Tussle to Release Long-Awaited Fourth LP

San Francisco quartet Tussle is set to follow its 2008 album Cream Cuts (not to mention its 2011 split EP with Trans Am drummer Publiscist) with a full-length record to be released this fall through Smalltown Supersound. The krautrocking, disco-repping outfit traveled to Glasgow to record the album with JD Twitch, one half of DJ/promoter/production duo Optimo, and will call their fourth full-length Tempest. Tussle’s seven-track LP is set to drop on September 25, but you can stream new tune “Eye Context” (a play on their 2003 single “Eye Contact”) below, where you can also find the album’s full tracklisting and artwork.

1. Yume No Muri
2. Moondog
3. Cat Pirate
4. P44
5. Eye Context

6. Yellow Lighter
7. Lightly Salted

Arca “Manners”

South American producer Arca has shared with us this cut, a soaring and serene track that will serve as the coda to his forthcoming album, Stretch 2 (artwork above). The record follows the free Stretch 1 EP, which, you may recall, caught our attention with this creepy video, not to mention its (lack of) cost. “Manners” is radically different from the dark, beat-driven productions we’ve previously posted by the producer, and instead employs a laid-back rhythm with melodies and textures that sound practically new age. After the jump, you can take a look at the tracklisting for Stretch 2, which comes out through UNO on August 6.

1. Self Defense
2. Fortune
3. Maiden Voyage
4. 2 Blunted
5. Tapped In
6. Strung
7. Brokeup
8. Meditation
9. Manners

Manners

Nina Kraviz Aus

On the mic. This is a phrase that can easily strike panic into the hearts of any respectable house-music fan, as imaginations run wild with cringe-inducing thoughts of hip-house atrocities. It was definitely the first thing that came to mind when seeing that Siberian deep-house maven Nina Kraviz‘s latest single, “Aus,” featured King Aus… on the mic. Well, your shoulders can relax, because the finished product is a tasteful spoken-word dance meditation, something fine-tuned for late-night dancefloors and fit to be counted alongside tracks like DJ Le Roi and Roland Clark’s “I Get Deep”—a classic that Get Physical just re-released with a new batch of remixes (none of which rival the original). Granted, “Aus” may not quite be on that level, but it is a faithful recreation of an earlier era in house music.

With King Aus’ declarations to “free your mind” and “release yourself,” Kraviz’s original harkens back to house music’s more spiritual days, when parties like Body & SOUL and artists like Osunlade thrived, a time when the music was as much of a communal force as it was four-on-the-floor stimulus. In that spirit, Aus states, “the dancers are really the ones that push the beat,” his bassy monotone incantations riding over a beat that would make Charles Webster proud while deft Rhodes work from Kraviz adds both bluesy call-and-response flourishes and a church-like warmth. It’s been awhile since a track has gone so far to harness house music’s higher calling, but Kraviz has done it here.

For all the delicate qualities Kraviz brings to the nuanced cadence of “Aus,” the accompanying remixes are ever-so-slightly heavier handed—but are no less dynamic in their treatment of the source material. British producer The Rhythm Odyssey adds just the punchy touch the track needs to really have an impact in a club, funking up the beat with heavier kicks, vintage Chicago bass, and a healthy injection of 303 acid, leaving Aus’ vocal refrains mostly intact. His interpretation takes you back just like the original does, but to a different place in time—maybe even multiple places if you count the roller-rink-disco coda he tacks on at the end. The last-minute addendum adds such a great new aspect to his remix, it’s a bummer that it comes so late in the game. It’s almost an afterthought that, fleshed out further, could have become a potent remix all its own.

Rekids frontman Matt Edwards and DJ Qu are also on hand to stretch things out into deep, melodic affairs. Cool synth chords lend Edwards’ stripped down rerub an ethereal quality as layers of percussion klack and stutter along, the Radio Slave man acting as techno’s Lee “Scratch” Perry, singling out funk squawks, tribal calls, and the echoing shutter of a camera as auxiliary percussion to play prominently over an otherwise dubwise treatment. Qu, on the other hand, moves the farthest away from the original, leaving only ghostly traces of its verses and whispers of its inspired aura. It’s got a rich groove, laced in equal parts with Detroit-style drum patterns and atmospherics akin to those favored by Dixon, Âme, and the Innervisions label. Qu’s take is also the record’s most hypnotic inclusion, adding much-needed futuristic diversity to the package, especially since the original evokes such strong nostalgia right out of the gate.

Royal-T Announces LP for Rinse

Rinse FM radio host and Butterz cohort Royal-T (a.k.a. Mark Taylor) released his first record for the radio station’s label earlier this year, a two-track 12″ called Number One (check our review here), and now, he’s been tapped by the imprint for a full-length record. The Southampton-based tunesmith’s album, Rinse Presents: Royal-T, follows 2012’s other Rinse LPs from Brackles and Roska, who makes a cameo on Royal-T’s “Work Your Body.” The 10-track offering also includes appearances from P Money and Terror Danjah, and showcases the brash genre-bending grime, dubstep, and garage hybrid that Royal-T and his Butterz cohorts have championed over the years. Before Rinse Presents: Royal-T drops on September 3, you can check out its artwork and tracklist below.

