Last week saw the launch of Bristol label Parison, whose inaugural effort came in the form of a four-track EP from local producer Rope. One of two original tracks included on the record, "Slugface" (which features the talents of fellow Bristol resident Sentiment) has been reworked into a VIP mix, which does away with the brooding tune's empty spaces in favor of keeping the 135 bpm production and its mechanical percussion pushing forward at a steady roll. Out now with remixes from Klient and Boycott, Rope's full Cotham Warrior/Slugface EP can be streamed after the jump. Read more »
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Serving as the closing track to Marco Bernardi's upcoming Spacejam EP and embellished with a "Pigs in Space Remix" tag, it shouldn't come as much of a surprise that Austrian producer's Mr. Ho's rework of "Spacejam" has plenty of galactic soundscapes on display. Underneath the remix's long, winding pads and delay-washed synth melodies, Mr. Ho places four-on-the-floor beat and an upswung snare, which give the track a slightly rushed momentum, as if he can't wait to take the dancefloor on a voyage well beyond the stars. This remix and the rest of Marco Bernardi's four-track Spacejam EP are out now in vinyl form, and will be available digitally on July 28.
Project Pablo is one of seven beatmakers who have been enlisted to remix Natasha Kmeto (pictured above) on the inaugural EP from the Bass Coast label, an off-shoot of the upcoming four-day festival taking place in Vancouver next month (and featuring the likes of dBridge, Addison Groove, and Graze in its line-up). Taking on Kmeto's "Deeply"—a track pulled from the West Coast producer's Crisis LP, her debut for Dropping Gems—Project Pablo reshapes the original into a piece of jacking house, adding crisp snares, loose hats, and a healthy amount of active synth work to Kmeto's relaxed vocals and processed piano. The Bass Coast label's first release, the Natasha Kmeto 2014 Remix EP, is currently available as a name-your-price download over on Bandcamp.
Detroit native Rob Mansel (a.k.a. Black Noi$e) returns to XLR8R's Downloads section with "onlyu," a slippery piece of R&B-infused electronics. Here, amongst a sea of chopped and rearranged female vocals, Mansel crafts a skittering half-time beat that is accentuated by a sparse set of syncopated bass notes. About halfway through the track, the producer elects to realign his rhythms, working the beat up to the tempo of an electro-indebted break, which is met by more active vocal manipulation before the track is stripped back to its original form.
Budding producer Ferdinand takes a clean and simple route to remixing "In My Dream," a track pulled from Clara Moto's Blue Distance LP, which landed last year via Infiné. This week, Moto's robot-pop tune has been revived for a new remix EP, which includes a "Violin Version" of the track, along with remixes by Thomas Müller, Vendredi, and this elongated rework from Ferdinand. Spanning just over eight minutes, Ferdinand's contribution is simple but effective, lacing a miniature house beat with percussive rhodes chords, swelling organ ambience, and soft touches of the original's dreamy vocals.
On his remix of bRUNA's "Closer," Brighton-based producer Lost Twin tones down the summer-soaked vibes of the Barcelona resident's original. In its new form, "Closer"—a cut pulled from bRUNA's 2013 Thence album for hometown label spa.RK—the track is reimagined as a stoney piece of understated boom-bap, its radiant synth lines subdued by hazy textures and lo-fi filtering. Lost Twin's purple-streaked remix of bRUNA is set to appear alongside additional remixes from Henry Saiz, Alizzz, and more on the Thence Remixes 12", out this month via spa.RK.
"Austere" is one of 13 unconventional beats set to appear on an upcoming mixtape of original productions from NYC artist Quays. A producer who has in the past dropped new tracks via voicemail (allowing listeners to hear the songs by calling a particular phone number), Quays assembles a mix of wonky bells, bouncing rhythms, and sugary synths on "Austere." Though a bit unusual in its presentation, the tune is still in many ways a very sweet composition, its fizzy melodies likely to stay with listeners after Quays—at least for those wrapped up in the tune's intoxicating glow—abruptly cuts off his beat just past the two-minute mark.
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