Famed electronic music producer, and underground dubstep titan Burial has just dropped a new EP titled Rival Dealer, which is streamable on the Hyperdub Records YouTube channel. Hear the title track above, and you can hear the two remaining songs here and here. Pick up a copy of this new EP over here. Enjoy!
Recording for Allentown grindcore quartet Orphan Donor’s new EP Empty apparently took place over the course of three years – starting in January 2011, in a barn, and ending in November 2013, in a basement. Clocking in at a seemingly meager 15 minutes, Empty might just be the most rawly affecting extreme music listen you’ll have all year. Check it!
If you dig this, be sure to check out the band’s live (and incredibly murky) self-titled EP here. You can also look forward to the band’s first full-length, which is in the works.
With an elegant piano intro, and adorned with bells and chimes, “With Me,” the new cut from Cashmere Cat’s forthcoming EP Wedding Bells, is the producer’s most gorgeous offering yet. But Cashmere Cat also comes forward with some sparkling electro textures and a few deft drops that make the track incredibly dynamic, attention-grabbing, and danceable as all get-out. Enjoy!
Wedding Bells is due out in January via LuckyMe.
Demented and hellish, the new Soupcans EP does not mess around.
“The Story of Lot,” the last single from Norwegian noise rock collective Årabrot, is a left-field turn from an already left-field band. The 15-minute piece is comprised of Kjetil Nernes recounting the Bible’s tale of the drunken, incestuous title character over a propulsive, lurching bassline that amasses harsh electronic noise and feedback as it progresses. With this track, the band has effectively veered into industrial territory, and it’s glorious to hear the genre performed with some teeth again.
“The Story of Lot” will take up much of Årabrot’s new EP, Murder As Art, out today via Red Eye.
NYC electronic musician L S D X O X O may have just produced Cakes Da Killa’s greatest track yet. Cake’s flow is hard and precise over “Truth Tella”‘s sauntering chiptune-esque instrumental. If you’re familiar with a certain Pokemon creepypasta, this cut might make you a little noided, but the astonishment felt by most listeners will surely be at the hands of Cakes Da Killa.
“Truth Tella” is off L S D X O X O’s new EP, S O F T C O R E, available to stream in full here. Enjoy!
With this fourth and latest self-titled Bandcamp EP, Cape Town electronic musician Jumping Back Slash continues to refine his captivating “afrotronical space music” aesthetic. If you’re familiar with JBS’s past work, this new set of tracks won’t throw you for a loop. All four are laced with tribal percussion, soulful vocal samples, progressive synth washes, and propulsive techno beats–and they’re more danceable than ever! Happy listening!
“Ave. B” has got to be my favorite cut from this new SNSCRN EP, and you can stream it via the Bandcamp widget above. The track’s hip hop-style groove, scurrying hi-hats, and playful vocal sampling make it a standout on this incredibly short EP, Lips. The harmonies created by the rushes of synths that occur throughout the background of the song are a wonderful touch as well. Enjoy!
Scuzzy garage punkers Soupcans have a new EP out that you can stream via the embed above, and it’s gotta be one of the most manic, filthy, and wild collections of songs I’ve heard in this style in a while. The band holds nothing back with brittle guitars, primal drums, and vocals that border on psychotic. Enjoy!
You know that Milo-affiliated hip hop project I eluded to last week? Well, it’s out, and streaming on Bandcamp right now for your listening pleasure. Milo, Busdriver, Iglooghost, ELOS, Jincallo and Lee Bannon all handled production, and Riley Lake oversaw some of Milo’s instrumental efforts. Lake also mixed this thing!
There doesn’t seem to be a huge difference between this project and Milo’s regular solo output when it comes to flow and personality. He even goes on to make references to his personal experiences, so there’s no effort to create an entirely new persona here–not that I’m advocating that.
The most apparent change in pace here is the pitch-shifting effects being placed on Milo’s voice, bringing his raps a few semitones lower than you’re probably used to if you’ve been following his releases up until this point–especially since one track here is a slowed-down version of a previously released track. If there’s any kind of vibe I’m getting off of this project so far, for Milo, or, err, scallops hotel, this collection of tracks is especially scatterbrained and austere. Enjoy!