With less than a week left before his Wave 1 EP drops via Ghostly (streaming in full here), synth maestro Com Truise has unleashed a brand-new remix. Tasked with reworking Weeknight's "Dark Light"—from the NYC pair's upcoming Post-Everything LP for Candian label Artifical—the East Coast producer peels back the original tune's layers of crisp distortion, electing to open up the song to a more galactic soundscape where the producer's trademarked brand of uber-compressed drums and '80s-inflected synth tones take the lead.
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D / P / I, one of many aliases from Alex Gray (perhaps best known as a member of the Sun Araw Band), has issued a new cassette called 08.DD.15 via Matthewdavid's Leaving imprint, from which "10" has been pulled. A sleek, Mille Plateaux-reminiscent cut, "10" is the kind of track that seems to toy with its listeners. On one hand, the song's swimming chords and hi-fi percussion appear to beg for us to nod our heads to and fro, but "10" never actually locks into a particular pattern—hesitating, glitching, and morphing into new shapes and sizes with almost every bar. Sometimes it can feel as if Gray's new cut was the result of the producer running his track through a slow buffering process, but still, there is something inexplicably alluring to the fact that the tune is so hard to follow despite always seeming on the verge of revealing its hidden code.
With RSVP Tapes readying the release of its upcoming Aces compliation on February 14, we're treated to Portland-based producer Gulls' contribution to the tracklist, "Harmonic Mind." The elaborately textured production subsists on warm percussion and waves of colorful synths, working together to create a lush atmosphere. A barely there bassline and soft hi-hats are just noticeable enough to be heard in Gulls' mix while also keeping "Harmonic Mind" uncluttered and harmonically balanced. A new psyched-out video for this spacey track from Gulls can be found after the jump. Read more »
Oscar Key Sung's "All I Could Do" highlights a wide array of bright textures with vibrant synths and intimate vocal snippets, using his own emotive voice to lead the charge. Australian duo Alba diverges from this path with its mellowed rendition of the song, and captures the smoothness of the original production while trimming it into a slick, minimalist groove. The pair takes a very meticulous approach to "All I Could Do (Alba Remix)," trading out embellished synths for jazzy keys which offer a soulful vibe.
Somewhat ironically, Sleepyhead's bluesy "Untitled" serves as the titular track of the NYC producer's forthcoming EP for ASL Singles Club, a brand-new label helmed by ex-LOL Boy Markus Garcia (a.k.a. Heartbeat(s)). Having released material via Trouble & Bass and Embassy in recent years, Sleepyhead's forthcoming Untitled EP (out on February 18) appears to see the burgeoning talent delivering his most straight-up house material, of which "Untitled" falls perfectly in line. The tune is a swimming piece of deep house sprinkled with an assortment of re-pitched vocal samples, a production which cuts through its lush layers of dusty chords and spiralling arpeggios with an understated shuffle. Sleepyhead also manages to mix in a few subtle layers of looped party noises and hand claps as well, and to great effect.
London-based producer My Eastford Soul returns to XLR8R with another fresh single, the soothing house of "Falling Right." His new production opens with a candid beat, evolving into a playful groove as buoyant synths and a brightly popping bassline add to the warm blend of textures. Near the three-and-a-half-minute mark, My Eastford Soul's instrumentation fades out, making way for a beautiful break that features glossy keys heralding the return of "Falling Right"'s wealth of harmonious sounds.
German imprint Shtum has broadened its fledgling discography with a brand-new, techno-charged release by Yør, appropriately called Shtum 003. Featured here, EP cut "Ritus" finds the Hamburg-based producer creating a pattern of stimulating synth flares, pulsing four-to-the-floor surges, and carefully placed vocal snippets. Yør keeps his production clean and minimal on the mechanized tune, retooling spoken words to sound more like inorganic instruments than a human voice.
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