Culled from the third installment of Asthmatic Kitty's Library Catalog Music series, "Big Moth" is a jamming example of a hi-tech take on the old school hip-hop breaks aesthetic, replete with intense polyrhythmy, sudden tempo changes, and the sound of record hiss. Though Foubert is most known for his collaboration and engineering work with indie juggernauts like Sufjan Stevens, and McAlister is well-noted as a member of Ester Drang, the two have created a piece that would be well-suited to hip-hop and breaks DJs for years to come.
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Analog enigma Redshape is finally presenting his long-awaited first full-length on the fledgling Delsin label. The Dance Paradox is a collection of dark, atmospheric techno that is certain to be blasting out of speakers during late-night sessions during the coming months. One of the record's strongest tracks, "Garage GT," features deep kicks, tight tech-funk percussion, high-frequency synth washes, and a propulsive bass. With a regally creepy synth line worming its way in front of police sirens during the track's middle section, the piece recalls slo-mo Detroit techno and Italian horror soundtracks. An exemplary slice culled from a faultless deep techno album, "Garage GT" will definitely get you doing your 4 a.m. shuffle.
After a weekend filled with Indian summer sunshine, we here in San Francisco were greeted with a grey autumn Monday morning, the kind of weather perfectly soundtracked by the cinematic post-rock of bands like Codes in the Clouds. Sure, the UK quintet owes a serious debt to bands like Mogwai and Explosions in the Sky, but sometimes it's okay to forget about originality for two seconds and just get all pensive and moody.
The musical chameleon known as Jimi Tenor has paired up with Fela Kuti's oft-remixed former drummer Tony Allen for a quirky, slow-grooving take on the afro-jazz sound that Allen is most known for. Taken from the duo's forthcoming Inspiration Information collaboration and marked by some subtle drumming, wonky vocal sections, and blaring saxophone, the piece is perfect for these waning days of autumn, when every hint of warmth gives one the privilege to leave work early.
Few artists bring the druggy sounds of Berlin's underground to San Francisco quite like C.L.A.W.S., and on his latest EP, I've Got Problems, the man born Brian D. Hock drops another batch of high-quality late-night techno tunes. The pulsing beat and tweaker synths of "You (I've Tired of) Ah Ah" conjure images of a wild night at Berghain, only there's no danger of inadvertently wandering into an MDMA-fueled orgy.
Emerging out of the hiss, a bright, four-note phrase repeated as lackadaisical percussion beats a lazy tattoo while low-frequency, almost bong-like gurgles simmer beneath it all. With secondary percussive elements, banjo, and cello incorporated into the piece as well, "Salvador" has the feeling of a Dirty Three track, only more stoned. Read more »
It takes something special to make interesting electro-house in today's jam-packed, ever-evolving electronic music environment, but Berlin's Magnum 38 has managed to do so in a big way. His latest EP is comprised entirely of noise-influenced electro that takes its emotional feel—not to mention plenty of samples—from the almighty doyenne of nightlife, Grace Jones. "Slave" utilizes cut-up vocal samples from "Slave to the Rhythm" above a crunchy, hissy beat and some surprisingly ethereal backing synths. Though some of Jones' fans might not appreciate the reworking of her clarion voice, many more are sure to be blasting this beast into the winter.
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