The Bug delivers a new album that reads more like two decent EPs.
From shrill synths to lackluster vocal guests, the new Rustie album does little to live up to its predecessor.
Pure insanity coming from these two major tracks from anonymous producer SOPHIE, and both of these songs are out now via Numbers.
Between all the vaporwave and trap out floating around the Internet right now, there’s no shortage of zany electronic music at the moment. SOPHIE seems to embrace a lot of the tenants of TNGHT, Rustie, and post-modernists such as Daniel Lopatin; however, these sensibilities are unabashedly fused with commercial pop, a flavor that reads strongest in the often squeakily pitched melodies and lead vocals. There’s just something about the melodic shift at 0:39 that sounds like Carly Rae Jepsen’s “Call Me Maybe.” Someone on Twitter went as far as to say the groove on “Hard” resembles that of a Death Grips track, and I have to nod in agreement on that comparison.
Despite the obvious present-day influences, something about SOPHIE’s productions thus far feel as if they’re coming from at least ten years into the future. Their energy is incredibly hyper, their accessibility is high, but there’s something sort of avant-garde about these tracks as well. Maybe it’s sort of short-sighted to assume that songs like “Hard” could become the norm in a decade, but I certainly get the sense that I’m catching up with something ahead of the curve when I put these beats on.
A piece of chilling auditory excellence from producer, dj, and co-head of Her Records, Sudanim. The track is absolutely freaky, and manages to stir some really frightening emotions in its 3-minute runtime.
I’m loving the metallic, primal rhythms, for one. It’s like a combination of a factory floor machinery and the kind of drum circles you’d only find in the thickest of jungles. On top of this, Sudanim lays some incredibly twisted, high-pitched wails that I could even begin to guess the origin of.
I’m not sure where all of this is coming from, but hell is clearly where it’s going! Enjoy.
Teklife producer TASO has produced one of my favorite tracks of 2014 right here, and it comes off a compilation he dropped with fellow DJs Rashad, Spinn, and Manny back in March. The hooky vocal samples and rattling trap rhythms are too amped for words. There are some nutty juke-style kick drums running throughout this thing, too.
This thing is just pure visceral, rhythmic bliss. Enjoy!
R.I.P. DJ Rashad.
Get ready for a challenging listen on this one! This i.o album titled Edit Architect is a dense, tangled web of multi-tracked guitars, relentless drums, and whatever other glitches this Victoria-based bedroom recording project manages to throw into the works.
It’s like a fusion of free jazz, math rock, and the avant-garde. Give a listen and enjoy!
I’m starting to believe that Damsel in Distress, the latest offering from Berlin-based electronic music producer Lotic, has the potential to be the most compelling EP of 2014. The project spans 12 tracks of hard-as-hell, club-terrorizing beats, with a confounding but brilliant recontextualization of Beyoncé’s “Drunk in Love” at the center of it all - I’m frankly in awe over how he managed to draw such raw emotion out of this freaking song. Overall, I’m digging the concept, I’m digging the sounds, and I’m definitely looking forward to what this guy does next. Hear what I’m talking about above and enjoy!
Damsel in Distress is out now via Janus.
UK-based electronic music producer Hudson Mohawke has recently announced that he’s got a new EP on the way via Warp Records. He’s dropped a new track along with the announcement, and it’s the title track of that forthcoming EP, Chimes. It’s dropping officially on September 29th.
Needless to day, considering I’ve enjoyed Hudson’s previous projects so much, I’m excited for what’s coming up on Chimes. The title track itself takes an incredibly loud, rowdy approach to the trap banger. While there are some ethereal, glossy synth passages on this track, much of it’s runtime is taken over by loud, distorted sub-bass and slightly offbeat synth horns.
It’s unquestionably colorful, and even though it might share a little too much common ground with what Hudson’s already done in TNGHT, I’m still loving what’s going on here.
Versatile producer Shlohmo drops a collaborative EP with singer-songwriter Jeremih.