Archive for September, 2008

Royal Rumble Owns Los Angeles

Sunday, September 28th, 2008

Here’s one we’ve all been waiting for for a while. I’m pretty sure the Los Angeles trio known as The Royal Rumble have somehow managed to purloin a book of trade secrets from Steve Jobs, because it seems to me that the manor in which they release their tracks is strikingly similar to that of Apple: They keep you wanting more than you can have, by releasing a single incredible (and may I emphasize incredible) mix at intervals far longer than you’d prefer. In short, if the Royal Rumble three happen to read this, let me assure them, their techniques are proving quite fruitful, seeing as each of their releases leaves me both incredibly satisfied, and yet itching for more at the same time.

This latest track, a remix of Graveleaf’s “The Crusade” continues to embrace the familiar Royal Rumble sound (which, for those of you who’re finding yourselves a little confused, consists largely of whoops, whops, and other loopy and almost [pardon me if I'm overstepping my boundaries here] minimal sounding noises) but that’s not to say that it has, in any way, become repetitive. In fact, for those who’ve found themselves reading my lengthy trains of thought in hopes that you might find a few solid tracks to throw in your next set, the smooth transitions and gentle progression that tie this thoroughly bouncy track together will likely prove to be exactly what you’re looking for.

Go ahead. Indulge yourself.

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Graveleaf – The Crusade (Royal Rumble remix)

Busy Busy Busy P

Tuesday, September 23rd, 2008

Busy P was, is, and always will be where it’s at. I don’t know where this guy gets his ideas from, but whether he’s got a tank of manatees pulling musical notes out of a pile or he simply purchased a relentless creativity chip from some weird corner of Ikea, anyone who’s owned a pair of headphones within the last year can tell you that the guy has got more musical gravity than just about any other entity in the electro universe. I suppose I could discuss his having detected the potential of multiple internationally successful artists before their sounds were even remotely popular (The guy opted to manage Daft Punk way back in the early nineties, before they’d even acquired a record label, and I’m guessing we’ve all heard the rags to riches story of Justice’s one-song, chance encounter with Mr. Winter. Look where they ended up!), but I feel that there’s even more glowing potential in the French Producer/Ed Banger owner’s own original works. Where most producers tend to have a decent ear for what people know and love to hear, Busy P has the considerably rarer ability to know what listeners don’t know they want to hear. Confused? Let me explain:

Remember 2006? Of course you do. That was the year Justice released their turn-the-world-upside-down Cross album, and hence, that was the year that the electronic scene was driven entirely by steady kick-snare beats and tricky, glitched out transitions. But while our faithful Justice and their nine-hundred spinoff counterparts were all following the same 123 bpm formula, Busy P had already begun to push his standards to entirely different places. Personally, I was drawn in by the Rainbow Man EP, which, though it drew several elements from the trendy hits of the time, had an unusually sedated drive to it, which managed to make it that much heavier. From there, though, colors started flying. A few months ago, To Protect and Entertain tapped into the Electro/hip hop crossover genre (one that happens to have become more than just a bit popular as of late) at a time when few more than The Chemical Brothers had even touched it, and apparently having already moved on, P’s latest track, a remix of Das Pop‘s Underground, has nearly combined the weird Helium voices of Bass Kleph’s aptly titled work with a mess of frumpy, windy, slidy synths that’ve got me saying nothing but mmmmmm mmm MmnmLOL. Let me assure you that no matter how you try, it’s likely impossible to comprehend Busy P‘s train of thought, but if you take the time to appreciate this mix friendly blend of whacky confusion, (in addition to grabbing one of the most well produced tracks in quite a while), you might, at least for the moment, feel like you have some sort of clue as to what’s going on.

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Das Pop – Underground (Busy P remix)

And just so I don’t leave you with only a single track with which to occupy the rest of our night, I figure I should probably help spread the latest by Van She Tech (special thanks to Discodust for the heads up). The track has got a definite Russ Chimes feel to it (I guess the Nu-Disco-ish influence is spreading), but a careful bit of side chaining every now and again definitely gives it a unique touch. Sometimes I wonder just how far off the map Van She Tech would have to wander to screw up a mix. Thus far, I’m convinced they’re invincible.

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Walter Meego – Forever (Van She Tech remix)

No Really, It’s Urgent

Thursday, September 18th, 2008

I know my posts have been coming in bursts recently, and trust me, the last thing I want to do is perpetuate the cycle, but as you may have surmised from my previously unscheduled publications, sometimes it is simply imperative: Tonight, the unfortunate streak of bleak and uninteresting electro house tracks ends, for I have, by some stroke of luck, stumbled across what is easily the heaviest, noisiest, and most tastefully confusing production since the surprising Kam Denny remix of Ce Ce Peniston’s “Finally”.

