Press Play: Matthew Dear, DOOM, Maceo Plex, Nosaj Thing, and More

A ton of great music appeared on the internet as streaming audio and video this week, and from excellent sources, too. There are track premieres, video interviews, high-profile remixes, fresh original productions, music videos, and more from artists like Matthew Dear, Maceo Plex, Clams Casino, Nosaj Thing, DOOM, Vessel, The Gaslamp Killer, Fred P, D33J, and Mike Simonetti, among others. All of the sights and sounds of this week’s edition of Press Play are waiting to be experienced after the jump.

As a teaser to his upcoming collaboration with Radiolab’s Jad Abrumad, Ghostly mainstay Matthew Dear shared this enticing clip of sights and sounds from their forthcoming broadcast.

In what seems like a dream collaboration, East Coast producer of the moment Clams Casino and iconic metal-faced MC DOOM do what they do best on “Bookfiend.”

Check out this quick—and flashy—video interview with tech-house giant Maceo Plex about his brand-new DJ-Kicks mix CD.

LA beatmaker Nosaj Thing gives the latest single by Trent Reznor’s How to Destroy Angels project a much-welcomed makeover.

The Gaslamp Killer went to a remote location around Prague to film his eerie music video for “In the Dark” inside of a medieval crypt.

UK up-and-comer Vessel has issued his remix for fellow Bristolian Hyetal, a patently clattering and industrial-tinged version of “Northwest Passage.”

Continuing with remixes, D33J’s “Park (Tape Version),” a track which XLR8Rpremiered last month, received a bit of a rework from Jerome LOL.

And here’s yet another alternate take on an original production, this time with Hackman remixing Robert Delong’s “Global Concepts” track.

Today, Fred P (a.k.a. Black Jazz Consortium) is premiering his contribution to Steffi’s forthcomingPanorama Bar 05 mix, the appropriately austere “Project 05.”

Vondelpark dropped a brand-new video this week, a joyous and sunshiny clip for the ultra-smooth “Always Forever” tune.

On the more unexpected side of the new music to appear this week, Italians Do It Better label boss Mike Simonetti has dropped a brooding remix of “Madmen Love,” the new single by Grecian indie-pop outfit Keep Shelly in Athens.

Finally, UK artist Bibio released this nostalgic new video for the lead single from his upcoming Silver Wilkinson LP, “À tout à l’heure,” a piece which he directed himself.

MightyHor “Walk in Stomp (The Crane Remix)”*Skrufix*

There is hardly any detailed information to share when it comes to MightyHor, but perhaps more is on the way now that the London producer has just dropped his debut single, “Walk in Stomp,” via the fledgling Skrufix label. Here we have a free download of the single’s b-side remix, an infectious 2-step version of “Walk in Stomp” from Berlin-based producer The Crane, who takes the original tune’s techy, well, stomp into slightly deeper territory.

Walk In Stomp (The Crane Remix)

Video: Portable “Albatross”

Though it first surfaced six years ago, Portable‘s “Albatross” track resurfaced this week with the release of the Albatross Remixes 12″, which backed the original production with a pair of new reworks from Detroit luminary Anthony “Shake” Shakir and Bristol forward-thinker Kowton. Now, “Albatross” itself has received the video treatment. A plethora of appropriately sea-friendly images appear behind Portable as the Berlin-based producer/vocalist leads the video’s subdued vocal performance, at times even landing on the poignant question, “Which way?” as a school of fish seem to be contemplating the same exact thing just behind him.

Myndst8 “On the Other Side”*Raw Aquatic*

Jamie Scott (a.k.a. Myndst8) is a budding London-based DJ/producer who crafts old-school-flavored tracks which land somewhere between breakneck garage and deep house. “On the Other Side”—which is set to be released via the producer’s own Raw Aquatic label on May 23—is a fine example of such, taking shape as a bass-loaded, slightly swung number with plenty of on-point stabs and a killer vocal sample to boot.

On the Other Side

Secret Circuit Tactile Galactics

Eddie Ruscha recorded his first project as Secret Circuit in 1995 on a four-track cassette. Entitled Cosmic Sword #1 (and now up on his Bandcamp), it contained a handful of wonky, lo-fi, electro-acoustic jams where psychedelic guitar riffs circled around bubbling drum-machine beats. In the years since then, Ruscha has overseen a quietly prolific career; he’s self-released a series of cassettes and composed an LP for Emotional Response under his Secret Circuit moniker, and has worked on projects with Rub N Tug‘s Thomas Bullock and disco stalwart DJ Harvey. Tactile Galactics is his first LP for Tim Sweeney‘s Beats in Space label, and it feels like his most polished and approachable record to date.

