The onslaught of sultry and atmospheric dubstep-esque tunes coming from the other side of the Atlantic shows no signs of abating—not that we here at XLR8R are complaining. Here, Hotflush label boss Scuba gets his hands on the debut single from Berlin's Emika, transforming the rumbling trip-hop of her original into an ominous and serpentine labyrinth of skittering low-end. Simply put, we likey.
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Oakland's Souls of Mischief are finally returning with a new album after almost ten years away. The flows have never stopped, though, as "Proper Aim" finds the quartet of MCs elegantly spitting while Prince Paul's jazzy, old-school production style helps the piece maintain a refined sense of what hip-hop is really about: dusty drum loops, great samples, and excellent vocalized poetry. Culled from Montezuma's Revenge, which comes out today, "Proper Aim" also has a new video which fans can peep here.
As one half of prog-horror instrumentalists Zombi, drummer A.E. Paterra knows his way around propulsive rhythms and analog synths, not to mention epic songwriting. Here, the Pittsburgh musician uses the name Majeure to focus on his sci-fi-obsessed cosmic-disco efforts with the 13-minute jam "The Dresden Codex." It's a stunning opener for Paterra's debut album, Timespan, as it starts slow with spacey, arpeggiated melodies and cold atmospherics that recall Tangerine Dream's Risky Business movie score before morphing into a beat-heavy, analog synth explosion rivaling just about any song written by his other band.
With a slice of cut-up and tweaked electro in hand, French producer Golden Bug has joined the Bang Gang ranks with the release of his Assassin 12-inch. The title track, which brings to mind elements of fellow countrymen Justice and the bi-coastal Lazer Sword, uses chopped and pitched vocal loops, funky basslines, and swelling horns to compliment the song's terse beats—making for a head-nodding number that's sure to set off some dancefloors in the near future.
Swiss dancefloor stylist Headman teams up with Yello's Deiter Meier for a grooving, sample-filled post-disco number. Then, Brooklyn's In Flagranti bring up the melodic Italo synths, give the kicks some extra padding, and cut out much of Meier's vocal, creating a disco-house monster that could easily fit into a set with The Juan Maclean. A burner if there ever was one, this one will be playing loud at a lot of New Year's Eve celebrations.
The Toronto duo of Bonjay certainly know how to make dancehall, but they also know how to make it extremely weird—"Gimmee Gimmee" sometimes features more than three different vocal phrases happening simultaneously, not to mention gauzy distorted elements and an orgasmic, delayed scream at the end that reverberates long after the track is over. The group's just-released EP also features remixes from Grahmzilla of Thunderheist, Poirier, and Smalltown Romeo, so there are plenty of reasons to jump on this new group.
Sometimes, a remix sounds so little like the original that it's a bad thing, and sometimes, the opposite is true. Zombie Disco Squad's remix of Swedish pop wunderkind Erik Hassle falls firmly into the latter category, as it takes an embarrassingly derivative piece of emotional schlock and transforms it into a house track that includes bits recalling Derrick Carter's vocal cut-ups on his remix work. We're sure that Hassle fans won't be into the remix as much as we are, but then again, they're probably too busy crying in their rooms to notice that the remix exists.
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