Oneohtrix Point Never has just shared an outtake from R Plus Seven called “Rush,” supplementing it with a short-but-sweet collaborative track with A.G. Cook, founder of London label PC Music, which specializes in a brand of “bubblegum bass” that I’m not sure I get yet. This feels right.
Lotic’s self-released mini-album Damsel In Distress was named one of the best of 2014 by FACT Magazine, referring to it as a mixtape of “gothic club nightmares”. Quite a description of the Berlin, Germany DJ/Producers’ brand of dark yet satisfying, enrapturing club music. And “From The Front” only helps to add to Lotic’s mystique: it’s a grab bag of disturbingly distorted southern voices and lyrics that are paired with a production job that includes elements of trap, trance, gritty grime and crunchy, squeaky dubstep, all competing with each other for attention but still working seamlessly together. Lotic, along with his collaborators (Dr. Luke, Rabit, Sugur Shane, DJ Karfox, Big Hud and Fat Pimp) have created a song that’s sure to be considered an eerie, almost ghostly but exciting and bouncy certified club/strip joint banger.
Fans of the London-based producer will have new material to tide them over until the rumored release of his next full-length, expected to drop sometime in 2015. The 200 Press EP consists of four tracks that might seem strange on their own, but come across as united in their oddity.
In a change of pace from the songs on his two previous LPs, the focus is taken away from his delicate, R&B-influenced vocals; in fact, they are strikingly absent. Blake’s voice only makes appearances in the form of a few wispy, intermittent production flourishes and the warped out spoken word track closing out the EP. The instrumentals across these songs are varied, departing from the more direct, saccharine melodies of Blake’s recent work in favor of cryptic, sometimes harsh progressions. Underneath are some subtle 2-step and techno beats, complete with hushed and sculpted sub-bass, tight hi-hat, and all sorts of other blips and pops. Of the bunch, I think “Building It Still” is probably my favorite, but they’re all definitely worth a listen.
Only a Shlohmo track can give you the sense of being stuck at the bottom of a deep well and then turn that well into a place of almost womb-like serenity.
The L.A. producer just premiered a single to be released March 17 via a collaboration between True Panther and his own WeDidIt collective. It’s out now on iTunes, but you can also pre-order the 7-inch here, which includes the single’s corresponding B-side, the promisingly titled “Ode 2 Tha Whip”.
There’s a lot to love on this track. “Emerge from Smoke” comes outfitted with a somber melody that lurches itself out in teetering synths and long, fuming bass tones that labor underneath to carry the song forward. As usual, Shlohmo demonstrates his awareness of how nuanced percussion can add entirely new dimensions to a track. All the syncopated plinking and hissing leads to a drum break punching in about half way through. Towards the end, the solitude is pierced by a gaggle of silvery, stricken guitars wailing up from the bottom of the well, and the percussion and synths come crashing back down on top of them in a final caterwaul.
The single arrives with the announcement of a spring 2015 tour, the dates of which you can check out here.
Released earlier this year, Liars’ diverse but focused project, Mess, received average to good reviews, mostly because even though it was interesting, progressive and at the same time still quite retro, they did little to stray from their usual early 2000s dance punk sound. The intro track “Mask Maker” led the pack with a viscous New Order-esque bass beat, peculiar lyrics and a synth horn section that could have come from a punk Atom Heart Mother; and was noticed as one of the best–if not the best–tracks on the record.
Consequently, the release of the new music video for “Mask Maker” was pretty exciting, as Liars would have the chance to put their aesthetic talent to use once again to match the boldness and power of the track. Characteristically the video features a minimalistic approach, each band member wearing white suits and being drenched in multicolored wool threads, with jumps from image to image in time with the beat. Although I would have enjoyed a reference to whatever the lyrics actually meant, I actually preferred the abstract approach.
If you haven’t heard the track, the video is an interesting accompaniment, and a must see for Liars aesthetic lovers.
- Fin Worrall
“Monitor” is a new collaborative track between two music groups out of Melbourne, Australia right now: Milwaukee Banks and Rat & Co. The song embedded above will land on a soon-to-be-released double a-side single.
Milwaukee Banks is one of the many acts I caught while I was down under this past September for the BIGSOUND music festival. They’re a creative, ethereal hip hop duo worthy of your attention. I’m new to Rat & Co, however, but they seem to be creating some pretty sweet, pleasant electronic music. One record I came across seemed to pull from downtempo, ambient, and IDM on various spots in the track listing.
Together, Milwaukee Banks and Rat & Co just make sense; it’s like I’m listening to an Australian underground music dream team. The beat on this thing is great. It’s got some sharp, tangy synth leads that keep my ears at attention from beginning to end, but the groove is relaxed enough to fit Milwaukee Banks’ typically calm style.
Pick up a copy of this new single at the MB Bandcamp right here.
Once fusing electronic music and jazz on fantastic albums such as Isla and their 2012 self-titled LP, Portico Quartet were one of the most interesting modern music groups to come out of the UK. However, the band’s undergone a few major changes as of late:
1. They’re now a trio.
2. They’re now known simply as “Portico.”
3. They’re signed with Ninjatune.
They’ve got a new album on the way as well titled Living Fields, and “Bright Luck” is the first track to drop from it. The song is a stylistic change of pace, finding the band leaning less on their jazz background, and more on the current trend of ethereal, exploratory, R&B-tinged electronic pop. Jono McCleery’s vocal performance is quite wonderful, but I can’t say the instrumental does anything other than make way for him, really. While I don’t mind this track, I hope the band is still able to showcase their instrumental muscle and finesse on some of the deeper cuts here as well.
Look for Living Fields on March 25th.
New York chiptune outfit Anamanaguchi are gearing up for another album cycle in 2015, and the title of this forthcoming release will be [USA].
This new track sits firmly in electropop territory, featuring candy-coated synthesizers, a funky groove, and almost shamelessly bubblegum lyrics from guest vocalist meesh.
While not the eccentric and instant hit “Meow” was, “Pop It” is an incredibly fun tease for this upcoming album. Also, MARNIE THE DOG appears at the end of this video.
In a mix presented by LOGO Magazine, Brooklyn electronic music producer Maxo creates a medley-like series of remixes with one central theme: Limp Bizkit.
With jittery rhythms and jazzy synth embellishments, Maxo reinvents one infamous Bizkit song after another, taking on some of their biggest hits: “Break Stuff,” “Rollin’,” “Nookie,” and “My Way” are just a few.
Yeah, it’s silly and ridiculous, but that’s the point. Have a laugh, put on a smile, and enjoy the absurd reinterpretations of the oughts’ more embarrassing musical moments.
Andy Stott explores more electornic subgenres on his latest full-length release.