So-Cal beat head and Wedidit Collective member Groundislava steps a little bit outside his usual fare of crafting stony, bit-crushed head-nodders and takes Clive Tanaka Y Su Orquestra's bedroom funk for a spin. Stripping back and subduing the original track, Groundislava presents "I Want You (So Bad)" (from Tanaka's excellent Jet Set Siempre No. 1 LP, artwork above) as a sort of melancholy, contemporary piece of electro hip-hop where post-whatever soundscapes and Afrika Bambaattaa-esque breaks are enhanced with just the lightest touch of g-funk. Apparently the two producers have engaged in a remix swap of sorts, as we're told Clive Tanaka Y Su Orquestra has a remix of Groundislava that is due to appear on a forthcoming 7". If the remix talents go both ways in this exchange (which we're pretty sure they do), then the Clive Tanaka remix should be something to look forward to, but we're perfectly happy to stick with Groundislava's contribution to the swap for the time being.
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Swiss DJ/producer duo Round Table Knights (pictured above) is releasing its first artist full-length today on Jesse Rose's Made To Play imprint and have passed along the LP's title track to give us a little taste of what we can expect. This particular cut actually comes with a little help from another duo, Vienna's Ogris Debris, who, among other things, contribute some tasty vocals that pop in and out of the track's funky, percolating rhythms. From its humble, side-chained beginnings, "Say What?!" is put together meticulously. Small details are constantly appearing, disappearing, and then appearing again in such a way that the track always feels like it's moving without overloading the listener with new, shiny elements meant to grab your attention. Rather, the track seems to draw you further and further into its web until you're caught up in a pleasant state of funky house hypnosis. Also, check the song's official video after the jump. Read more »
Man of the moment Nicolas Jaar continues to exhibit his deft usage of space and noise on this heart-wrenching remix of "Fail Forever," the new single by Danish outfit When Saints Go Machine. (We've previously posted the original song and a remix by burgeoning techno outfit dOP, too.) The Brooklyn-based producer spends the first quarter or so of his track tweaking poignant harp plucks before gradually adding a few more sparse elements; steel drums, bass, violins, down-pitched vocals, and a soft, kick-clap rhythm make up just about the whole of it. Obviously, Jaar relies heavily on restraint and subtlety when composing his music, and here, he transforms what was more or less a navel-gazing dance-pop song into a sort of otherworldly lament, one sung by celestial beings who've since found themselves lost in a bleak, unfamiliar reality. (via FACT)
One half of Brooklyn/Chicago duo Dark Party, producer Leo123 will soon release Ponies, a new EP on Eliot Lipp's Old Tacoma label (pictured above). We have the title track here, a sort of mission statement in the form of acid-y synth tones, smooth pad stabs, and angular electro (proper electro, mind you) rhythms that sets the tone for the remainder of the producer's five-song affair. "Ponies" is certainly a production informed by the whole array of dance music hubs—Chicago, Miami, NY, and London—and an early '80s aesthetic, but Leo123 still uses those touchstones to look forward, into a bright future where Afrika Bambaataa, Egyptian Lover, and Mantronix still rule the stereo in your neon-decaled Delorean. You can hear more of what that future could hold, and preview the Ponies EP, here, or score your own copy when it drops on March 1.
The title "World Music (Dub)" can bring with it some rather groan-inducing connotations, but don't be scared away, as this track from DC duo Protect-U is not some lame world-fusion track. Did you really think we'd do that to you? With its slow-moving, methodical beat and hazy, bubbling synths, it seems the only world this song might call home is one that exists inside a decades-old arcade game that can only be played at half speed. In contrast to the more noise-oriented ambient outings that seem to be popping up everywhere, "World Music (Dub)" explores the more melodic possibilities of instrumental synth music, building the track around one main melody that sluggishly moves as far-off sounds blast and gurgle in the background. The much more uptempo a-side to the dub can be found on Protect-U's recently released 'World Music" 12" (artwork above) along with the track "U-Uno," a song for which director Aurora Halal has crafted an enchantingly psychedelic video. Check it out after the jump. Read more »
It seems that ever since the spacey, drugged-out synth compositions of Oneohtrix Point Never, Emeralds, and the like started garnering a bit more press and acclaim online, the internet has been increasingly inundated with everyone's own version of the amorphous genre. The latest we've come across is Mandelbrot & Skyy, a sort of side-project from electronic artists Daren Ho and Jeff Witscher who are actually no amateurs to this sound (they're responsible for the Driphouse and Rene Hell projects, respectively). With their powers combined, we get something a bit more visceral, even tactile, from the reinvigorated realm of ambient music in which the guys operate. Taken from the duo's forthcoming OD-Axis LP (pictured above), "TT Races" is a taste of those sounds, a song that jumps immediately into full view, but is never content to set still. While the usual array of bubbling analog tones set a frothy backdrop, Mandelbrot & Skyy unleashes a sporadic, lurching kick drum and a restless, man-made noise that twists and turns throughout the composition, sounding almost more human than machine at times. It's certainly enough to make us pleased that the Kosmiche trend continues to take off, and to spark our curiosity as to what the rest of OD-Axis will offer when it drops in the near future. (via Altered Zones)
The Grecian duo Keep Shelly in Athens recently unleashed this remix of the Solar Bears' (pictured above) "Cub," which first appeared on last year's excellent She Was Coloured In LP. The originally sparse, ambient guitar track has been given a full orchestration by the chill-waving duo, stacking epic layers of fuzzy synths, distant pianos, and distorted guitars that soar past the programmed drums. The song, buried somewhere deep below the added elements, gets completely manipulated through layers of delay. Brief glimpses of the original do occasionally pop out when the timing of the delays is tweaked, only to be quickly buried once again below the mass of instrumentation. Keep Shelly in Athens even manages to weave a sort of narrative into the remix, constructing half-time "verse" sections that eventually give way to the all-out choruses that could perfectly accompany some sort of reminiscent montage sequence. (via Pitchfork)
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