BSOD

BSOD. Does it stand for Blue Screen of Death, or am I just confusing myself? I’ve got no idea, but what I do know is that the quiet night of French linguistic practice that I had planned has been entirely ruined, and I wouldn’t have it any other way. The endless stream of clicks, beeps, whoops, and whip-whopping (all of which makes the contribution of Joel Zimmerman, or more commonly, Deadmau5, very, very apparent) is more than enough to beg a rewrite of the definition of euphoria. Now if only I had an empty warehouse full of deranged and shameless youth…

Again, I must stress that this piece of audio wreckage is pushing insanity, so please, listen responsibly! I’m pretty sure the surgeon general would agree.

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BSOD – Choplifted (Original Mix)

I Knew Him before He Was Popular

Wednesday, September 17th, 2008

In case I’ve failed to make it apparent enough through my many needlessly extended rants among my previous posts, I truly believe that, with the power that music blogs have gathered throughout the last several years, the internet’s ability to promote and support music is fully capable of replacing the corporate music industry altogether. Naturally, I don’t think anyone’s going to argue the fact that they could, but seeing as I’m likely going to get a hefty number of people disagreeing with the fact that they should, I’ve decided to use this post as the quintessential justification for the cause.

There are no doubt a huge chunk of reasons why blogs are capable of the getting the job done, most of which I’ve explained hitherto (instant exchange of ideas and influence, balance of opinions and views, and the lack of the presence of greed and money as a driving force being just a few), but I think that the most respectable and revolutionary quality associated with blogs is their unique ability to promote incredible music that, due to lack of labels and names, would never have otherwise made it far past scribbled sharpie on a burned cd. To put it simply, discovering great music that’s been processed and prescribed by Hollywood is a bit of a thrill, but to unearth the gems from the far reach depths of Myspace (especially the ones who’s friend counts haven’t yet struck the thousands) is to experience an indescribable feeling. Example:

Bit Rate

I don’t think I’ve done a post of this calibre since I covered I Am Elektronik way back in the beginning, and boy, does it feel good to get back in touch with the underground. Steering clear of mainstream electro for even a short period of time has allowed me to see through the hype to the magical things that become of clashing influences, and artists who don’t quite fit into a single genre, and I must say that among all the classy no-name’s, Bit Rate really stands out. The Baltimore producer (another win for the states) has managed to capture a sound that clearly strips bits and pieces of style from his cited influences (Justice, Boys Noize — all the standard heavy hitters), and though the resulting sounds are nothing unheard of, their structure is unusually original. Specifically, I feel his remix of Empire of the Sun‘s “Walking on a Dream” deserves a considerable amount of credit. It’s almost as if he’s taken the idea behind Treasure Fingers‘ “Cross the Dance Floor” (an incredibly catchy, yet not so dj friendly track), and made it thoroughly danceable, without ever having to sacrifice the the melodic lightheartedness that made it so memorable in the first place.

I suppose I could have made this post a little more concise and simply advised you kids not to overlook the unknown, but you’re likely only reading to kill your free time anyway.

Enjoy this funky little remix, and pride yourself in knowing that you’re likely one of the very first to ever have heard it. How cool do you feel right now?

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Empire of the Sun – Walking On a Dream (Bit Rate remix)

This Could Be a Bit Messy

Friday, September 12th, 2008

I’m thinking this little update is going to steer pretty darned far away from my usual approach to blogging;  Accounting for those of you who might not have noticed, I tend to enjoy blending a sort of theme in to most of the writing I do, and the artists whose tracks I post generally have a place within that theme.  In the last couple weeks, however, I’ve begun to find myself stumped and at a loss for some kind of container with which to unite the massive of influx of artists about whom I’d thoroughly enjoy to post, and as such, you my friends have almost certainly been subjected to a serious lack of variety.

Not to worry, though.  I’ve come up with a universally likable solution, and it goes something like this:

I’m going to proceed to load every last piece of gnarly, pelvic-motion-inducing disco into my hypothetical shotgun, which I will then aim at some hypothetical object that people normally shoot with shotguns (be it birds, bucks, or Master Chiefs) and pull the trigger;  Assuming everything goes according to plan, over the next day or two, you chilluns should be left with a scattered mess of banging beats with which you may do as you please, and with a little luck, we should all be rubbing up against something attractive within *checks watch* twenty six minutes.

DeadMau5

My first guest is no doubt already quite familiar to you, the party goers.  Probably due to the fact that he’s practically invented his own personal genre (or maybe just because of his easily spotted, giant, red head), Deadmau5 has been seen in just about every festival in every city in every country over the last six months or so, and I don’t think anyone’s complaining.  The Canadian electro genius has somehow bolstered up his sounds to the point where the drop beats of his songs sometimes leave me wondering whether or not it really was a kick drum, and not an aluminum baseball bat, that knocked me so readily onto my behind, and as if that isn’t enough to keep the electro heads bouncing back for more, his mixes are frequently topped off with squeaking blips, beeps and whoops that fully complete the transformation from digital bits to a percussive sensory bliss.  Naturally, I’ll include his latest work (which you may have heard at events like The Coachella Music Festival in April of this year), however, I do recommend a catalogue search on this fellow:  The reward is far from cheesy.  (Gaha ha ha!)

