After kicking off the year with his debut 12″ for Hotflush, Belgian producer Locked Groove is going to have himself a busy summer, as the techno-leaning upstart will be dropping another record for Hotflush on June 18 and the Different Paths EP (artwork above) for Turbo Recordings on June 4. The Montreal-based imprint has been kind enough to pass along the latter to stream exclusively here on XLR8R; listen to the EP, in full, after the jump.
Amsterdam’s Rwina crew recently rolled out its first release of 2012, Eprom‘s venomous “Regis Chillbin” single, which comes backed with a high-octane Machinedrum remix. The Portland-based beatmaker also has a full-length on the way later this summer, Metahuman, also dropping via Rwina. Ahead of that, here we have “Realization,” a neon-spiked, non-release track that demonstrates Eprom’s production prowess. The song oscillates like a slow-building third-eye experience, streaming vibrant arpeggios and detuned synth textures in a whirlwind of melody that revolves around a steady, juke-stepping beat. The tune constructs its rhythms and progressions with fluidity; it’s only when aspects are dropped out at various breakdowns that we become aware of their individual impact, all prior to being lifted rambunctiously into the next phase of the song. Apart from his releases, Eprom will also be keeping busy on the road in the months ahead; his upcoming US tour schedule has been posted after the jump.
When it comes to unlikely stories, it’s hard to top the notion that Dre Skull would somehow become a top dancehall producer. That’s not meant as a slight to the Brooklyn-based beatmaker, but he’s certainly taken a long, strange trip since he first surfaced in the mid ’00s with a series of dance cuts that largely pulled from electro, B-more, and hip-hop. Most notably, he’s founded his own Mixpak label and gradually worked his way into the world of dancehall, frequently traveling to Jamaica and collaborating with the likes of Sizzla, Vybz Kartel, and others. His latest offering, Loudspeaker Riddim, features vocal contributions from Beenie Man, Natalie Storm, Machel Montano, and Popcaan. It might also be the best thing he’s ever done.
To clarify, Loudspeaker Riddim is an EP that follows in the dancehall tradition of enlisting multiple vocalists to sing over a single beat, or riddim. And as riddims go, it’s hard to find fault with Dre Skull’s work here. In the past few years, he’s showcased a unique knack for turning out infectiously bouncy dancehall riddims, a trend that can be traced back to “Yuh Love,” his 2009 collaboration with Vybz Kartel. “Loudspeaker Riddim” is no different, employing little more than a stuttering drum pattern and a series of washy synth stabs and gently swirling melodies. The production is rather simple, or at least it sounds that way, an effect that’s undoubtedly by design—years of experience behind the boards has taught Dre Skull the importance of leaving room for vocalists to operate. Furthermore, although the track can accurately be described as a cleanly produced, stripped-down affair, that does nothing to detract from its potency, as “Loudspeaker Riddim” is surely capable of lighting up even the most dutty of dancefloors, even as it takes cues from big-room trance and ’80s-flavored soundtrack sentimentality.
Of course, the vocal cuts are especially suitable for the dancefloor, thanks in no small part to the top-flight crew of MCs Dre Skull has assembled. All four vocalists deliver strong efforts, beginning with dancehall legend Beenie Man, who kicks things off with “Hot Like Fire,” an ode to the female form that lives up to the heat of its title. Natalie Storm struts with confidence on “Rock the Runway,” while soca heavyweight Machel Montano melodically salutes the art of the wine on “Go Down.” Jamaican youngster and Vybz Kartel protégé Popcaan, who delivered the stellar “Get Gyal Easy”—also produced by Dre Skull—earlier this year, gets introspective on “The System,” detailing the difficulties faced by his homeland’s ghetto youth. It may be the EP’s most serious effort, but the heavy subject matter does nothing to detract from the song’s propulsive vibes. Granted, with production this strong, it would take a lot for any vocal to completely derail the proceedings. Dre Skull appears to be at the top of his game, and one can only hope that more riddims are on the way.
Jack Dunning (a.k.a. Untold) is preparing to release the second installment in his Change in a Dynamic Environment series. The first edition of Untold’s return to his own Hemlock imprint was notable for its visceral intensity and submerged, brash sound design. The next volume, simply titled Change in a Dynamic Environment Part 2 (artwork above), will feature “Caslon,” a song described as “East London meets East Berlin for a grimey basement soundclash,” and a “slow-burning roller” of a b-side, “Breathe.” The EP will be out on June 25 via digital and 12″.
Disco-pop is one of many flavors the Lithuanian duo of Downtown Party Network specializes in, and with a new EP out on Best Kept Secret, the pair has allowed the label to incorporate some Detroit techno and even trance-like elements into their vibrant sound. The Linn-drum setup behind the beat on “The Machine Man (Best Kept Remix)” proclaims its allegiance to summertime ’80s vibes while a Motor City-influenced bass synth rolls out some deliciously funky accompaniments. As the track grows, it becomes apparent that a hot July afternoon in the sun is exactly what this jam was intended for. Even when blissfully washed trance pads spill over the proceedings, they only bolster the sense of humid, sweat-infused fun, refreshingly acting like mist machines on a scintillating day at the waterpark. The Machine Man EP is out now on digital and 12″.
