Keeping tabs on Zomby is no easy task, even though the mysterious UK producer is constantly communicating with the world via Twitter. (If anything, the onslaught of 140-character missives only adds to the confusion.) That said, the sharp-eyed folks at FACT have slogged through his online stream of consciousness and unearthed a few gems, including a brand-new track. The song is called “Devils,” and for the time being, it can be downloaded here. It’s a hyperactive number, one which employs a machine-gun assault of snares while creating an approximate jungle rhythm. At less than 90 seconds in duration, it’s not exactly a complete thought, but these kinds of blasts from Zomby aren’t unusual. Elsewhere on his feed, Zomby has confirmed that he’s collaborating with grime veteran Youngstar, and that his Cult imprint—home to the defining Where Were U in 92?—is going serve as a home for his own “eskimo and straight grime records.” That said, Zomby apparently also has more music for 4AD on the way, as he states that the storied label will be releasing his next album and EP. In other news gleaned from his Twitter feed, Zomby also hates online shopping. There’s really a wealth of information there, one just has to do some digging.
At this point, Enjoying the “Sex Drive” single likely has very little to do with one’s opinion of Jimmy Edgar. After all, the song first appeared on his latest full-length, Majenta, which dropped back in May. On the whole, the LP didn’t offer much in the way of surprises, apart from the fact that it was released on Scuba’s Hotflush imprint. In musical terms, the album largely saw the Detroit-reared producer continuing to refine his sleaze-drenched explorations of various electro-oriented soundscapes, and “Sex Drive” was a solid example of that. Now, nearly six months later, the release of a “Sex Drive” single isn’t likely to change a lot of minds about Edgar, or even garner the original track a lot of extra play. On the other hand, the remixes here—courtesy of Jon Convex and John Talabot—are quite interesting, and are well worth a closer examination.
Of the two remixers, Convex is the one who keeps closer to the original. In truth, his version does offer a little more dancefloor pep, employing a steady kick while boosting the tempo slighty. While Edgar’s original has more of a herky-jerky, stop-and-start feel, its drum patterns harkening back to ’80s electro and hip-hop, Convex is clearly in search of the dancefloor, and he’s created a remix that keeps Edgar’s salacious vocals intact while building a brawny techno undercarriage. Plenty of synths color the mix, but they’re not particularly melodic, as the UK producer prefers to keep things dark and menacing; utilizing a sound palette that borders on a goth/industrial, his rework has an undeniably hard-edged overtone. Overall, it’s an effective effort, and one that will likely appease fans of Convex’s own work and his previous output as one half of Instra:mental. (There’s even a vocal-free “Dub Mix” for those seeking a version without Edgar’s lecherous crooning.) Nevertheless, it’s hard to shake the notion that these mixes of “Sex Drive” are more functional than transcendent; as such, they’re not likely to have much staying power.
In contrast, the remix turned in by Barcelona’s John Talabot is truly something special. Tagged as his “In Aguirre Rework,” the track bears almost no resemblance to the original, as Talabot has deconstructed the song completely. In its place, he’s erected a slow-burning, almost ethereal number full of organic drum sounds, gradual builds, and mere traces of the distinctive vocal. More than nine minutes in length, it’s no stretch to classify the remix as an epic undertaking, one with multiple movements and a powerful emotional payoff. In truth, this version is just as dark as Edgar’s original and Convex’s remixes, perhaps even more so. But where the single’s other offerings are defined by an over-the-top, almost cartoonish sort of fun, Talabot’s effort is weighed down by an unquestionably eerie vibe and a potent sense of foreboding. Even when some big piano chords enter the fray nearly six minutes into the song, the effect isn’t euphoric. At that point, the track certainly becomes bigger and more capable of enveloping the listener in its ominous rhythms, but there’s nothing comforting about the sensation. On the contrary, Talabot’s rework remains somber and melancholy, even during its slowly unfurling crescendo. However, it’s also excellent. Without question, it’s the highlight here, and another example of why Talabot is one of 2012’s most compelling electronic artists.
Marley Carroll has just released his latest tune, “Woodwork,” as a pay-what-you-like download on his Bandcamp. The tune presents a fresh perspective on the realm of bass music, as it begins with a percussive-driven chant of ambiguous origin before suddenly—though smoothly—transitioning into an eerie dubstep-leaning groove. Percussion flutters in the background while spacey, metallic pads envelop the beat, which gradually and continually slows down until it comes to a standstill. Carroll explains the progression of this unique track, saying “[it] was initially going to be a one-off, something to be released as a casual bonus track for people who bought the new, limited-edition print that just came out, but over time, it became much more. I became deeply invested in the song, and now I think it stands alone as a single.”
After last week‘s flurry of developments in the realm of digital DJing, things slow down a bit this week, giving us just enough time to take a closer look at Marc Kinchen’s art of remixing and catch up on a handful of production-related developments.