Two of the tracks, “Afterlife” and “Nebula Sphynx,” were previously released as singles on Beats in Space, but Tactile Galactics is the first full-length release for the fledgling label. The LP displays the solid pop sensibility that Ruscha has cultivated over the past two decades, something that’s particularly strong on “Words in Transit.” The song floats a reverb-heavy vocal hook over a tidy house beat decorated with sparkling piano keys and squelching, chirping instrumentation. Similarly bright and accessible are “Higher Heights” and “Afterlife,” which feature twinkling keys, floating lyrics, and swirling synth melodies. Even the album’s moodier tunes are shiny and orderly; although “Escargot” focuses on a growling low end that drives a headier and more intense trippiness, the arpeggiated melodies still glisten and waggle. “Exalter” follows a similar pattern; despite its menacing edge and dark, dramatic instrumentation, the track still sounds sharp and polished.

Tactile Galactics‘ cleaner, more precise aesthetic makes the album a less experimental and more pop-driven proposition than Ruscha’s early compositions. The playful, explorative energy on his cassettes has matured into a glossier sound, but he still has a penchant for wandering psychedelic solos and abstract noodling. For instance, “Deep Stations” dissolves into a twanging murk, but it’s contained by Ruscha’s tight songwriting and inviting polish. Overall, Tactile Galactics is a confident album, even if it sounds a little safe when compared to the weird tunes Ruscha put out in the past.

Irrespective of this aesthetic, there’s no denying that Tactile Galactics is constructed from a traditional house toolkit. Most tracks, like “Afterlife” or “Parascopic Rope,” roll out airtight beats and squelching acid-house basslines. The music may have a certain sheen, but it’s a product of Ruscha’s experienced hand, not a misstep. The songs on Tactile Galactics may be less sloppy than the ones on those old cassettes, but they’re ultimately just as warm, inviting, and good natured.

Kode9 “Xingfu Lu” b/w “Kan”

One of the things that has always been particularly likeable about Hyperdub boss Steve Goodman (a.k.a Kode9) is that the progression of his own music seems to be linked to the curation of the label in a very natural way. The development of his productions—from his early experiments at the more spacious end of dubstep to the grime and synth-led funky of 2011’s Black Sun—has followed an arc that vaguely matches the progression and growth of the Hyperdub roster. That’s not to say that one is necessarily a reflection of or the direct product of the other, but there has always been an obvious organic back-and-forth of influence between the two. As such, while this latest double-header release—Goodman’s first in about two years—may be something of a departure from his Black Sun-era output, it feels like a natural and not unexpected evolution. Both “Xingfu Lu” and “Kan” see the UK veteran embracing traits that have been prominent in Hyperdub releases over the past 18 months—from the juke-inspired rhythms of DJ Rashad to the melodic flexibility of Laurel Halo—and, as a result, the record feels like a strong representation of Goodman’s empire as a whole.

A-side “Xingfu Lu”—which takes its name from a street in central Shanghai—has been kicking around in various incomplete forms for more than a year now. It’s a deceptively utilitarian track; on first listen, its make-up of 150-bpm percussion, half-time kicks, and rhythmic sampled chords feels like a lot to take in, belying the fact that beneath its complexity, there are actually only actually a handful of core elements driving the tune. Goodman uses these elements skillfully though, creating a sense of unfamiliarity via shifting percussive patterns and unusual melodic progressions while keeping the whole thing fixed to a propulsive, danceable backbone of bass-heavy kicks.

Still, “Kan” is probably the highlight of the two tracks here. It’s built around a similar concoction of frantic percussion rhythms over a pulsing half-time beat, but Goodman expands his sound palette to deal in fractured real-world samples and tense synths. The clinking sound of drinks being poured and distant vocal syllables mingle with an energetic drum-machine rhythm to create an oddly haphazard-sounding beat. Beneath it, at the track’s core, is a revolving mix of synth lines, which flit between wiry rising effects, hyperactive arpeggios, and heavily filtered chords, giving the whole thing a mesmerizing feeling of volatility.

