Here, San Francisco's Kush Arora takes his own track to the next level, editing down "Humidifier" to a dark, Indo-Caribbean bass piece, replete with congas, West Indian percussive elements, and Indian wind sounds. Though some of the original's watery atmospherics remain, lending the piece even more exotic flair, the edit definitely does its job at pulling the piece into the cavernous, sweaty world of the club. Speaking of which, the third anniversary edition of Arora's Surya Dub party is coming up May 29 with special guest Poirier, and he's prepared a funky bashment mix to celebrate, which you can grab here.
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Poland has recently emerged as one of the hotbeds of exciting young European producers, and with this fierce funky collaboration from Krakow's Teezy and Zeppy, there's even more evidence of an electronic renaissance in the former Soviet bloc country. "MTP Riddim" features sick tribal percussion, electro-funk bass stabs, and a menacingly hooky melodic line. Both producers are also featured individually on Top Billin's now-available PL Funky EP—which includes tracks getting love from the likes of luminaries such as Bok Bok, Ikonika, and Jackmaster—and if you're digging these sounds, there's also an amazing mix of mostly Polish funky producers available for free download at the Top Billin site.
For its next installment of the ongoing series of 10" records dedicated to LA's ever-growing beat scene, Ireland's All City label has brought together two Detroit expats who now call the Southern California metropolis home. Half of the release belongs to House Shoes, and one of his two contributions, "Newports," is quite the head-knocker. As the booming kick and snare makes your speakers rattle, the smooth guitar and vocal samples set up a melodic groove while subtle bass tones rumble underneath. You can cop the rest of House Shoes' 10" with Jordan Rockswell when it's released later this month.
Though most have heard his work through remixes from the likes of Joker and L-Vis 1990, the original of "Princess" shows that UK songwriter Primary 1 certainly knows how to craft a pristine electro-pop love song. Utilizing the track's melodic synth stems that are perfect for a remixer, 2-step legend MJ Cole attacks the original with much aplomb, transforming the synths into punchy, squelchy melodies that ride above a nice garage beat. Primary 1's vocals are cut up just enough, and breakdowns are in all the right spots. Sharing some sonic similarities with records from Ed Banger and Kitsuné, this remix is sure to get lots of love from a diverse range of DJs this summer. (via FADER).
Given DFA staple Gavin Russom's rap sheet, a remix from the producer clocking in just under seven minutes is more like a quick sketch than a fully formed idea. Still, the shorter format seems to work well for him. Russom gave "Monodrama"—by fellow analog space-disco enthusiasts Chateau Marmont—that special proto touch we've come to love from his Black Meteoric Star and The Crystal Ark projects. Wavering staccato synth melodies waft above a simple reverberated drum-machine beat as pulsing bass lurks somewhere in the middle of it all. The original version of "Monodrama" is featured on Chateau Marmont's forthcoming EP for Institubes, Nibiru. You can also check out the release's title track here.
The new single lifted off LP4, the forthcoming fourth album from NY guitar/beat heads Ratatat, doesn't quite sound like the kind of celebration its title implies. Sure, there's a party going on, but it's less with children than with copious amounts of stringed instruments playing an anthemic melody over one of the band's coolest beats since "Seventeen Years." "Party With Children" is an upbeat number filled with that trademark guitar sound Ratatat loves so much, along with other familiar sonics from its eclectic repertoire, and headlines the band's batch of new tracks set for release on June 8.
Wolf + Lamb's Lee Curtiss leads us through dark, narrow sonic passageways on "Life Lessons," his contribution to Spectral's Document Pt. 1 mix, compiled by label head Ryan Elliott. Deep kicks and a frothy bass form the minimal track's backbone, contrasting nicely with mid-range, bell-like synths that still manage to create an ominous atmosphere. Perfect for late, late sets.
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