Manchester’s Illum Sphere probably doesn’t need an EP of remixes just yet. Over the past three years, he’s released a handful of EPs via Fat City, but with the exception of a enthusiastic co-sign from Ikonika, who inevitably turns up here, he doesn’t have the kind of catalog or visibility that usually occasions a remix record. In addition, his production style is deliberately minor, part of an intercontinental set that mines Brainfeeder‘s precious ore of weeded-out head-bob beats and transparent 8-bit synths.
Illum Sphere’s own tracks are made of darker stuff than those of his peers—dark, grimy, and weightless, they threaten to dissipate into a cloud of weed smoke as soon as he gets going. He’s quick to double back on a groove or melody by muting a sound or hitting reset on the drums, giving the banging bits a provisional feel and the quieter ones a sense of inchoate potential. His remixers turn that quality to their best advantage, however, showing up with a pretty divergent set that speaks to the originals indirectly and secretly.
Nothing whiffs too badly in this set. Indeed, its least compelling track is still pretty good: the Scumbag remix of “One for Dimlite,” which weaves bits of the untroubled and balmy Illum Sphere track through a creaky realm of fingerpicked R&B guitar, stuttering hi-hats, irregular bass-drum hits, the whole megillah of production techniques. Despite its deliberate incoherence, its wheezing synth melody casts a pleasantly melancholic, hesitant vibe over the track. Along with Dabrye‘s take on “An Old Escape,” the Scumbag remix has the most in common with Illum’s production style.
Ikonika’s take on “Chasing the Midnight Moth” stands out more by recreating the bleary original in her own image. She reshapes the plinky melody, snapping everything to attention while retaining the prickly droning notes, and even adds a keening synth line that wouldn’t have sounded out of place on Rustie’s Glass Swords. Kidkanevil and Om Unit round things out, with a banger and some sweet bass sludge, respectively. While not particularly promising on paper, Remixed doesn’t take long to validate its existence.
Seattle’s largest electronic-music gathering, the decade-old Decibel Festival, has announced the first half of its 2012 lineup, including Carl Craig, Actress, John Talabot, Nina Kraviz, and Matthew Dear. This year’s festival is happening September 26-30, and although organizers have taken an “artist a day” approach to unveiling performers in years past, Decibel has decided to be upfront this time, announcing 50% of the artists on the bill today. The other half will be revealed on June 27, and the entire program, which includes 34 audio-visual showcases, boat parties, a three-day film festival, and more, will be available on July 11. Check out the first half of this year’s lineup here, and stay tuned for more from Seattle’s only “festival known for pushing the boundaries of both art and science.”
While synthesizer chords certainly have their place in this track from the Netherlands’ Subp Yao, the song’s most obvious characteristic is a booming rumble of a bass, which sounds heavy and throaty on computer speakers and just might test a club’s structural integrity while blasting out of an oversized soundsystem. Pitched-up and heavily processed vocal snippets are scattered throughout the piece, as are off-kilter percussion sounds that shuffle about in a frenzied manner. “Chjords” is taken from Subp Yao’s latest full-length, Smoke Up, Drink Up, which was released earlier this month through Saturate and can be downloaded in its entirety free of charge at Bandcamp. Subp Yao also released a remix album earlier this month, 1000 Remixes, which is available for free download here. The tracklisting and artwork for both of those releases can be found after the jump.
Smoke Up, Drink Up
1. 80Hate
2. Burn It Up
3. Git
4. Rockin This
5. Chjords
6. ill
7. Hamburger Chords
8. Fuck Around
9. Like A Goddamn Job
10. Smoke Up, Drink Up
11. Don’t Look At Me Now Gypsie Woman
12. Mad One
13. HeyHuyHay
14. Why
1000 Remixes
1. Birds (Filosofische Stilte Remix)
2. Birds (Microburst Remix)
3. Birds (Raadsel Remix)
4. Empty (Dense Folliage Remix)
5. Era (Bios Remix)
6. Era (DJ Pound Remix)
7. OG (LZRKMMNDR Remix)
8. OG (Munis Remix)
9. OG (Manni Dee Remix)
10. OG (Luisterwaar Remix)
11. OG (Frietboer Remix)
12. Neverwant (oneone Remix)
13. Neverwant (Joney Remix)
14. Neverwant (Indrom Remix)
Last year, legendary party starter DJ Harvey offered up the first full-length of his storied career, under the name Locussolus. Released via Uruguayan imprint International Feel, the album largely consisted of previously released singles and edits. Nevertheless, it seems that the moniker was more than a goof or a one-off experiment, as it’s been revived by Harvey for an upcoming single. The Locussolus project—which also includes Sam Fox, Tara Selleck, and Josh Marcy—has put together “Berghain” b/w “Telephone,” which is scheduled to drop on July 9, again through International Feel. Described as “the sound of Malibu meeting The Eastern Block,” the record was actually recorded in Venice, California. The a-side is an obvious tribute to the Berlin club of the same name, while “Telephone” is touted as a “fun irreverent pop, disco boogie FM radio hit that never happened, happening.”
This week, party-starting DJ/production duo LOL Boys dropped a mix album for UK imprint Unknown to the Unknown (a label we very much love), the second installment of an ongoing series that started with an offering from DJ Q. LOL Boys Enter the Unknown is an hour-long DJ set which features fresh and unreleased jams from the likes of Todd Edwards, Samo Sound Boy, Hot City, DJ Sliink, DJ Rashad, Dubbel Dutch, and the mixmasters themselves. That’s the artwork up top, but the parties involved opted against sharing a tracklist. However, you can stream a preview of LOL Boys’ mix in the player below.
