German trio Saroos (featuring members of Iso68, Lali Puna, and The Notwist) is offering up a song from its upcoming Odd Nosdam-produced album, See Me Not. "Yukoma" sounds like a mix of all its contributors, as a chopped breakbeat chugs beneath large, fuzzy chords the song carefully takes shape and becomes a tranquil accumulation of its melodic elements. A definite head-nodder for those who like their electronica slow and serene. See Me Not will be released on November 9 via Anticon in the US and Japan and on The Notwist's Alien Transistor everywhere else.
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Earlier this month, Brooklyn sound-collage specialist and leftfield beatmaker Lobisomem unveiled his Onze Pedras full-length, and now he's following that up with some remixes of album cut "She's Made of Clay." This one comes from the all-star Dutty Artz collaboration of DJ /rupture and Chief Boima, the latter of whom recently relocated to Brooklyn after a long stint in Oakland. While Rupture and Boima's involvement might lead one to expect a tropical-minded dancefloor cut, the pair maintains the chill vibe of Lobisomem's original while inserting a warbling synth melody and some drums that do slap just a touch harder. Discerning ears might even catch the snippets of what sounds like highlife guitars—apparently Rupture and Boima can play the sound-collage game too.
London low-end specialist Spatial will soon be releasing a new 10" on the UK's Infrasonics label, which hits retailers on October 4. This cut doesn't appear on the vinyl version, but it is a fine example of the dubby, techy, bassy, post-whatevery excursions put forth by the producer. "100505" sports some quasi-melodic metallic sound effects that remind us a bit of the glitchy minimalism on SND's Atavism record from last year, as does the impersonal song title, but with a more gluttonous appetite for gut-rattling frequencies and more fluid dance moves. If that's your bag, make sure to also catch this live mix Spatial just offered ahead of his appearance at next month's Unsound Festival.
New York's Hooray For Earth gets this remix of its song "Comfortable, Comparable" courtesy of the tropical rave trio from across The Bridge, Lemonade (pictured above). Probably because that three piece isn't much into guitar anthems or jams of that same ilk, this version of "Comfortable, Comparable" dismisses just about every sound from the original tune, except for its reverberated vocal work, which Lemonade then soaks in even more cavernous effects. They also adorn their song's whispy sounds with a bouncing future-house beat, all sorts of percussive elements, and a glistening coat of synth melodies that never stop reaching for the stars. If nothing else, we're just pleased to hear some fresh, club-ready productions from the Lemonade team to help tide us over until they finish work on their second full-length.
Just in case you were wondering, this new jam from German DJ/producer/label head Mathias Modica (a.k.a. Munk) isn't an Italian cover of Madonna's decade-starting return to the spotlight, "Music," though it certainly shares the same energetic dancefloor-ready vibes. We're not sure why songs simply about music are so often such upbeat dance tunes, but regardless, we're sold on Munk's addition to that list. "La Musica" starts with a dark piano and bass melody backed by a solid four-on-the-floor beat and a bit of vocal help before things elevate a bit in mood with the introduction of a luminous wash of rave synths. Eventually, all of the sounds coalesce into a busy club tune that we prefer over the aforementioned diva's single. You can hear what other music Munk has to offer when he drops his five-song Mondo Vagabondo EP on October 18 through his own Gomma label.
Pacific Northwest bass producer Simon Ho (a.k.a. Cedaa) is another young music maker taking a page or two out of the footwork/juke playbook for his own tunes, although Ho likes to call his sound Bellingham bounce. So leave it to newly minted XLR8R scribe Dave Quam—who wrote this fine article on the Chicago-based genres for our latest print issue—to sign three of Ho's tracks for the first release of his new imprint, the cleverly titled Free Bass. The opener of Cedaa's Old Growth EP is "Escalade," probably the closest relative to footwork featured on the release. All the key attributes are present: incessant vocal samples, woofer-cooking bass, breakneck 808 beats, and halftime claps. Yet Ho still manages to make those trademark sounds his own with the injection of more melody into his low-end, a serious helping of warm synth pads, and a particular sheen uncommon in your average Chicago-born footwork production. You can download the whole Old Growth EP for free via Quam's It's After the End of the World blog, here.
Even though Dover, TX, producer Blixaboy has been making music in a number of forms for nearly 20 years, his forthcoming full-length album is a sort of re-introduction of the artist's forward-thinking dubstep- and bass-leaning sound. Blixaboy will release Kliks & Politiks through his own label, Astroblaque, on October 19, but we've got the first leak from that record for you today. "Sci-Fi Jack" is the third cut from Politiks, and finds the tunesmith smack dab in the middle of some low-end gymnastics out in the middle of space. Through "Jack"'s near five-minute runtime, Blixaboy never once lets up from his bouncing bass rhythms or touches down from his cosmic sound explorations—moving deeper instead to the outer reaches of dubstep's club-ready sonics. You can listen to all of Politiks now, over on the Blixaboy/Astroblaque website, here.
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