What's most exciting about the LA-based artists, like Oscar McClure, matthewdavid, and others, on the Leaving Records roster is their seemingly insatiable urge to turn their hometown's electronic music scene on its head. While McClure focuses primarily on the textures of his beat music and label head David writes tunes sounding like an R&B hit submerged underwater, yuk. takes a more straightforward route with his compositions, but he makes them sound like they come from a time and place you've never even heard of. In the same vein as Flying Lotus or Shlohmo, "adept-ation for Dev"—and the rest of the album it comes from, A D W A—is a Dilla-referencing beat suite set among birdsong, inundated with vinyl crackle, washed over with lo-fi fuzz, and compressed into oblivion. This production doesn't just sound like it came from another era; it might have been made on another planet.
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Today, one of our favorite new labels, Local Action, dropped the debut effort from NY tunesmith Svpreme Fiend, the Killer EP. (You can actually purchase the vinyl here.) Though this track isn't from that hotly tipped release, "Heartache VIP" holds the same cold, lovelorn aesthetic as the four songs that did make it onto the record. Comparisons to Burial, Zomby, or Joy Orbison may have reached levels of redundancy at this point, but for Svpreme Fiend, they remain apt. As this track and the new EP show, the elusive producer has quite effortlessly joined the ranks of post-garage music's finest.
So apparently, a few dudes from Glasgow—who happen to be buds with the LuckyMe gang—got together to start a music blog, which, they say, "[is] built on a shared love for strange electronic music, new technologies, gadgets and Chris Morris." A large number of well-regarded posts later, and the burgeoning music hub, called Phuturelabs, has decided to start a record label. For the first release, Phuturelabs is dropping a two-song offering from elusive UK producer Wira, one track of which we've got here. A-side tune "Vloeitjes" is a shuffling number full of undulating low-frequency, hollow percussion sounds, and a bounce uncharacteristic of such a moody piece of dance music. You can snag this production and its companion piece, "Playground," in 320kpbs MP3 format from the Phuturelabs website on September 13.
The first official record for both NY witch-house producer Balam Acab and the Tri Angle label, the See Birds EP is turning out to be quite the proverbial 'feather in the cap' for all parties involved—not to mention the burgeoning genre itself. We've already heard a few of 18-year-old Alec Koone's tunes, and now we're treated to another before his EP drops on August 16. "Regret Making Mistakes" shows Koone working diligently with a delayed Banjo loop, buzzing basslines, slow-stuttering beats, and a number of twinkling, atmospheric melodies, all wrapped around a haunting, operatic vocal sample. And despite the meticulous labor spent tweaking each found element, Acab's production isn't overwrought with flashy effects pleading for your attention—as a whole, the song sublimely commands it. (via Pitchfork)
We recently posted a track from Jesu-frontman-turned-solo-artist Justin K. Broadrick (a.k.a. Pale Sketcher), and now Ghostly has offered us all another taste. "Can I Go Now (Gone Version)" is the first official single from Jesu: Pale Sketches Demixed, and is certainly the closest thing to an uplifting song that we've yet to hear from Broadrick. Angelic synth tones cut through harmonious ambience, floating next to his simple, crunchy rhythms and the subtle vocal melodies the singer vocoded into unintelligible statements. From what we've heard thus far, Pale Sketcher has created a style not unlike the soundscapes from past M83 albums, but while leaning heavier on the dark, industrial nature of his lengthy background in droning metal bands.
This ain't necessarily our usual steez, but we just couldn't resist the old-school Basement Jaxx sound Peo de Pitte has bestowed upon DrumAttic Twins' "Crazy Love" tune. Actually, this track is an edit of Pitte's original remix of "Crazy Love" (incidentally, we've never heard the original, nor can we locate it), bolstered by a few snippets from "Disco's Revenge" by Gusto and some cut-and-paste modifications from the remixer himself. What emerges on the other side is a stuttering, hyperactive club track we'd most likely rewind at our next subterranean massive—you just can't deny the power of that hook's descending melody.
We wouldn't rush to say that "Asia"—the second song to drip off of Salem's much-anticipated debut album—is our favorite tune from the 11-track King Night, but if ever radio stations could be welcoming to such twisted amalgamations of goth, shoegaze, industrial, and rap music, the trio might find a good single here. And that's primarily because the band's oft-disturbing lyrical content is rendered completely indecipherable (so the FCC will leave them be), though, that's bolstered heftily by the phantasmic synth melody, which somehow overpowers the song's smash of distorted drum-machine beats to tip "Asia" further onto its 'beautifully creepy' side. We're not imagining any Nine Inch Nails or Skinny Puppy scenarios here, but maybe, one day, Salem could eventually reclaim the misdirected angst of certain sub-cultures and turn it into something that transcends the stubbornness of contemporary pop culture. Here's to dreams.
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