Taken off the second compilation from Swiss nu-disco acolytes Relish, a release which also features work from Headman and Prins Thomas among others, "10:01" is a sprawling piece of cosmic disco performed by recent label signees, The C90s. The UK duo may have mostly remixes under their belt to date, but on this track, one of their few originals, The C90s sound like they've been nestled in a bed of handclaps, delayed synths, bouncing beats, and funky bass work since birth—only leaving their comfy home to run around with the likes of Holy Ghost!, Tronik Youth, and Todd Terje.
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This tune from Argentinian ragga/hip-hop MC Alika and her band Nueva Alianza, featuring some extra sabor courtesy of cumbia prodigy El Hijo de la Cumbia, has been making the internet rounds for awhile now but it's finally been given a proper release on Sonido Martines presents: Nueva Cumbia Argentina - The Buenos Aires Implosion!, a new compilation on DJ /rupture's Soot label. Curated by record-digger extraordinaire Sonido Martines, the 13-track collection further documents Argentina's ongoing love affair with new, experimental, and electronic cumbia sounds and also offers music from Chancha Vía Circuito, Princesa, Daleduro, scene progenitor DJ Taz, and more.
On 6Blocc's remix of Venezuelan producer Pacheko's bass-heavy "Lockdown" single, the LA-based veteran DJ/producer stays true to the original, slow-grooving bassline and reverberated percussion—only going so far to drop in the occasional double-time beat and a dancehall vocal sample. Taken from the fourth volume of Seclusiasis' ongoing Street Bass Anthems series, 6Blocc's re-work fits well among the record's other lazer-dub tracks by Starkey and DNAEBeats.
A swirl of dreamy arpeggiated synths and sparse percussion lead us into "BEAD," a track taken from budding Brooklyn trio Dinowalrus' debut album, %. The song's hazy electronics, bleating vocal attack, and occasional clarinet squawk create the perfect arena in which the band can unleash its tribal/post-punk fusion reminiscent of The Rapture, albeit on a heavy dose of psychedelics and Tangerine Dream records.
With the advent of ringtone rap and hip-hop singles that all sound alike, it is a pleasure to hear some heavy MCs spitting over beats that are more late '90s than late aughts. LA's Strong Arm Steady crew has been rolling together since 2003, and this longevity is evident on "Get Started," where the internal rhymes, political commentary, and clever roasts pop with unbridled energy. Having Talib on the piece only elevates it further, and with Madlib producing, the deal is sealed: "Get Started" is some tight hip-hop for those who are tired of the tacky electro-commercialism of what is played on most "urban" radio stations. From the upcoming Stoney Jackson album on Stones Throw, produced entirely by Madlib himself.
Legendary disco-funk group the Universal Robot Band is perhaps best known for its break-out 1976 single, "Dance and Shake Your Tambourine," but the large URB crew produced a number of other singles before splitting up, including the epic "Doing Anything Tonight," which guarantees a packed dance floor whenever it's played. Part of URB's legend is intertwined with one of the most accomplished producers and remixers of the dance music era, John Morales. A remixer whose prolific output over the past 30 years has helped many people get on the floor, Morales has a new retrospective compilation coming out, The M & M Mixes, which features his extended club mix of this one-off from URB, who got back together to record the track in 1982. Though not revolutionary in its extension of the original, Morales' mix certainly allows Patrick Adams' synths to shine and gives LeRoy Burgess' voice more urgency, particularly in these times of infernal money trouble.
One of the younger groups from Lisbon's burgeoning kuduro movement, Octa Push has crafted a sound that makes most other bass producers look like 98-pound weaklings. With a ragga underpinning and some lyrical fire from MC Zulu, "Baila Mundo" features some gut-rumbling low-end, a bit of acid squelch, and an infectious chorus. If there's one way to get asses shaking, it's playing this track loud.
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