Berlin-based producer Robot Koch (a.k.a. Robert Koch) is back with his third full-length LP, The Other Side. This comes following a recent collaborative album with New Jersey-based MC John Robinson, Robot Robinson, and last year’s sophmore LP, Songs for Trees and Cyborgs. To get us prepared for The Other Side‘s release on October 7, Koch slipped XLR8R a teaser in the form of leftfield-leaning album cut “Lights.” Continuing in the vein of poppy experimentation that has marked previous Koch releases, “Lights” explores a wobbly dub soundscape of Asiatic arpeggiations, reverbed-out synth washes, and percussive glitches. The resulting product finds an approachable middle ground between the far-out experimentation of Brainfeeder and the futuristic pop of artists like Jamie Lidell, The xx, and Jimmy Edgar.
Ever get the sneaking suspicion that Brenmar’s sound is really just an update of classic Latin house? Such thoughts might have more weight than you’d think, as the Brooklyn-based DJ has just released a remix of Ralphi Rosario’s 1987 classic, “You Used To Hold Me.” Yet, while the original record was emblematic of the sparse vibe characteristic of house music in the ’80s, Brenmar’s remix pushes the song towards the more spastic sound of the present. “You Used 2 Hold Me (Brenmar Remix)” flips the track from druggy, freestyle-leaning house into hypnotic (and druggy) hi-NRG, complete with arpeggiated bassline, dubbed-out synth stabs, and a straightforward four-on-the-floor.
As we continue to wait patiently for October 10 to roll around and bring us the release of Glass Swords, the debut long-player by young Scottish beat aficionado Rustie, we’re treated to more fresh streaming audio from the producer. Below, you can check out “Ultra Thizz” and “Dreamzz,” the former of which is a single taken from the Glaswegian’s forthcoming album and the latter of which is a b-side available only on an etched, limited-edition 12″ along with that first cut.
“Ultra Thizz”
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“Dreamzz”
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From the third LP by Stockholm’s resident ambient-technoist, The Field, we get this entrancing piece of loop-based music as our first taste of its sounds. It’s somewhat odd that this is our introduction to Looping State of Mind—”Then It’s White” could very well be the mellowest and most dissimilar of its seven tracks—but seeing as how the album is available digitally now (exclusively through Bleep), you could easily discover for yourself how this somber, piano-heavy composition fits into the rest of the tracklist.
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Here, we have yet another fine installment of Resident Advisor‘s ongoing documentary shorts series, Real Scenes, in which they continue to investigate the many fertile music hotspots around the world, this time focusing their lenses on the bustling techno epicenter of Berlin, Germany. In addition to visiting some of the city’s biggest clubs, RA talks to some of the scene’s key players, veterans, and up-and-comers about the tumultuous history and rich culture of the German capital. You can read a short article about the piece over on Resident Advisor, here.
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Blurry images and decades-old psychedelic effects meet burnt colors and artsy symbolism in the video for “Casual Diamond,” a lush, angelic cut from Austin songstress Sleep ? Over‘s forthcoming LP, Forever. As we quickly approach the album’s imminent release (via the Hippos in Tanks imprint), it may be due time to reflect on the contributions she’s already made to this very site, such as this remix of the track by fellow synthscaper Laurel Halo, or this one from Physical Therapy. And let us not forget, of course, the the album track “Romantic Streams” and its accompanying remix from none other than Balam Acab. Phew, let’s hope that’s enough to hold you over until Forever sees its release on September 27.
The R&S imprint is set to unleash another pair of tunes from a forward-thinking Brit, this time tapping London badman Blawan for his second contribution to the label so far this year. Much in the vein of his Bohla EP, the new “What You Do With What You Have” b/w “Vibe Decorium” single sees the producer implementing tweaked 303 acid lines along with his usual huge, rolling percussion to yield two tracks of dark, visceral UK-infused techno. As with every R&S release, it’s safe to say this pair of tracks come with a certain amount of anticipation preceding their appearance in digital and 12″ format October 3. You can check the artwork (which—surprise—looks like every other R&S single) and a short rip of “What You Do With What You Have” below.
Plainly said, this exclusive mix from Marcellus Pittman is probably the deepest, most soulful DJ session in the history of the XLR8R podcast series. The Detroit veteran, who will be headlining Body on the second night of this weekend’s New Forms Festival in Vancouver, certainly dug deep when assembling this all-vinyl mix. Granted, the man has quite a storied history to draw upon, having come up with the likes of Omar-S and Theo Parrish, not to mention his other partners in the 3 Chairs project, Rick Wilhite and Kenny Dixon, Jr. He also runs his own Unirhythm imprint and continues to occasionally release music on a variety of labels. As for this podcast, Pittman showcases his trademark raw mixing style while offering an impeccable selection of of soul, electro-funk, and house tunes, but he also makes sure to stand out in another way, literally turning down the volume at various points throughout the mix and jumping on the mic to provide a little commentary and shout out various associates. Don’t worry, it’s all done in a very relaxed, very cool, and very Detroit way, adding a little extra flavor to an already-excellent listen. If his DJ set at New Forms is anything like this, Vancouver is in for a special treat this Saturday night.
