Lazer Sword “Batman”

The first single to be heard from multinational duo Lazer Sword‘s debut, self-titled LP (out on November 2) is “Batman,” a steadily grooving and intricately made production that seems to host about a hard drive’s worth of percussive micro-samples, dissonant synth tones, and cosmic sound effects. And for one of the first times in Low Limit’s and Lando Kal’s collaborative career, the production duo uses vocal work that isn’t rap. A soulful female vocalist croons some indecipherable passages, a ghostly “ooooh” wafts in the background, and a talkbox eventually makes its way onto the scene proclaiming “I can’t help myself” something something. To be fair, it doesn’t matter quite what it’s saying, but instead how it’s saying it. If “Batman” is evidence of the growth of Lazer Sword’s sound, it’s apparent that you can no longer group LL and LK in with the generic glitch-hop, lazer-bass, or related beat scenes that have grown slowly into ubiquity. The soulful tendencies of post-dubstep, UK funky, and wonky bass have infiltrated the duo’s palette and helped transform its work into something else entirely.

Catch more Lazer Sword tunes, including remixes from Nguzunguzu and Rustie, when the Batman 12″ comes out soon on Innovative Leisure. (via FADER)

Batman

Batman

Podcast 159: Sepalcure

The UK gets most of the shine for the whole post-dubstep/future-garage/whatever-the-hell-it’s-called-this-week scene, but a few US artists have been making some noise over on this side of the pond. One such act is Sepalcure, the Brooklyn-based duo of Travis Stewart (a.k.a. Machinedrum) and Praveen Sharma. After years spent working together running the Cassette NYC club night and the online mix archive Percussion Lab, last year the producers joined forces in the studio, focusing on the soulful sounds of ’90s house, 2-step, and UK bass music. Their debut, the Love Pressure EP, dropped earlier this summer on the esteemed Hotflush label, and now we’ve corralled the boys into assembling an exclusive mix for the XLR8R podcast. And not to get all patriotic and flag-waving, but Sepalcure has done the US of A real proud here, expanding their sound palette even further while adeptly shifting tempos, moods, and styles over the course of 23 tracks and 51 minutes.

01 Mediq “Have a Pleasant Stay”
02 Titus 12 “Step Up (Mosca Remix)”
03 Andreya Triana “A Town Called Obsolete (Mount Kimbie Remix)” (Ninja Tune)
04 Model 500 “I Wanna Be There” (R&S)
05 Jacques Greene “The Look”
06 vvv “Aisle Seat”
07 Kidkut “ILove04” (Apple Pips)
08 French Fries “Senta” (Young Gunz)
09 Sepalcure “Love Pressure (Lando Kal Remix)”
10 L-Vis 1990 “Forever You (Dub)” (Night Slugs)
11 Sepalcure “Me”
12 Hackman “Always” (Shifting Peaks)
13 Balam Acab “See Birds” (Tri Angle)
14 Noiapre “Lava Templada”
15 Dorian Concept “Her Tears Taste Like Pears” (Ninja Tune)
16 Melanie Fiona “It Kills Me (Breakage Remix)” (SRC/Universal Motown)
17 XI “Gamma Rain”
18 Shed “No Way!” (Ostgut Ton)
19 Roof Light “What Makes You So Special” (Highpoint Lowlife)
20 Fantastic Mr Fox “Over” (Black Acre)
21 Sines “This Love”
22 Africa Hitech “Said Speed” (Warp)
23 Autechre “Tilapia” (Warp)

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XLR8R_Podcast_Sepalcure2_2010_09_07

So Percussion & Matmos Treasure State

It’s safe to assume that at this point in Martin Schmidt’s and Drew Daniel’s storied and long-stretching audio career, there isn’t a physical object within the pair’s capabilities of comprehension and travel that the duo hasn’t at least considered utilizing for sound recording and subsequent application in an adventurous composition. As Matmos, Schmidt and Daniel have made music using the sounds of a cow uterus, snails, LASIK surgery tools, a rat cage, burning flesh, and liposuction, not to mention a litany of other unconventional items and, on occasion, actual musical instruments. Treasure State, Matmos’ new collaborative record with Brooklyn-based experimental orchestra So Percussion, extends the duo’s list, albeit in a relatively unfocused manner.

