This overstimulating remix of the new Steve Starks (pictured above) track, "Git Em," didn't make it onto the official release because the producer was a bit late in getting it to the label, the Tittsworth- and DJ Ayres-run T&A. But that doesn't make this rework from Dutch tunesmith Munchi any less deserving of praise or attention. Most people know him for his experiements with moombahton (like this one here), but this kuduro treatment of Starks' bass-heavy club smasher is an intricately crafted track filled with a number of energetic micro-samples, a huge amount or percussive sounds, and enough hyped-up, atonal synth noise to push a dancefloor over the edge into 'crazy' territory. Truthfully, you could say that for just about any of the five songs that did make it onto the Git Em EP, which includes remixes from Zombies for Money, Dillon Francis, and DJ Ayres. You can preview and purchase the whole thing here, and keep an eye out for Munchi's own T&A EP, which should see the light of day in the next few months.
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DJ Spoko is a South African DJ/producer who came up under the tutelage of Shangaan Electro mastermind Nozinja, and, consequently, mentored DJ Mujava, eventually helping produce the massive "Township Funk" song. Lately, he's been working on a new style of dance music he's calling bacardi house, and this track is one of his latest experiments. "Mzansi," which is a local slang term used to refer to South Africa, is a sharp, bouncing kwaito mover produced with a distinct ear for old-school synth and drum machine sounds. Whether the effect is inadvertent or not, DJ Spoko's track invokes the spirit of another time when simple production techniques paired with a strong groove were all you needed for a good tune. He forgoes the plug-in-obsessed production tactics of most contemporary electronic music, aiming for a stripped down, straightforward, hardware-based house aesthetic, which effectively bolsters the soul of "Mzansi" more than any glossed-over computerized sound ever could. (via Altered Zones)
Either Andreya Triana sold her soul to the gods of electronic music or she's just got awesome connections. Case in point: she follows the brilliant Flying Lotus remix of her "Lost Where I Belong" song (a collaboration most anyone would pine for, at this point) with another re-work produced by one of the hottest outfits in post-dubstep, Mount Kimbie (pictured above). And yes, Kai Campos and Dominic Maker deliver another bit of their trademark sound—complete with the pops, clicks, fuzz, bass, and soul that we've so thoroughly enjoyed on Kimbie's Crooks & Lovers debut. The duo's treatment of "A Town Called Obsolete" works especially well thanks to the natural pairing of the R&B-flavored instrumental with Triana's buttery vocal work; it sounds like something we might hear from Mary J. Blige decades from now.
"FM Tan Sexy" is the latest track to leak off of El Guincho's much-anticipated new album, Pop Negro, and actually fits its nonsensical title quite well. It wears a radio-friendly sheen on top of its funky, Timbaland-esque beat, the twinkling hook and surrounding melodic elements are all reminiscent of carefree days spent soaking up the sun, and when the bass really starts to work, things get downright steamy. El Guincho's new song is certainly a departure from the warbling, psychedelic soundscapes of 2008's Alegranza!, but as other bits of Pop Negro have shown, it's a trajectory that producer Pablo Díaz-Reixa follows with aplomb.
After years of producing, Wolf + Lamb compatriot Nicolas Jaar still doesn't have a proper debut album, but we're okay with that, seeing as how he wisely spends his time making tasteful, intricate edits like this one for Nina Simone's version of "Feelin' Good." Jaar's production, entitled "Nico's Feelin' Good," is a dark, brooding number that exists equally on planes of swirling textural ambience and softly undulating deep-house grooves—the varied sounds not once interfering with the indelibly haunted vocal performance by Simone. The New York producer may not yet be known for his work with edits, but after hearing this track, not to mention the rest of the free six-song EP it comes from, we'll happily trade the release of his debut for another handful of these re-works. You can download the 6 Edits EP via Resident Advisor, here.
Yes, Universal Studios Florida is a pretty awesome band name, but names alone won't get you very far. We need the music to make us move, and the two Seattle residents in U.S.F. make the kind of blissful, summery synth-pop that we've been moving to for some time now. Like a slow-grooving Delorean tune, "Branss" offers a thick wash of hazy atmosphere and lilting melodic elements alongside the slow bounce of its island-inspired rhythm. It's the aural equivalent of a bright afternoon spent alone on a white-sand beach, throwing a colorful beach ball into the surf and watching it bob up and down in the warm water as you swim towards it lazily—completely content in the day's relaxing simplicity. And if you yearn for more musical goodness from the production duo, check out a preview of U.S.F's forthcoming new album, The Spray, over on Bandcamp. (via 20 Jazz Funk Greats)
The first release from Cheese on Bread's fresh new record label is a two-track single by UK grime production duo Jargon V.A. The burgeoning outfit enlisted Roll Deep MC Killa P to contribute his fervent flow to their bassline-flavored track, and the results are pure soundsystem fire. Through the wobbly low-end of "Crime Scene"'s energetic bass, head-smashing dance beats cut the wall of sound with Killa P's omnipresent vocal work riding atop it with a speed and tenacity that quickly justifies his connections to icons like Wiley and Dizzee Rascal. You can also check out the video for "Crime Scene" here, and keep your eyes peeled for more magic from Jargon V.A with a forthcoming Tinie Tempah collaboration and a full-length album, entitled It's All On Top.
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