Well, this is wonderfully massive—in more ways than one. As we previously reported, the Brooklyn-based RVNG label nabbed that guy who, you know, made up that whole techno thing (a.k.a. Juan Atkins) to do a remix of a song by NY noise makers Psychic Ills (pictured above) for its fourth installment of the FRKWYS series. That's a pretty big deal, sure, but what's really huge is the track Atkins produced for his contribution. His remix of the heavily psychedelic and meandering "Mantis" eschews just about everything from the original save for its guitar plucks, moody vibe, and length. Instead of live percussion and wafting synth tones, the remix focuses on a thick, hypnotic bassline, an incessant drum-machine beat, and a few samples from Psychic Ills' number warped into unrecognizable sound effects. And if you've got it on repeat like we do, the 10-minute track seems to carry on indefinitely without ever wearing its welcome thin. (via Altered Zones)
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What you think about Chicago's juke and footwork scenes is more or less inconsequential (but feel free to add your part of the debate over in our growing comment section for the DJ Rashad & DJ Spinn podcast), insomuch that the genre and its producers have been building a vibrant culture and style around the music for more than a decade, and that's not likely to change anytime soon. DJ/producer Gant Garrard (a.k.a. Gant-Man) is just one of the scene's leader. He's been honing his style of club-friendly dance tunes since his teenage years in the mid-'90s, runs the Bang tha Box label, and produces both house and juke tracks under two separate guises. Using his Gant-Man moniker, Garrard crafted "J.U.K.E.I.O.U." for Chicago publication 5 Magazine's fifth anniversary. The hyperactive number is made from a handful of vocal samples exclaiming "juke!," a bouncing bassline, a booming four-on-the-floor beat, and all sorts of flitting percussive elements and synth sounds played at breakneck speed; as such, the whole thing is over in under three minutes. And if for some reason this style isn't your bag, you can instead grab Garrard's exclusive house tune, "Poquito Spanish, Poquito House," here. (via Fool's Gold)
San Francisco's Sutekh hasn't released a proper full-length album since 2002. Eight years later, the solo artist is set to drop a new LP into his discography, the nine-track On Bach. And yes, the album is precisely what the title implies: a Bach-inspired set of intricate electronic orchestrations composed by producer Seth Horvitz. "The Glorious Day Has Dawned" is one such song, and features flitting synth pulses taking the place of what might normally be an enormous string section; warbling sound effects and miniscule clicks work out a beat with a booming 808 kick underneath it all. You can check out all of the details for Sutekh's On Bach album, as well as stream it in full before it's released on September 13, here.
Sam Goldberg keeps himself busy. He runs a label, Pizza Night, that releases cassettes exclusively, he collaborates on projects with a couple of fellas from Cleveland ambient noise outfit Emeralds, and he writes similarly formless songs under the name Radio People. From his recently released eponymous full-length (which you can stream in full here and purchase on vinyl here), "Now Where" finds Goldberg halfway through his opus, traversing analog arpeggiations, thick synth pads, and repetitive micro-melodies with grace. The composition sounds similar to some of his peers on the Editions Mego label, like Oneohtrix Point Never and, of course, Emeralds, but also reminds us a bit of the beatless, billowy parts from one of last year's best analog odysseys, Etienne Jaumet's Night Music. (via Raven Sings the Blues)
Not even the chamber-pop chanteuses of the world are safe from from bass music's ever-growing grasp. As featured on this unreleased remix by Blunted Robots' Brackles (pictured above), the girly voice of London's Ellie Goulding was plucked from its usual acoustic accompaniment and placed into the thick of an undulating future-house tune. Brackles cuts up Goulding's high-register hooks, and garnishes the samples with skittering rhythms, warbling sound effects, and other club-appropriate sonics—effectively erasing any notions of the orchestral original version of "Under the Sheets." You can catch more of the same sounds on Brackles' just-released, debut mix album for !K7/Cool in the Pool, Songs for Endless Cities Vol. 1: Brackles.
One of the more focused and hip-hop-leaning bangers from Brooklyn producer Mux Mool's (pictured above) debut album, Skulltaste, is the crunchy "Hog Knuckles." This version of that Dilla-referencing track, remixed by recent XLR8R podcast contributor and Colorado resident Alex B, comes from the Wax Rose Saturday EP, which dropped today via Ghostly. Alex B's remix remains centered around the jittery bounce and sampled guitar melody of producer Brian Lindgren's original beat, but is also given an extra dose of beat-scene slap and soulful synth timbres. You can catch this remix along with treatments from the likes of Free the Robots, Devonwho, Shigeto, and more, on Mux Mool's brand-new EP, and find Lindgren's upcoming tour dates here.
What does a remix of the classic R. Kelly joint "Ignition" by Portland low-bit patron Copy sound like? Well, precisely what you'd think the unlikely pairing would sound like. Mr. Kelly's inimitable vocal performance is left untouched, leaving the R&B icon to deliver car-related innuendos without interruption, and producer Marius Libman's special brand of Nintendo-referencing synth-pop adorns the memorable lyrics. Though, as one might guess, Copy's remix (2 Ignition) is injected with hip-hop's and R&B's particular bounce and sway, a vibe uncommon in his usual production work. It's a pretty great taste of the EP that accompanies the PacNorthwest tunesmith's forthcoming full-length, Hard Dream, which features five remixes of R. Kelly songs. We're especially looking forward to hearing "Real Talk" and "Hair Braider" when it drops along with Dream on September 21 via Audio Dregs. (via Yours Truly)
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