The loosely composed songs on Treasure State are each based around one theme: “Water” uses water sounds, “Aluminum” utilizes beer cans, “Needles” harnesses the sound of a cactus, and so forth. Surrounding Matmos’ manipulated samples, So Percussion performs the more melodic elements of each piece. Sometimes the disparate layers intertwine and play off one another (“Cross” is a strange bunch of noise that manages to groove into a dance beat), while other songs let the instruments and field recordings play out seemingly unaware of each other (“Swamp” is as murky and chaotic sounding as its title implies).

What’s always made Matmos’ albums most interesting was a dedication to concept and theme, whether it be medical procedures, Americana, or iconic figures. Treasure State is void of any such idea, and lowers the album from ‘elevated thought and experimentation put to musical document’ down to ‘interestingly unusual musique concrète.’

Bob Holroyd “African Drug (T.Williams Keye Mix)”

There has been plenty of chatter about ’90s house recently, but most of it seems to center around classic Ibiza vibes and proto-trance tunes. Given music’s current obsession with the beach and so-called tropical sounds, that makes sense. On the other hand, Bob Holroyd originally released “African Drug” back in 1994, and it’s being reissued despite the fact doesn’t exactly conjure images of palm trees and sandy shores. Holroyd’s original is highlighted by some melodic chimes and what sounds like a native drum circle, but it’s without question a bit of a spooky tune. That goes double for this re-work from T.Williams (pictured above) of Deep Teknologi. You may remember him as the artist behind the first Local Action release—you can still stream the EP on our site—but on this remix, which doesn’t appear on the physical release, he’s gone dark and psychedelic, cranking the drums and driving the listener into a scary new psychological realm, as if dosed by a powerful shaman’s mysterious, consciousness-expanding brew. The “African Drug” 12″ drops on September 27, and also includes an epic Four Tet remix along with another T.Williams effort that’s a lot more straight-ahead and melodic.

African Drug (T.Williams Mix2)

African Drug (T.Williams Keye Mix)

Holy Ghost! “Static on the Wire (RAC Remix)”

We were jamming this electro-flavored remix of NYC duo Holy Ghost! all weekend long. And when we say electro, we don’t mean idiotic nu-rave, we mean delightful synths, vintage claps, and bright melodies, all courtesy of the mysterious RAC (a.k.a. Remix Artist Collective). Admittedly, we’re a little creeped out by the RAC website, which reads like some kind of lifestyle marketing nightmare and seems to offer professional remixing services on demand. Sample quote: “We aim to maintain a style of remixing that strays from the ‘club mix’ archetype, creating new incarnations of songs that stem from the original structure, but expand on their genre and musical arrangement. RAC mixes typically feature a unique blend of hip-hop and electro drum samples, analog synthesizers, melodic hooks, and original performed instrumentation.” Um, yikes? Can we just pretend that we never saw that? For all we know, this remix was made with the assistance of an “urban tastemaker” focus group. Sadly, it TOTALLY WORKED, cuz we’re still loving this version.

Static On The Wire (RAC REMIX)

Benji B to Replace Mary Anne Hobbs on BBC1 Program

BBC Radio 1Xtra’s Benji B is moving to BBC Radio 1 to host the Thursday 2 a.m.-4 a.m. slot, replacing Mary Anne Hobbs, who’s been with the Beeb for 14 years. In July, Hobbs, whose last show airs next week on September 8, announced that she’d be leaving for a teaching position in Sheffield.

“I’ve loved every minute of my eight years at 1Xtra and am delighted to be given this incredible opportunity,” says Benji B. “I can’t wait to bring the essence of my Sunday night show and my loyal audience to my new Radio 1 programme.”

Benji B’s final Radio 1Xtra show will air on October 10, and he makes his Radio 1 debut on October 14.

