Producer Lee Bannon fully transitions into a different sound on this new record, distancing himself from the hip hop beats he’s most known for. While he sounds completely at home making jungle and breakbeat, I was hoping he’d redecorate a bit more.
Up-and-coming producer and recent Ninja Tune signee Lee Bannon drops another track and video in promotion of his forthcoming album, Alternate/endings. The LP is currently looking at a January 13th release date. Enjoy!
West Coast producer Lee Bannon is getting more and more creative and versatile by the minute. He’s constantly creating, and thinks almost nothing of just suddenly dropping a track like “InMySleep,” which combines his recent obsession with breakbeat-like grooves with some jutting bass notes and an odd chord progression.
I suppose “InMySleep” is a fitting title considering how creepy and borderline nightmarish the song feels. Enjoy!
UK-based electronic music producer Zomby drums up some really evocative, moody atmospheres on With Love, but the lack of variety in his production makes these thirty three tracks wear thin in a quick fashion.
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This week, London electronic music producer Zomby is dropping his latest full-length album, With Love. It’ll be on 4AD, and features over thirty tracks that span two discs. As the track “Overdose” shows, this guy is really working to diversity his sound, trying his hand at some very atomspheric, textured, and boom-y breakbeat electronica. Enjoy!
An eerie fusion of electronic music and hip hop on this new track from When Saints Go Machine, “Love and Respect,” which is a cut from the Danish quartet’s new album, Infinity Pool. It’s dropping this week via EMI Records and !K7 Records.
Some heavy bass and hard breaks from this new Gore Tech and Rotator single for the track “Heretic,” which is just too heavy and crushing to deny. It’s a destructive combination of dubstep, digital hardcore, and breakcore that’s been aptly uploaded to a Bandcamp that has the phrase “warstep” written into its description. Enjoy!
On the first track to drop from Bjork’s forthcoming album, Biophilia, the Icelandic singer-songwriter just doesn’t do a lot for me, honestly. I was pretty excited about this track, too.
It’s certainly got all the makings of a great Bjork track–some strong vocals and personality, ear-grabbing instrumentation, a climax–but I’m left hanging by how little this song really changes or progresses as it moves from the its beginning to its end.
But this track is off of what’s supposed to eventually be an all-out multimedia project, including videos to accompany each track. Maybe I’m really only getting half the story by listen to this song by itself.