From his forthcoming full-length album for Philly's low-end-obsessed Seclusiasis label, San Francisco tunesmith DNAE Beats gives us "Reptilian MIDI Jazz." The wobbly future-funk production is found smack dab in the middle of the 13-track Secrets Worth Dying For record, and exhibits an atypically heartfelt and melodic atmosphere from a producer so often transfixed with all things distorted and blap-friendly. While a sample of a man spewing randomness about "reptilian shape shifters" soaks in a pool of spacey effects, DNAE exorcises his inner Dâm-Funk on the buttery synths and squishy basslines, but remains true to himself with his head-knocking beat work and disjointed pace. "Reptilian MIDI Jazz" ends with the man at the controls sending his sample into atonal oblivion, a good sign that the tunes to follow will likely be of the banger variety—basically, business as usual for DNAE Beats. You can find out for sure what comes next when Secrets Worth Dying For drops on November 29.
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Holland-based producer Applescal has been known for his precocious talents in the production studio, churning out his first full-length A Slave's Commitment at just 20 years old. Now rapidly approaching his mid-20s, Pascal Terstappen continues to release mature electronic music, this time around putting together a proper techno release for Germany's Traum Schallplatten that will also include an EP of remixes. Titled Welcome to the Woods, the record will showcase three new productions from Applescal, all of which will see remix treatment from the likes of Spada, Alec Troniq, and Leeks. Both EPs are out December 13, and after being given the opportunity to share any of the tracks from the release, we're happy to report this Dopamine remix of Applescal's "Your English Song" was hand-picked for its infectious, club-ready synth stabs and drops.
If you ever needed any more reassurance that the future is already here, we present to you Ruckazoid's new track, "Crush." The track begins with a loop that sounds like the warning tone on a spaceship notifying the crew it's time to "man their battle stations," an apt intro to the spacey pads and lazer-arps that get transformed throughout "Crush." The fuzzy bass and boom-bap drums give the track an aggressive edge, making it the ideal soundtrack to the future gang wars and lazer-gun drive-bys that will surely become a reality when we start colonizing other planets and such. "Crush" is one side of the "Crush" b/w "All City" 12" available November 8 from Ireland's All City Records. And for those who need more Ruckazoid than one track can offer, check out his site/digital music club Listen + Compute where members get full digital access to over 200 songs along with instrumentals, accapellas, stems, and remixes. Told you the future was here.
Alright, guys, we didn't want it to come to this, but you've forced our hand—we've got a few rules to put into action. First off, if we can't type out your band name (never mind song and record titles) with only a general knowledge of how to use a keyboard, you get a strike. And if we can name more than three bands that your music sounds identical to, who have released their debuts less than a year before yours comes out, you get a strike. If you use upside-down or rightside-up crosses, triangles, pentagrams, or hazy imagery anywhere in your artwork or promotional materials (as seen above) = another strike. Lastly, if you deem it necessary to render your nonsensical band name in ALL CAPS (or even all lowercase characters, for that matter), you get a strike. Now that we've covered those bases, it looks like NYC's BL§§D ØU† (formerly Blissed Out, a version only slightly less offensive) strikes out on all fronts. But really, c'mon, guys. We love crunk samples and spooky shit just as much as the next guy, but maybe it'd be in your best interest to try just a tad bit harder to distance yourselves from the obvious comparisons your "§PNNR§" track garners within seconds of pressing the play button. (Incidentally, what's everyone's problem with vowels these days?!)
We haven't heard much from Denmark's Under Byen since their 2006 record Samme Stof Som Stof brought their adventurous brand of art-pop to our attention. Now Under Byen (Danish for "under the city") has a new record and with it a new remix of the title track "Alt Er Tabt" from fellow Danish producer Kasper Bjørke (pictured above). From the onset of the remix, it is clear that Bjørke is not trying to be subtle—this is a house track through and through. A driving bassline is shortly followed by a cowbell, and accompanying percussion carry Under Byen's sparse Danish lyrics. After sticking with the lyrics for about a minute and a half, Bjørke brings in a fat, meaty synth line, breaks the track down, and then gives you what you've been waiting for: some funky Danish instrumental house.
From the eclectic dance-pop sensibilities of Hot Chip's Joe Goddard, along with friend and collaborator Raf Daddy, comes a new musical endeavor, The 2 Bears. The duo's second record is the four-song Curious Nature EP (out now on Southern Fried Records), an exhibition of sounds ranging from electro-tinged house jams to gospel-leaning ballads. The EP's lead track, "Church," gets a dub treatment here by Goddard himself. Explaining how his tweaked version of 2 Bears' poignant tune came about, the producer says, "At the end of mixing 'Church,' we spent an hour just doing passes through the [mixing] desk with various outputs to outboard delays, echo boxes, and other magic boxes. From these takes I pieced together this dubbed-out version of 'Church.'" We're pretty happy he took the time to play with this one.
While we continue waiting for the first full-length album from Eliot Lipp's and Leo123's collaborative production outfit, Dark Party, the duo was kind enough to give us another taste of Light Years' 12-track offering. The sanguine "Can't Stop" is a solid dance tune that sounds like it's built almost entirely on memories; analog synthesizers bubble up melodies in stereo, dusty vinyl samples account for a healthy portion of the beat work, and the vocal clips shouted from the center sound like a woman delivering a hook she can't quite recall. Dark Party's song is a substantial exercise in turning something old into something new, the likes of which we're likely to hear more of when Light Years drops on its new release date, December 7.
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