Space travel isn't a new theme for the burgeoning beat scene, but few seem as focused on exploring such inspirations as LA's Ras G (& The Afrikan Space Program). His latest bass-driven intergalactic escapade, "Breakfast Blunts," comes from the third installment of the All City label's ongoing 10" series dedicated to So Cal's head-nodders, on which he shares wax space with fellow Brainfeeder Samiyam. On "Blunts," a crunchy beat gallops along with an arsenal of distant transmissions from who knows where always floating along at its side. Ras eventually joins the company of someone who sounds a lot like Chris Tucker ranting indecipherably before taking off again to discover new sonic realms.
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The folks behind SF's Icee Hot party—Low Limit, Ghosts on Tape, Rollie Fingers, and yes, XLR8R's Disco Shawn—have already made waves by importing talent from the ultra-fertile UK funky-post-future-whatever scene, but now the guys are coming correct with their internet game. They've tapped Austin's Dubbel Dutch (pictured above), who happens to be headlining the next Icee Hot on Saturday, April 24, to cough up an exclusive track, an edit of Silkie's "Quasar." You can download the cut-and-paste wonky synth stormer here, or find it over on the Icee Hot Soundcloud alongside mixes from the residents and former guest DJs.
Gomma co-owner Telonius might be more well-known for crafting electo-infused post-disco gems, but the original of "Hit Me" is more likely to find acclaim among slow-motion disco fiends who are waiting for the next Lindstrøm track to drop. With its brash bassline, bright synth harmonies, and wet percussion, the track sounds like a lost gem from those heady days of the '80s, when electro and house were taking over from disco but techno hadn't invaded the electronic landscape yet. The fun, somewhat absurd Italo-style vocals and hypnotic synth flourishes seal the deal: "Hit Me" is a throwback piece in the best sense of the term, and is just perfect enough to be placed next to Freeez or Baldelli's latest cosmic offering.
Another stand-out remix from the just-released Ghostly compilation, The Horizon Line/Ghostly By Night, Paul White's version of Mux Mool's "Wolf Tone Symphony" ups the original's hip-hop vibe quite a bit. In fact, you'd almost expect the track title to come with an "(Instrumental)" tag; the shuffling rhythm of White's reworked beat sounds is dying to be rhymed over. Only vocal samples are present, however, but White properly fills in the available space with enough melodic synth work to make up for "Symphony"'s lack of fiery cadence.
Yokohama's BD1982 has a new album out now, and if the title single below is any indication, Let's Talk Math promises to be one of the most interesting funky, bass-driven records of the year. Featuring heavily-delayed synth-guitar plucks, lushly-vocoded vocal elements, and a daring near-tribal percussion sound, "Let's Talk Math" is fluid enough that it could fit into anything, from a Villalobos set to a Starkey mixtape. BD1982 performs quite a feat here, proving that bass music need not always contain subsonic throbs to work wonders on a dancefloor.
Though the vocal sample might be a bit tired—after all, we don't really need to hear another asshole intoning about the awesomeness of money—the instrumental elements of both Tom Trago's remix are jacking enough to make up for it. Trago's remix is especially nice, as it takes the more minimal stems of the original and transforms the piece into a Chicago-style electro-house track with a nice shuffle moving throughout and a shimmering synth apex that recalls The Youngsters' "Rock to the Bit." In the end, the vocals on the "The Wallet" make it a great track to get early crowds onto a dancefloor, but an instrumental version of Trago's remix would also be welcome.
Many words come to mind when first listening to the title track of the latest EP from Robot Koch, Listen To Them Fade, but "massive" seems to stand as the most appropriate. Booming toms, kick drums, and all sorts of percussive sounds and unfamiliar utterances start things off—sounding like the beginning of a ceremonial sacrifice on Mars—before the song eventually morphs into a more recognizable dubstep banger. Mexican singer Grace's soulful voice is featured prominently through "Fade," and acts as a sort of connection between the real world and Koch's tumultuous sonic environment.
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