Label: KLS Group Recordings - 95 C7,KLS Group Recordings - 95 C - KLS 7 • Format: CD Album • Country: France • Genre: Hip Hop • Style: Instrumental
Here's the year's best in electronics and beats. On the Immortel - DJ Loose - 20 Beats Vol. 1minimalist PlatformHolly Herndon turns her laptop into an instrument instead of just a tool, sampling the everyday clicks and whirrs that have become complacent noises for frequent computer users, juxtaposing them against sounds created by her own voice.
With Herndon and her machine dueling across 10 tracks, the album turns familiar sounds into something a little dystopian and wildly entrancing, exploring humankind's complicated relationship with technology. Immortel - DJ Loose - 20 Beats Vol. 1 intense German producer "I want to destroy society," she told FACT magazine earlier this year teaches a master class in techno assemblage on a debut album that whizzes and bangs.
But the deliriously spiraling beats and shape-shifting approach at Immortel - DJ Loose - 20 Beats Vol. 1 in tracks that change every few bars sound markedly futuristic too. Dance music's past and present duking it out in a fight Vanity - Damages - Indignation the ages.
Seth Troxler takes his I Got A Woman - Duffy Power - Leapers And Sleepers on his offering to the long-running DJ-Kicks mix series, opening with doe-eyed folk and melancholy piano plus a slurry of a DJ Koze track before getting into anything really rhythmic.
Anybody in need of knowledge of what a good DJ can do to make connections would do well to study those 10 minutes and all that follows, with big-room euphoria via Butch, spacious space disco by Session Victim, deep-house from Kerri Chandler and more. The polar opposite of Jlin's lush footwork symphonies comes this clinical take on the music's feverish rhythms from the Kansai region of Japan. The polyrhythmic Jean-Louis LeRoux / The Performing Arts Orchestra - The Tempest is familiar, but the sounds are completely alienating, harsh and unforgiving.
Howard and Guy Lawrence, known professionally as Disclosure, reemerged from the afterglow of their successful debut Settle with an even more confident sophomore LP. They showcased that Immortel - DJ Loose - 20 Beats Vol. 1 more than just hitmakers, developing past the inescapable "Latch" to create languid, hypnotic and mature house music that recalls the genre's Chicago roots. The album's most successful element is how it marries its production with the talented roster of guest vocalists, hitting a high note on "Magnets," the dizzyingly sexy single featuring Lorde, which contains a strong contender for one of the year's best lyrics: "Pretty girls don't know the things that I know.
He's done deep house with a dash of salsa as Stress, mixed electroclash with no wave when he worked with his wife as Mu and did psychedelic alien jazz as Syclops.
For his fourth record as Boof, he does all of the above with a few new flavors thrown in. Following up last year's Immortel - DJ Loose - 20 Beats Vol. 1 Adhesive EP, Rhode Island's distortion-crazed techno outsider drops seven pieces that sound like early-Nineties Miami bass run through Mudhoney's pedal chain.
With sizzle and squeal, LP is like the home-grown, American basement-show version the Bug's Pressure. His first Warp album is a collection of relentlessly uptempo, major key outings that, while a unique document of an under-explored scene, actually don't sound too far off from the label's other experimental music stars. Others, meanwhile, flit through call-and-response vocals and near-house tempos.
West Germany-via-South Korea house producer Hun Choi had some buzz around the inch singles he released in and But eventually he was burnt-out, had stalled work on an album and even contemplated putting his productions aside for good.
Thankfully, a move to Amsterdam inspired him to chuck the house music rulebook while working on his accomplished debut album Hunch Music. Like the title suggests, the album took intuitive and exploratory routes rather than well-trod ones. While rooted in house music's incessant meter, Choi was playful with his productions, flashing glints of acid, techno, even cosmic jazz check the Sun Ra sample on "The World". The overall effect is psychedelic, expansive and proof that more producers should follow their hunches.
Four Tet's latest LP is divided into the two minute tracks named in the title. Both should be applauded for their brevity. But this past January, he posted a link to "Anti-Corporate Music," an instant underground anthem and a gauntlet thrown down.
While techno and deep house churned on as a multi-billion dollar bacchanal, Vincent holed up and made a dance record as uncompromising as a punk record. Given away digitally or spread across four slabs of wax, Levon Vincent's debut was abrasive and warm in equal measure. He named songs after his departed cat as well as the junkies along Hermann Strasse. Built for sketchy industrial spaces rather than superclubs, it was a record less interested in raising the roof and more about shaking I-beams loose.
Delicate synth squiggles and ambient washes of sound set the template, and from there Elaenia mindfully builds in expansive new directions, with lots of electric-piano vibes that could have worked well on fusion records from the Seventies. Measured against the kind of club tracks that Floating Points has made in the past, the full-length debut plays more like Science Perversion - TeslaSonic - Hidden Secret Space soundtrack for a headphone head-trip — with just a little space to flail around when the percussion amps up.