01 Cruel To Be Kind (feat. P Money)
02 Inside The Ride
03 Music Box (feat. Terror Danjah)
04 Gully Funk
05 Missing Aurora
06 Work Your Body (feat. Roska)
07 Don’t Call Me Baby
08 Music Please
09 Space Cowboy
10 You Saved Me

Shoot the Ghost “Love Rain Down”

When we received some tracks from a mysterious producer by the name of Shoot the Ghost—whose sparse website gives no real indication of a concrete identity aside from a homebase in the UK—our minds instantly turned to some of bass music’s other enigmatic personalities from recent memory. Names like SBTRKT or Zomby, who go to great lengths to ensure that they aren’t seen without their signature masks, came to mind, among a myriad of other anonymous tunesmiths. One might ask why this phenomenon is so prevalent in bass music, and as SBTRKT would say, it’s about “giving the world something to sell that wasn’t just my own face and name,” or, in other words, letting tracks speak for themselves. And that’s exactly what Shoot the Ghost is doing on “Love Rain Down.” As an R&B sample repeats “love rain down on me,” the enigmatic producer warps and cuts up the phrase into energetic vocal chops, punctuating it with wonky synths. By adding spurts of bass and shuffling drums, Shoot the Ghost morphs the originally wistful phrase into something entirely dancefloor-friendly.

Love Rain Down

Video Premiere: Monster Rally “Honey”

XLR8R Couldn't find the embed function for type: "vimeo" and source: "<iframe src="http://player.vimeo.com/video/44227406" width="530" height="225" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen=""></iframe>".

With another summer comes another outdoorsy video, this time from Columbus-based lo-fi beatsmith Monster Rally (a.k.a. Ted Feighan). Like last year’s video for “Surf Erie,” the clip for “Honey” records a camping trip in which couples canoodle, boys jump in rivers, and the overall mood is easygoing and carefree. Both the carefully edited, color-corrected video and the tinkling, slow-moving song offer up healthy doses of nostalgia-in-action, as if the campers are already remembering the trip even as it’s happening. Monster Rally released “Honey” last week, along with the 17 other tracks that make up his second LP, Beyond the Sea.

B-Ju “Taurus”

For his third EP of 2012, German producer B-Ju is dropping an animal-themed record of club music that lies somewhere in the mysterious nether regions between garage, bass, techno, and house. The five-song EP is titled Eclectic Zoo (artwork above), and contains three original tracks that boast the beastly titles “Bird Call,” “Cry Wolf,” and “Taurus.” Like most of B-Ju’s work, “Taurus” displays detailed percussion, specifically, skittering hi-hats with syncopated kick and snare patterns. Chopped vocals and regularly spaced piano stabs feature prominently on the tune, although both take a backseat to synth pads and heavy bass as the song progresses. You can get your copy of Eclectic Zoo, which also includes remixes from 123Mrk and Tete de Tigre, on July 9 when it comes out through Squelch & Clap.

Taurus

Com Truise Prepares New Collection

Though we didn’t exactly champion Com Truise‘s first LP for Ghostly, Galactic Melt, we still found plenty to enjoy about his neon-hued concoction of nostalgic beat and synth work, so we’re pleased to discover that producer Seth Haley will drop a so-called “new collection” of music next month. The 13-track compilation features a variety of early recordings that have yet to see the light of day, and purportedly provides “a fascinating insight into the development of the distinctive Com Truise sound.” Before In Decay drops on July 17, you can hear its opening tune, as well as check out the artwork and tracklist for the LP, below.

1. Open

XLR8R Couldn't find the embed function for type: "soundcloud" and source: "<embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F48609119" type="application/x-shockwave-flash" width="100%">".

2. 84′ Dreamin
3. Dreambender
04. Controlpop
5. Colorvision
6. Alfa Beach
7. Stop
8. Klymaxx
9. Yxes
10. Smily Cyclops
11. Video Arkade
12. Data Kiss
13. Closed

Yosi Horikawa “Bubbles”

After this year’s Sónar Festival in Barcelona, we declared Yosi Horikawa one of the event’s big winners due to his excellent live performance at the SonarDôme, which put his uplifting and enticing music on full display. We also suggested that great things were on the way from the producer, and now it appears that that prognostication is due to bear fruit sooner rather than later. “Bubbles” is wildly original and imaginative, with the bulk of the song’s textural sounds provided by what seems to be recordings of small objects being dropped (possibly an homage to a classic Aphex Twin song). The songs’ subtle melodies blend with the babbling pitter-patter to create a cool and soothing bit of artful easy listening. “Bubbles” is being released by the First Word imprint on two separate records—a four-song EP from Horikawa called Wandering and a 12-song compilation from the imprint put together by label boss DJ Gilla. The Wandering EP (whose title track we offered up for download last year) is out now, and can be purchased over on Horikawa’s Bandcamp, while the compilation will be released as a free download on July 4.