First, some mobile-minded news:
– The DJ gear powerhouse Vestax announced the impending release of Spin 2, an all-in-one controller designed with software developer Algoriddim to be used with the company’s simply named DJay app for Mac, iPad, and iPhone. The priorities of the Spin 2 seem to be focused on size and simplicity, as everything a budding DJ would want—including cue points, “scratch mode,” FX, and the ability to mix directly from one’s iTunes library—appears to be easily accessible on the compact unit. Below, you can check out a demo video of Vestax’s controller, and head here to dive into further details.
– Earlier this week, Imageline, the company behind FL Studio, posted a video reporting on the progress of the software’s mobile version for Android. FL Studio Mobile already exists for the iPhone (you can check that out here), and from the looks of it, Android users will have the power of the budget DAW in their pockets any day now.
A free SH-101 Ableton Instrument:
– It was a little less than a month ago that we shared some free, sample-based instruments from Frances Préve. Now, the sound designer/DJ/producer has decided to celebrate another milestone in social media (gaining 12,000 Facebook fans) by letting loose another Simpler-based instrument—this time around sampling his own classic analog synth, the Roland SH-101. You can download the fruits of Préve’s labor here.
The art of the MK Dub, in three acts:
– The good folks at FACT managed to make their way into the studio of NY house legend Marc Kinchen (a.k.a. MK) to get a glance at how the man puts together his patented MK Dubs. Split into three separate videos (the last one being almost entirely a Q&A session), Kinchen gives some insight into how he puts together his remixes as he reworks DJ Haus‘ “Needin’ U” while Haus himself occasionally lobs some questions MK’s way. You can check out all three videos below, and if you’re looking to download MK’s finished product, head over to FACT’s site, here.
Seeing as how we’ve got some some unreleased jams, exclusive premieres, free downloads, lengthy DJ mixes, and more from top-shelf talent like Madlib, Hercules & Love Affair, Guy Andrews, Artifact, Simian Mobile Disco, Johnny Jewel, Pachanga Boys, Blanck Mass, and others, today’s edition of Press Play is simply one you can’t afford to miss.
Veteran LA beatmaker Madlib shares some “unreleased, unheard, and exclusive Madlib material” on this month’s mix for Carharrt Radio.
The latest installment of !K7‘s ongoing free EP series arrives with a fresh remix from disco/house revivalists Hercules & Love Affair.
Watch a quick clip of the bombastic live performance and new-fangled light show from the UK pair behind this year’s excellent Unpatterns LP, Simian Mobile Disco.
Today, we’re premiering a brand-new tune from Brighton DJ/producer Guy Andrews, called “Confuted,” before it releases as a part of Funk D’Void‘s new Balance compilation on October 9.
After dropping his Worn EP via Local Action just last week, Bristolian producer Artifact shares another offering, the four-track Burst EP.
Mike Simonetti’s Italians Do It Better label celebrated the fifth anniversary of its influential After Dark compilation by remastering the whole thing and offering it as a free download.
Newcomer Holly Herndon unveils the jittery first leak from her forthcoming Movement LP for RVNG Intl.
Belgian producer Locked Groove (a.k.a. Tim Van de Meutter) just sent over a track he’s been working on, offering to our readers as an exclusive one-off. It’s a bit out of the blue, but we don’t really need an occasion to post a Locked Groove tune—this one in particular, “Affinity,” is reason enough in and of itself. Van de Meutter’s production showcases many of the strengths found in his previous work: “Affinity” opens with some pounding, barebones techno and eventually sinks into softer moments of whirring synths and effervescent basslines, with some faraway and soulful female vocals thrown in for good measure.
Constructing dance beats around chirping crickets is a rare occurrence—if not a first—but it’s exactly what Uruguayan duo Rocha does in the opening bars of “Night Music,” before settling into a cool, midtempo groove and riding it for 10 reverb-drenched minutes of dubby bass, marimba, and psych-rock guitar riffing. The first band to release on International Feel, which also calls the small South American country home, Rocha’s sound is a spot-on summation of the vibe the label is championing—breezy, Balearic chill-out—and of IFEEL024 – A Compilation, a two-disc collection that captures previously limited-edition, vinyl-only releases, rare remixes, and the distinct path International Feel is carving through underground dance music. In fact, if one asked founder Mark Barrott—of Future Loop Foundation fame—what tempo that he liked to live his life at, it would come as no surprise if he supplied an answer around 110 bpm. Many of the releases on his imprint ostensibly groove right there with him, and have been doing so since he founded International Feel back in 2009.
Based around his idea to return something tactile to dance-music releases, International Feel’s offerings are, without fail, a labor of love; they’re finely detailed, well mastered, and often in brilliant packaging. In a recent interview, Barrott said his goal was to create the “Louis Vuitton of vinyl.” Obviously, this also lends an air of exclusivity to many of International Feel’s singles, as many are created in limited runs that aren’t always the easiest to set one’s hands upon. For those feeling this elusiveness, IFEEL024 – A Compilation should come as a welcome addition to the catalog. Nearly half of the tracks included are previously unreleased or vinyl only, while two saw cult-inducing limited runs. One, The Globe’s “Adventure Party,” practically makes up for the purchase price on its own with its riotous combination of twisted 303, gospel piano, and disco swank; it’s no wonder that the song has made its way into the peak of Horse Meat Disco’s sets. The other, Parada 88’s “You’re Gonna Miss Me,” is equally primed for the dancefloor, chopping up the title’s refrain and scattering it over thick analog bass and smack-you-in-the-face handclaps.
