosses in a snippet of the original's bassline and some huge vintage-sounding claps with his own staccato synth melody and herky-jerky percussion. Catch this track on vinyl, with five others by Daedelus and four from fellow LA beatsmith Teebs, when Dublin's All City label drops its sixth installment of the ongoing LA 10" series later this month.
It was a long journey for producer Lamin Fofana from his West African birthplace of Guinea to Sierra Leone to his current residence in Harlem, New York—an experience which no doubt left an indelible mark on him personally, and subsequently, on his music. And yet, listening to "Dance In Yr Blood"—the first song from Matt Shadetek's XLR8R podcast and the last track on Fofana's forthcoming debut EP, What Elijah Said—is far more reminiscent of traversing the techno and bass music hotbeds of Europe than traveling across the African continent before winding up overseas in America. The slamming kick drum, the pulse of the bass tone, the wafting vocal samples, and the various warped sound effects all push a strangely subdued and late-night club vibe on "Blood," and make for a rather disconcerting finale to Fofana's debut. It all starts to make sense after reading this quote offered by the producer (and borrowed from the New York Times' 1975 obituary for Nation of Islam founder Elijah Muhammad) to describe his music: "Yet, he would refer to the Mother Plane, a mysterious space ship with superior beings, giant black gods or something like that, that patrolled the universe, keeping an eye on the devil and ready to rescue Black Muslims from Armageddon." What Elijah Said will be released on September 21 via Dutty Artz.
This internet exclusive comes to us courtesy of Brooklyn's Brenmar and a snippet of what sounds like fellow New Yorker Beyonce. The diva's sampled voice provides the track with a repetitive—but not tiresome—hook that proclaims the song title over a buoyant house rhythm and bulbous bassline. The meat of "Back Beating" is eventually joined with an elastic lead synth and some melodic stabs, making for a tune that is quite solid in its altogether straightforwardness and not-so-flashy aesthetic. Take this one to the club with you while you wait for Brenmar's upcoming four-song EP—which includes remixes from Ikonika & Optimum and DJ Rashad—to be released in late October on Discobelle.
The first single to be heard from multinational duo Lazer Sword's debut, self-titled LP (out on November 2) is "Batman," a steadily grooving and intricately made production that seems to host about a hard drive's worth of percussive micro-samples, dissonant synth tones, and cosmic sound effects. And for one of the first times in Low Limit's and Lando Kal's collaborative career, the production duo uses vocal work that isn't rap. A soulful female vocalist croons some indecipherable passages, a ghostly "ooooh" wafts in the background, and a talkbox eventually makes its way onto the scene proclaiming "I can't help myself" something something. To be fair, it doesn't matter quite what it's saying, but instead how it's saying it. If "Batman" is evidence of the growth of Lazer Sword's sound, it's apparent that you can no longer group LL and LK in with the generic glitch-hop, lazer-bass, or related beat scenes that have grown slowly into ubiquity. The soulful tendencies of post-dubstep, UK funky, and wonky bass have infiltrated the duo's palette and helped transform its work into something else entirely. Catch more Lazer Sword tunes, including remixes from Nguzunguzu and Rustie, when the Batman 12" comes out soon on Innovative Leisure. (via FADER)
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