Lots of bands and producers seem to use the whole 'elusive artist' schtick as a crutch, trying to add an element of mystery to music that's nothing particularly out of the ordinary. Hidden faces, uncertain origins, and poorly defined band line-up aside, ceo makes music that is actually unfamiliar and blurry enough to be called mysterious. "Everything Is Gonna Be Alright," a bonus track not found on the outfit's debut, White Magic, carries a mixed bag of influences—dubstep bass and rhythms, Balearic fuzz and buoyance, tropical instrumentation, simple pop harmonies, and club-inspired vocal sampling—that mesh into a sound as ambiguous as it is inviting. The song is a standard length, but feels like an all-too-brief glimpse into a realm of new musical possibilities.
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It's starting to seem that Dâm-Funk releasing a two-disc/five-LP/24-track debut album last year really wasn't that big of a deal for the SoCal funkster. Judging by the extended run of new music Dâm's been doling out at will, dude could probably deliver us a few more Toeachizowns before the Mayan calendar expires. Luckily, each tune added to his repertoire is as consistently rad as those before it, and this one for the Proximal label compilation, Proximity One: A Narrative of a City (out August 10), is no different. "A Day at the Carnival" rocks a particularly high-tempo and upbeat rhythm that are somewhat uncharacteristic for Dâm-Funk, but his standard collection of vintage synth tones and G-funk basslines are as warm and groovy as ever. Dâm-Funk may not be trying out new hats, but at least the one he's got on won't go out of style any time soon. (via Pitchfork)
It probably goes without saying, but MIA's upcoming quasi-self-titled third album, /\/\ /\ Y /\, is sure to be oddly accessible, completely meta, and predictably off-center; so it's no surprise that those three phrases go a long way toward describing this extended version of "Tekquilla," the latest cut to creep out from the tightly guarded new record. The track features rap star Nicki Minaj for a quick verse, which, despite being totally tacked on at random, proves a solid wingman for Maya's sing-song vocals. And though they were never mentioned as possible production contributors, we wouldn't be entirely shocked if Basement Jaxx were credited with the instrumental, as it's overwrought with innumerable micro-samples, blaring synths and sound effects from the repertoire of the re-emerging rave era, and an all-around air of bombastic noise pollution. Still, this is pop music at its most modern and innovative form. (via FADER)
We usually don't get much in the realm of "downer" music here at XLR8R, so hopefully you'll appreciate the brief change of pace. This somber tune was produced by RJD2 for Ohio-born MC Copywrite, who penned the lyrics for "Forever and a Day." Copywrite wrote the song in remembrance of those who have passed on—specifically, his friend and musical partner Camu Tao and his father Peter James Nelson. It's a sentiment which meshes ideally with RJ's slow-grooving, tastefully mellow instrumental, and even the softly sung chorus from D.C. indie band Middle Distance Runner. "Forever and a Day" will be released on Copywrite's forthcoming full-length, The Life and Times of Peter Nelson, in October.
This new jam off of ZZK acolyte El Remolón's forthcoming EP, Pangeatico, kicks off sounding something like a Latin-flavored LCD Soundsystem; the thick bassline bounces slowly, funky synth stabs hop around the percussion elements, and a simple hi-hat-heavy beat carries the whole tune. But after the minute-long intro, guest vocalist Boogat's fiery Spanish vocal comes in, and it's made abundantly clear this is a tune straight from the Southern Hemisphere. Hopefully you can catch El Remolón playing this track on tour in North America—along with Tremor, Chancha via Circuito, and El G—after his Pangeatico is released July 20.
Here's a new track from Brooklyn's Keepaway, which is apparently coming out on a 7" sharing its title with this song. "100" starts out with some looped percussion rolls before being overtaken by bright synth melodies, simple bass work, sparse drumming, subtle guitar upstrokes, and heavily reverberated falsetto vocals, all of which make up most of the short song. The mix is extremely dense, especially for a three-piece band, but every sound works together well enough to simultaneously convey a sense of longing and jubilance—not unlike playing a game of keepaway itself.
Shlohmo's (pictured above) original version of "Post Atmosphere" is part of the hazily unhinged beat tunes on his debut release Shlomoshun Deluxe, but this remix comes from the producer's recent EP, Camping. Fellow California-based beat-making youngster Will Wiesenfeld (a.k.a. Baths) translated the tune into a heavily, um, atmospheric piano-led number full of bass rumblings and crunch. Along with the piano, you can make out the distant voice of Wiesenfeld cooing melodies into the expanse of the track—effectively transforming Shlohmo's head-knocking jam into a new version that is as patently poignant and melodic as Baths' original productions.
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