The disco-punk aesthetics of former DFA associate Tim Goldsworthy are all over Archie Bronson Outfit's first single from their forthcoming third album, Coconut. With its bouncing disco bass riding over deep kicks and dry snares, the angular guitar melodies and pulsing synths of "Shark's Tooth" are given a lovely dancefloor energy, and the track's wistful vocals make it a certain indie-dance night floor-filler.
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With ten years of music-making as Epstein under his belt, not to mention recent collaborations with Prefuse 73 and last year's full-length under his Helado Negro alias, Roberto Lange's latest album continues nicely along the aural pathway he has set for himself. "A Lost Animal" is indicative of this sound, featuring chattering vinyl samples, fuzzy syncopated synth lines, and complicated rhythms as influenced by hip-hop as they are by South American folk music. And with the soaring vocals of School of Seven Bells floating over much of the track, "A Lost Animal" is the perfect ear candy for a lazy afternoon.
Polish electro-acoustic composer Jacaszek is riding a wave of interest in his work, what with his recent Resident Advisor podcast and numerous soundtrack projects under way. "Lament" is exemplary of Jacaszek's work, which shares Henryk Górecki's ponderous movements, Arvo Pärt's neo-classical melodic sensibilities, and dark atmospheric flourishes that wouldn't be out of place on a Burial record. Tonight, Jacaszek will be playing with members of the ACME orchestra at Le Poisson Rouge as part of a showcase of Polish composition, which has been given a special spotlight as part of this year's Unsound Festival, wrappin up this Sunday in New York.
What starts as a provocative non sequitur reiterated over handclaps and heavy percussion turns into something of a mantra for Femme En Fourrure as their track, "Plump Bisquit," gains momentum and intensity. Classic disco elements give way to a particularly bass-heavy style of minimalistic house that eventually reaches higher and higher with stabbing horns and tense, ascending vocal samples.
Brazil's Edu K gets down on this four-to-the-floor, jackin' slice of house, created exclusively for Bacardi B-LIVE. Though many producers have been incorporating marimbula samples into their tracks in recent years, "Flutesnoot" uses the thumb piano in a most effective way, bringing it in only when it is needed to maintain forward momentum. By coupling the sounds with Indian-seeming flute trills, vocals snippets, and some wonky synths bookending the piece, Edu K is proving to be one of the more exciting young producers from South America.
Newcomer Krystal Klear may keep his identity secret, but we certainly know he loves boogie. The thick washes of synth overlaying a propulsive low-end melody and shuffling dance beat scream early-'80s R&B, although Klear's production remains focused on the future. By the time his debut 12" gets released in April on All City, we'll surely learn a few more things about this exciting producer.
The song "Water" sounds something like a nursery rhyme penned by Three 6 Mafia or Lil Wayne, but performed instead by malfunctioning androids. In reality, the track comes courtesy of now LA-based duo Pit Er Pat, who recorded the song as the kick-off of their new album, The Flexible Entertainer. It's strange to say the least, but the elastic basslines, looped strings, and herky-jerky drum-machine beats somehow join forces to create a wonky cut that just might be the Top 40 of the future.
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