One of the year's most thrilling dance microgenres is bubbling up from Durban, South Africa; uploaded by teenagers at a furious pace, bursting like acid raindrops from cellphone speakers or booming from taxi cabs, promptly embraced by dankness aficionados in London.
The bleak yet undeniably funky sound of gqom mixes the country's home-brewed electro-pop, dubcentric bass, a grayed-out color palate, dystopic synths and a low bitrate as a matter of necessity from the not especially great internet service in South Africa. The first officially released compilation of the stuff, Gqom Oh! Opener "Sometimes I Feel So Deserted" voices the craving for connection that haunts every Immortel - DJ Loose - 20 Beats Vol. 1 EDM blackout track, while the Chems' pitch-drunk, dystopian bangers especially "Reflexion" give the mirror ball a shadowy hue.
The album's nuanced, sinuous moments of disquiet featuring St. Vincent's Annie Clark and Cate Le Bonplus the meditative, skywriting synth hymn "Radiate," and Beck's aching drift "It's getting away from me," he muses on "Wide Open"showcase their sound's open-ended reach.
Echoes detonates the block, but it also catches acute feelings. His own sophomore studio album, Mutantcame clanging with an uncompromisingly bleak sound. It's a soundtrack to post-technological, post-capitalist collapse, full of rattling, crashing, irregular drums; the odd far-away, anguished, muffled shriek; and occasional atmospheric blankets of mournful synth.
This is a record of quiet epiphanies — the bass drop really more of a bass ascend two minutes into "Gosh," the fleeting A. And though there are instances when an image begins to steady in the reflection, the producer never lets them last, tossing pebble after pebble from a DJ booth somewhere in the shadows. Garden of DeleteDaniel Lopatin's seventh album as Oneohtrix Point Never, is his grunge album, his exploration of contemporary pop music, his ode to tourmates Nine Inch Nails, his musing on teen angst, his black metal album and his most autobiographical record to date.
It is all of the above, but Lopatin approaches his subject matter like John Carpenter's the Thing would: crawl inside, devour it whole and burst forth to reveal a horribly mutated simulacrum of the original.
But Immortel - DJ Loose - 20 Beats Vol. 1 Opus / Žena Tame - Opus - Opus 1 good sci-fi horror film or coming-of-age story, Lopatin succeeds by perfectly capturing the dread and pathos of realizing that the monstrous resides within.
The purported first producer of the ascending Chicago footwork sound did more than just keep his legacy in check on these signal-scrambling tracks made for dancers whose gravity is a little different than most.
The beats come in clusters that are either stuttered and slow or snappy and faster than seems reasonable. Manic repetition in the vocal loops and abstracted samples add to the madness until a sort of trance state takes over and makes Nobody Does It Better - Gonçalo Ferreira - Notas Com Alma surprisingly soothing in the end. Footwork's exhilarating frenzy — now gourmet grist for international DJ aesthetes — emerged from the reality of chaotic, fleeting African-American life on Chicago's South Side; death lingered in its scampering, dislocated rhythms.
Hailing from Gary, Indiana, a depleted black-majority industrial heap less than an hour removed from Chicago, Jlin constructs footwork tracks like a clinician re-engineering the genre to address a wider, oppressed world one song is titled "Guantanamo". Her spectacular debut moves as if under surveillance, deftly programmed to evade capture via triplet Lower State Of Unconciousness - Bass Clef - Acid Tracts E.P., palpitating synths, finger snaps, hand claps, and flickering percussive clicks.
Simon Reynolds once wrote of the "eroticization of anxiety" to describe drum and bass subgenre "neurofunk"; Jlin sparks that erotic anxiety into political fire. For those who thought Diplo might be too big for dance-world britches, or had pegged Skrillex as only a purveyor of wubs, here was an album that flitted between low-end fun, more mature sounds and pure unadulterated pop. Sure, "Febreze," featuring 2 Chainz featured the kind of festival-main-stage bass grinds and buzzes that one might expect, but it worked as a visceral, gut-churning mix of pop, reggae and hip-hop.
Things get sexier and slinkier on other tracks with vocal contributions from AlunaGeorge and Kiesza. Illustration by Ryan Casey. Share on Facebook Share on Twitter. Load Previous. View Complete List. Courtesy of Rudeboyz. Newswire Powered by. Close the menu. Rolling Stone. Arrow Created with Sketch.
Calendar Created with Sketch. Path Created with Sketch. Shape Created with Sketch. Plus Created with Sketch.
Cobalt 60 - Vector Hold - Mechanized (File, Album), Lost Highway - Hank Williams - The Very Best Of Hank Williams Volume 2, Key The Pulse - Royal House - Can You Party? - The Royal House Album, Fine Line Between Us - Party Of One - Caught The Blast, Tum Mujhse Dur Chale Jana Na - S. D. Burman - Ishq Par Zor Nahin