01 Sharon Redd “Activate” (Prelude) 02 Loose Ends “Tell Me What You Want” (MCA) 03 Larry Heard “Tryblennasense” (MECCA) 04 Agent K “Ladies” (Laws of Motion) 05 Verna Francis “Look (Franck Roger Remix)” (Chillifunk) 06 Alton Miller feat. Sky “Choose to Believe” (Deeper Soul) 07 Keith Worthy “Beatthebeatup” (Aesthetic) 08 Omar S “Psychotic Photosynthesis” (FHXE) 09 Kenlou “The Bounce” (MAW) 10 Osunlade “When This Feelin'” (Soul Jazz) 11 Nicole “Runnin Away (Glenn Underground Mix)” (XL) 12 Dennis Ferrer “The Red Room (Kyle MF Hall MeMix)” (Objektivity) 13 Chez Daimer & Ron Trent “Hip to Be Disillusioned” (Prescription) 14 DJ Genesis Presents Neco Redd “Get Out the Frame (Franck Roger Remix)” (Real Tone) 15 Farley ‘Jackmaster’ Funk “Farley Farley” (Trax) 16 Model 500 “Sound of Stereo” (Metroplex)
If you recall from a few weeks back, we shared the news that Salva‘s Frite Nite imprint was readying a compilation of “tribal-influenced, spacey dance grooves, progressive footwork, modern electro-funk, and UK-centric dubstep rhythms” for an early October release (full details can be found here). Now we’ve gotten our first taste of Surreal Estate (artwork above) in the form of this contribution from Atlanta-based purveyor of futuristic club music Distal. Anchored by a constantly evolving beat of the most intricately skittering nature, “Mamanimal” begins as R&B-infused, half-steppin’ house before locking into a ridiculously enticing funked-out synth riff and bursting into absolute space-age club music gold. Mark this one somewhere between the “tribal-influenced” and “spacey dance grooves,” with just the right touch of “modern electro-funk.” We can’t wait to see what the “progressive footwork” and “UK-centric dubstep rhythms” have in store for us when Surreal Estate drops October 4.
To be frank, no one really expected a new record from The Rapture. It’s highly doubtful the band did either. The quintessential NYC dance-punk outfit kept just about silent after the lukewarm reception of 2006’s Pieces of the People We Love, seemingly spending their time starting families and running the Throne of Blood record label. And they really didn’t need to write another album, either; between Out of the Races and Onto the Tracks and the seminal Echoes, The Rapture’s legacy of teaching the indie set that it’s okay to dance was already set in stone. However, maybe Pieces wasn’t quite the note Luke Jenner, Vito Roccoforte, and Gabriel Andruzzi wanted to end things on, or perhaps the last five years brought about enough life experiences to inspire another album about the intricacies of love and personal relationships. No matter what compelled The Rapture to return to the spotlight with In the Grace of Your Love, the fact remains: this 11-track LP is on par with some of their best work, and is certainly their most mature record to date.
But does maturity really suit The Rapture? Or, at least, the memory of what The Rapture was? “House of Jealous Lovers,” easily the now-trio’s most popular single, was the premiere soundtrack to dancefloor debauchery throughout ’02, ’03, and beyond, thanks largely in part to the Midas touch of producers/label of the moment DFA. For In the Grace of Your Love, Jenner and co. have returned to the NY-based imprint, and in some ways have recaptured the energy of the band’s salad days. Lead single “How Deep is Your Love?” and opener “Sail Away” juggle some of The Rapture’s trademarks—yelped vocal hooks and straightforward dance rhythms—around tasteful disco and piano-house motifs, a sound which, along with cuts like the “I Need Your Love”-esque “Can You Find a Way?” and the somberly danceable title track, exhibits just how well the energy of its earlier material can be revitalized with style and grace. New ground is covered, as well. “Come Back to Me” ditches all live instrumentation in favor of an oppressive drum-machine rhythm paired with what sounds like treated samples of a Klezmer accordian, and “Children” could easily be compared to synth-pop dynamos Cut Copy or MGMT, both bands that owe quite a bit to The Rapture. But while it is refreshing to hear them stretch their sound a bit, the results don’t always work out in the band’s favor.
The pitfalls of In the Grace of Your Love may be few, but they are deep. When The Rapture ventures into a sort of laidback classic-rock aesthetic—as heard on “Blue Bird,” the Clap Your Hands Say Yeah-esque “Rollercoaster,” and send-off sing-a-long “It Takes Time to Be a Man”—the music becomes at once entirely derivative and awkwardly out of place. The vocals can be playful and heartfelt, the instrumentation upbeat and anthemic, but these are the kinds of tracks that made Pieces a lackluster listen. “Miss You” sounds almost identical to that 2006 LP’s title track, which, incidentally, is also second on the tracklist, and just barely skirts being a subpar tune because of its infectious beat, catchy chorus, and hummable vocal hooks. Still, taken as a whole, The Rapture’s latest is both a welcome and necessary addition to its relatively small discography, a record the band should be both proud of and content to leave as the final chapter of its existence. At least until they come back again.