While these two sought-after cuts have an undeniable club appeal, the rest of the compilation settles into International Feel’s core sound. Early on in the first disc, Bubble Club sets an easy-going pace with celestial slow-burner “The Goddess,” an effervescent track that floats along with tropical bongos and waves of synths—think pre-split Aeroplane or the sounds of kindred-spirit imprint Permanent Vacation. Returning to organic Balearic house, British producer Gatto Fritto‘s “Invisible House” slinks along much like a production from Todd Terje would, marrying folksy guitar strumming and bursts of dubby sound effects with a bouncy propulsion. Fellow British outfit Coyote faithfully maintains this sun-kissed beach vibe with its remix of International Peoples Gang’s “Second.”
Signing edit legend DJ Harvey was a huge boon for International Feel, and the leftfield Locussolus guise he adopted appears in two very different ways here. First is the cosmic downbeat of Com Truise‘s remix of “Throwdown,” a stark contrast to the eccentric punk-funk gallop of Andrew Weatherall’s rework of “Gunship,” which sees a raspy Harvey ranting about spam and honey-glazed hams over a minimal techno crunch, distorted horn crescendos, and a driving cowbell. This bearded-weirdo sensibility makes for a perfect transition to psychedelic additions like “The Coptic Sun,” a twinkling half-time jam session by label house band IFEEL Studio (the outlet for Barrott’s own work), and “American Dreamer,” a trippy, cosmic meditation by Quiet Village, recording here as Maxxi & Zeus.
Ibiza has come to represent a lot of different things to a lot of different people, but for Mark Barrott and the stable of artists he’s built up over the past three years, it doesn’t seem to be about the mega clubs and foam parties. Laidback, organic sounds and moving at a leisurely pace are at the core of the International Feel mantra. This applies to both the physical music on display and the personality that’s been injected into it. While it makes sense that this same carefree mentality can be cultivated from the seaside town of Punta del Este where International Feel currently resides, Barrott has recently spoken of relocating to the Balearic epicenter off the coast of Spain. Hopefully from there, he’ll be able to continue spreading his alternative gospel on what dance music can sound like. Unfortunately, he’s also been talking about taking a break from label life after the release of IFEEL024 – A Compilation. With any luck, it won’t be for too long, because this release is the first opportunity many will have to absorb what this visionary label is all about.
Israeli producer Guy Gerber is gearing up for a busy end to 2012. Next week, he’ll be releasing the Steady EP via his own Supplement Facts label, and starting in November, Gerber will be kicking off a North American tour. On top of that, the tunesmith has paired up with photographer Martin Zalba Ibáñez, who will be supplying a series of black-and-white cover art photos for forthcoming Supplement Facts records (including Gerber’s), and we’ve even heard whispers of a collaboration with P Diddy. While you wait for all of this news to come to fruition, you can stream the Steady EP and peruse the list of Gerber’s upcoming live dates, below.
XLR8R Couldn't find the embed function for type: "soundcloud" and source: "<embed allowscriptaccess="always" height="225" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Fplaylists%2F2554913" type="application/x-shockwave-flash" width="100%">".
11/21 – New York, NY @ Highline Ballroom 11/23 – Montreal, Quebec @ Stereo 11/30 – Chicago, IL @ Spybar 12/01 – New York, NY @ Provocateur 12/07 – Hyde Park Cafe @ Tampa 12/08 – Miami, FL @ Treehouse 12/09 – Miami, FL @ UR1 Festival
Vancouver-based DJ/producer 22:22 (a.k.a. Juri Gregurec) is set to release his Travel Music EP on October 18 via East Van Digital, and has opted to share one of its four original tunes beforehand. While many up-and-coming producers seem to be blindly writing tunes in halftime to keep up with the recent trap craze, it’s refreshing to hear Gregurec aggressively tackle the seemingly forgotten up-tempo side of 140bpm. “Tap Dance” is a percussion-driven, peak-time banger that wastes no time immediately locking into a four-on-the-floor groove propelled by fluttering congas, indecipherable vocal glitches, and a rollercoaster of swelling synths. Toying with the listener, the Canadian artist breaks the beat up with more vocal rips and an equally lo-fi synth before unleashing his bass- and clave-driven drop.
Last week, we shared a stream of the brand-new Worn EP from Bristolian producer Artifact (a.k.a. Ryan Bonfield), and today he’s returned with a video for one of the record’s tracks, “Drain.” Director Hans Lo took an abstract CGI route for his piece, constructing what looks like a very angular, precise, and mathematical iTunes visualizer. The song’s gummy, dark sounds propel some kind of spaceship as it travels through the abyss, until suddenly the landscape clears and the vehicle seems to be hovering alongside two identical starcrafts over a globe that resembles Earth. Stay tuned for the next installment, as apparently Artifact’s video is “To be continued…”