The most pleasing thing about both tracks, however, is that each genuinely sounds a little alien and adventurous. Given that the past couple of years have seen Goodman’s own production work take a backseat to the broadening and expansion of the Hyperdub roster, the release serves as a nice reminder of just how much of an innovator Kode9 can be.

Uproot Andy Launches Label, Offers Free Mix

While global bass may not exactly enjoy the same high-profile status it once did within the realm of underground electronic music, there are still many quality producers, DJs, and labels exploring the hybrid possibilities of electronic-minded Latin and tropical dance music. Uproot Andy is one such artist still pushing the boundaries, and with his monthly Que Bajo?! party now in its fifth year, Andy and partner Geko Jones have decided to launch their own imprint under the same name in an attempt to “share the sound of the party with a global audience.” To spread word of Que Bajo?!’s new label endeavor, Uproot Andy has put together an hour-long mix consisting mostly of his own remixes for the imprint’s forthcoming efforts, most of which are said to eventually see a free release via Que Bajo?!’s website in the coming months. The introductory Worldwide Ting mixtape can be streamed and downloaded via the player below; the mix’s full tracklist has been included below as well.

01 Uproot Andy “Worldwide Dembow (ft. Pablo Piddy)”
02 Grupo Socavon “Homenaje a Justino (Uproot Andy Remix)”
03 Galileo y Su Banda “El Forastero (Uproot Andy Remix)”
04 Khaled “Raba Raba (Uproot Andy Remix)”
05 Les Rapaces “Bassoue (Uproot Andy Remix)”
06 Frikstailers “Guacha (Uproot Andy Remix)”
07 Fania All Stars “Lamento de un Guajiro (Uproot Andy Remix)”
08 Los Cojolites “Luna Negra (Uproot Andy Remix)”
09 Estrellas de la Kumbia “Camino a Colombia (Uproot Andy Remix)”
10 Mulatu Astatke vs. K’naan ft. Mos Def “America (Uproot Andy Remix)”
11 Mahendra Kapoor & Suresh Wadekar “Sada Vasda Rahe Punjab (Uproot Andy Remix)”
12 Les Wanyika “Sina Makossa (Uproot Andy & Chief Boima Remix)”
13 Siba e A Fuloresta “Bonina (Uproot Andy Remix)”
14 Kabaka International Guitar Band “Mangala Special (Uproot Andy Remix)”

John Tejada Readies New Single for Kompakt

After issuing his Parabolas full-length via the Kompakt label in 2011, Los Angeles-based techno veteran John Tejada has been a staple of the label’s roster ever since. It appears this ongoing partnership is set to continue well into 2013, with the announcment of Tejada’s forthcoming “Somewhere” b/w “Elsewhere” single, which will drop via Kompakt later this month. Billed as a “double-headliner” 12″, the single is said to house a pair of “razor-sharp” productions which focus more on the dancefloor than Tejada’s gear-obsessed LP from last year, The Predicting Machine. “Somewhere” b/w “Elsewhere” will drop on May 27; its artwork is included below.

Tythe “Careless Woman (Lapalux Remix)”*Sunday Best*

Although “Careless Woman” is the first official single from London producer Tythe (pictured above), he’s already landed the seal of approval from fellow UK artists Lapalux and Throwing Snow, who each issued their own remixes of the track. Featured here, Lapalux’s version opens in a fog of ambient noise and humming pads. In keeping with his distinct style, the Brainfeeder affiliate’s stoney haze eventually coalesces around a deconstructed hip-hop beat decorated with glittering keys. Tythe has offered up the rework to whet our palettes before it’s officially released alongside the original “Careless Woman” tune and Throwing Snow’s remix on May 19 via Sunday Best.

Careless Woman (Lapalux Remix)

Dro Carey Preps EP for Trilogy Tapes as Tuff Sherm

The last time we heard Dro Carey operating under his house-minded Tuff Sherm alias was late last year when the Australian producer dropped an LP’s worth of productions from the project through his own Bandcamp. Now, Carey has shared plans to issue a new EP as Tuff Sherm via the Trilogy Tapes imprint. Entitled the Burglary Loops EP, the forthcoming record marks the project’s return to the label, which issued—and quickly sold out of—Tuff Sherm’s Pharmacy EP last fall. No official release date or complete tracklist for Burlgary Loops has surfaced yet, but a stream of the record’s title track can be heard below. (Juno Plus)

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