Wolfgang Voigt Freiland Klaviermusik

During the years when minimal techno was king, much was made of the genre’s similarities to avant garde and minimalist classical movements from the previous century, but often, specific affinities between the musics were referred to in hazy terms. Yet as co-founder of Kompakt and one of the indubitable kings of the minimal genre, Wolfgang Voigt is well suited to begin the discussion of these sonic similarities, which he does quite breathtakingly on Freiland Klaviermusik. The 13-track album contains mostly synthetic piano sounds and percussion, and plays unlike any techno record released in recent memory—a track like “Schweres Wasser” shares more with experimental composer Conlon Nancarrow than Ricardo Villalobos, and album opener “Alleingang” takes cues from the brooding, discordant tone clusters of Henry Cowell’s Dynamic Motion, a piece composed in 1916. While one is hard-pressed to imagine such pieces playing well to dancefloor crowds—tracks from the album’s 2008 preview single have cleared floors in Europe—their harmonic complexities and deep throbs make for hypnotic listening, and keep the discerning ear coming back. Perhaps the most rewarding tracks on Freiland, though, are those that eschew synthetic pulses entirely and allow Voigt to address such varied precedents as Erik Satie’s Vexations, as on “Dunkler Weg,” or even the “Emerson” section of Charles Ives’ Concord Sonata, as on album closer “Silberg.” While the party circuit might not appreciate such compositional gems, there are innumerable music fiends and classical composers who are certain to find Voigt’s latest outing to be a truly exciting aural experience.

Christoph Andersson “Tuxedo”

Working with the same kind of funky basslines, punching dance beats, and filter washes of the French Touch greats, 18 year-old Christoph Andersson crafted the first single from his forthcoming self-titled EP for the New Orleans-based TKVR label. The track is called “Tuxedo,” and it has a sole purpose: to make you dance. Thankfully, Andersson is thoughtful in the creation of his groove-demanding tune. Not only is a strong and ecstatic melody at the front and center of “Tuxedo,” the many elements that create its catchy hooks are made of lovingly sampled, cleanly chopped, and painstakingly orchestrated sounds that all work simultaneously toward the collective goal. And especially for a kid who’s barely out of high school, that’s no small accomplishment.

The Christoph Andersson EP will be available on November 13.

Tuxedo

The Big Pink to Mix !K7’s Second Installment of ‘Tapes’

Following the first Tapes mix album put together by The Rapture for !K7, the second installment of the series will be out on November 9 courtesy of London-based electronic pop duo The Big Pink. One of the fellas from that group, Milo Cordell, put together a list of 19 songs that traverse the realms of witch house, bass music, lo-fi experimentalists, and other forward-thinking genres. Among the artists included are Joker, Salem, Balam Acab, Light Asylum, jj, The xx, and Gang Gang Dance, many of whose songs are unreleased bits that were uncovered through the internet. Cordell says of his selections, “I think the songs are as good as anything out there. There are pop music melodies within that minimal production. And the best pop music for me has always been the stuff that the artist does on their own terms. Everything on the mix sounds like that. I think these guys are doing it for themselves and if people discover it then great.” You can check out the artwork and tracklist for The Big Pink’s edition of Tapes, below.

1. GR†LLGR†LL – Slow Dancing
2. Love Distance – Move On The Rain
3. Gang Gang Dance – Ego War
4. Joker – Snake Eater
5. Active Child – Body Heat (So Far Away)
6. Henny Moan – Vreg Dreams (Little Slow Mix)
7. Sewn Leather – Smoke Ov The Pvnk
8. Balam Acab – See Birds
9. yusuf b – kiss the nite
10. ZVA – Nothing
11. No Bra – Minger (These New Puritans Remix)
12. jj – Let Go
13. Salem – Dirt
14. Light Asylum – Shallow Tears
15. The Big Pink – Velvet (BDG Remix By Gang Gang Dance)
16. Actress – Hubble
17. oOoOO – Mumbai
18. The xx – Fantasy
19. Horse Macgyver – Tetanus Wine

Al Ripken Jr. “Game Time”

B-more bass lover and Top Billin associate Al Ripken Jr. just shared a short 5-song EP of beat vignettes for free download, called Blast Off. One of our favorites from the EP is “Game Time,” a slightly less hip-hop-indebted production than the accompanying four. While it still has a bit of that lazer-bass/future-blap/whatchamacallit vibe, Ripken’s tune sounds inspired by more straightforward dance-music genres. The kick still bounces tenaciously and is far less frequent than a standard four-on-the-floor beat, but it’s the other sounds—synth pulses sounding off in the distance, hi-hats clicking on the upbeat, and claps cracking tidily and consistently throughout—that sets “Game Time” apart from Blast Off‘s other audacious numbers.

Game Time

Game Time

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