Bubbles

Para One Passion

Passion is a diverse album from an artist who’s been serving up varied offerings throughout his career. Beginning his forays into production more than a decade ago with an MPC and hip-hop in mind, Para One eventually shifted his aim towards adventurous dance music, becoming a mainstay of the sadly now-defunct Institubes label and, more recently, pushing a steady current of releases through the Marble imprint (which he heads up along with Surkin and Bobmo). Without a doubt, Passion is the French producer’s most distinct and rewarding release to date, running through house, techno, boogie, and even bits of hip-hop and R&B with a warped funkiness and a keen sense for endlessly vibrant sonic colorings.

Despite the genre restlessness Para One demonstrates on this LP, there is one constant throughout the record—a genuine sense of fun. With the exception of the opening ambient intro, “Ice Cold,” and the closing slow-motion spaceflight R&B of “Empire,” moments of moodiness and lonely contemplation on this album are rare. Instead, the record takes on a soulful playfulness that renders it pleasantly disarming. Passion seems to be Para One’s attempt at crafting a “pop record,” not only because a handful of songs feature vocalists, but also because the tracks are mostly upbeat and rely on catchy hooks and memorable progressions to draw in the listener. This can be dangerous territory, and in recent times it has resulted in less than stellar records, such as Soul Clap’s E-Funk and L-Vis 1990’s Neon Dreams. Yet Para One seems to have landed on a working equation, tying the various ends of his production inclinations together into a cohesive package that guides the listener just enough to follow along with its constant movements.

One of the big reasons this record works so well is its enthralling production value. Since the early days of his career, Para One has seemed bent on bridging a sonic connection between the digital and analog worlds, and here they are more seamlessly fused together than ever before. With lush synth chords, crisp drum machines, and slippery bass as his main components, the rich, clean sound structures serve as the main source of cohesion, no matter which end of the genre spectrum he’s operating in. Most surprisingly of all, this allows for Para One to fit the occasional slice of hip-hop into the mix, such as “Vibrations Followed by Poison A,” a song which runs steadily as a garage-style club tune (albeit with a healthy dose of brightness added to the mix) before giving way to a no-nonsense piece of jazzy, instrumental hip-hop á la Dilla, 9th Wonder, etc. How all this manages to fit into the same audio context is a truly impressive feat.

But even the nerdiest audio fanatic would admit that a record is nothing without songs, and Passion has plenty to offer in this respect. The album’s first real composition, “Wake Me Up,” begins the record by immediately indulging in the unexpected, delivering an effort that clearly takes cues from IDM with its bouncing micro-samples (think Akufen’s “Jeep Sex”) and manic, off-kilter drum fills (think somewhere between µ-Ziq and Prefuse 73), but also stays relaxed and focused on a single clap which serves as the constant from which the other parts hang. From there we move into more familiar territory—”Sigmund” and “Vibrations” are improvements on the kind of hyperactive, percussion-based tracks that have marked Para One’s more recent output; “Love Ave.,” “Albatross,” and “Empire” cool things off with slices of glistening downtempo; and “Every Little Thing,” “When the Night,” and “Lean On Me” present the only vocals the album has to offer, wrapping these somewhat goofy contributions in thick and gooey space-age funk. With the exception of the skittering, Teki Latex-featuring “Lean On Me” (which again finds a non-obtuse way to fold in the influence of IDM), these vocal songs account for the only real duds on Passion, as the performances of Para One’s collaborators are solid but fail to mesh perfectly with his underlying production.

Without question, the album’s standout is “You.” Laced with a skipping shuffle, it’s the kind of song that’s recognizable from the first bar and, fortunately, Para One manages to lead us through the bouncing synths and melodic vocal chops with a veteran’s sense for natural progression and an ability to balance the song’s pop core without removing it from the context of intelligent club music. “You” may even be the only tune so far this year to challenge Todd Terje’s “Inspector Norse” in catchiness, danceability, and ubiquitous appeal. When the melodic breakdown drops just before the two-minute mark, it teeters as close to cliché as possible, but smartly keeps things brief and ends up being just about perfect, because who doesn’t appreciate an expertly executed breakdown now and then?

Passion may be an ambitious record from beginning to end, but listening to it is a breeze. There is never a daunting challenge to one’s ears throughout the album’s entire run, and still, it comes across as an intelligent and finely executed affair. Combining an adventurous spectrum of dance music with an effortless touch of playful soulfulness, Para One’s sophomore LP is his best record to date and an interesting snapshot of an electronic-music scene that appears poised to continue mashing genres together until we can’t tell anything apart. Let’s hope the results of such gallant hybrids continue to yield such rewarding results.

Page 2006 of 3781
1 2,004 2,005 2,006 2,007 2,008 3,781