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Deadmau5 – Hi Friend

Ju-ju-ju…Justice!

You’re shitting me. What? No. Seriously!?

As weird as it sounds, Justice has indeed returned (although where they’ve returned from I can’t say) with what is probably the first original work they’ve produced since the completion of Cross, and (I wouldn’t be surprised if my standpoint on the track encounters a bit of controversy) I’m going to go ahead and say that these two Frenchies have done it again. I was rather surprised upon a first listen to find that their style, despite having retained a familiar grungy synth sound, has change significantly. It’s almost as if the glitchy repetitive hooks that tied Cross together have been fully replaced by progressive instrumentalism, and pardon me if you don’t quite agree, but I’ve decided that artists among the likes of Metallica simply must have been used as an influence at some point amid the creative process. Regardless, seeing as you currently have the opportunity to be one of the first to grab this track and to be cooler than all your friends, this is something you’ll surely regret missing out on. (Again, I’d love to hear what the many Justice fans out there have to say. If you’ve got any sort of opinion, do your fellow hipsters a favor and SPEAK).

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Justice – Planisphere

Kill The Noise

And then there’s Kill the Noise, who, in my opinion, are entirely misnamed. In fact, this electronic collective, who have gained a massive amount of popularity in recent history due to their frequent appearances on LA and SF’s MissingToof, should probably have been called something closer to “Fertilize, stimulate, and then provoke the noise so that it becomes an enraged, dance floor fiend“, seeing as their sets are rumored to be consistently and abominably off the hook.

Even at that, though, I tend to be reluctant to cover them in my posts, due to their already thorough coverage throughout the rest of the net, however, one of their recent tracks, a funky crossbreed between disco-house and electro appropriately entitled “Pull My Strings” induced a sudden change of heart; I’ve heard many a delicious sample in my day, but there’s no doubt in my mind that Kill the Noise‘s tops the list.

Try not to be fooled by the intro…

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Kill the Noise – Pull My Strings

The Bloody Beetroots

And before I let you get to digging in your closet for those dusty tables, I figure you might like to know that the long awaited (And when I say long, I mean long) Bloody Beetroots followup EP has at last been released through the infamous, Dim Mak record label. Though the release does (unfortunately) rely heavily on previously released tracks (Butter, Yeah Boy, I Love the Bloody Beetroots), I can assure you that the entire album if worth collecting simply so that you might enjoy the pure audio wreckage that is Rombo. This psychotic mess of loopy, slidy synths and ridiculous samples (I swear I’m hearing Lil’ Jon, as well as some sort of Disney cartoon character) has been the exclusive prime time backbone of MSTRKRFT and Aoki sets for quite some time now, and (lucky you) the track is now yours to handle. May I suggest rubber gloves and lab goggles? It’s a bit volatile.

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The Bloody Beetroots – Rombo feat. Congorock

Dim Mak Presents: Everything You Thought You Couldn’t Have

Friday, September 5th, 2008

I must say it’s been quite some time since we’ve heard almost anything from the Ed Banger crew. I have this strange inkling that Justice might well have been struck with the misfortune of sailing off the edge of the earth in their gallant search for a proverbial new world, and even the immovable, longtime members seem to be shying the news as of late. But hush children, I assure you, there’s no need to worry; Though it may seem as though our beloved team of groundbreaking artists have hidden themselves away in their laboratories, you’ve simply found yourself at the mercy of a well kept secret. See, our good friends over at Dim Mak have (incase you failed to notice the exclusive appearance of Mr. Pedro Winter himself only a month ago) all the while been supplying LA’s truest disco fans with a constant stream of awe inspiring dj sets and sweaty, sweaty parties (think underground railroad), and, though it saddens me to say it, you’ve been missing out!

Fortunately, you shan’t be left in the dark yet again, seeing as Dim Mak has officially gone all out on their upcoming Avalon-strocity of a dance party and has managed (by means of some ridiculous supernatural power) to summon the dj Feadz to make Los Angeles sparkle upon the night of the 12th of September. (That means you’ve got a little over a week to go ahead and cancel all your appointments and such. Don’t worry, you didn’t really need to go to them anyway) Considering a live Feadz headliner has become somewhat of a rarity since the inception of Uffie, it goes without saying that this isn’t something you’re going to want to miss. And as if that’s not enough for your metaphorically Irish electro tolerance, I suggest you take a look at the rest of the lineup. We’ve got Kid Cudi (I’m sure you’ve heard Crookers‘ Embrace the Martian?), Paparazzi, Them Jeans (If you’re unfamiliar, you must live in a cave), and the notorious Hyphy Crunk, all waiting to help you lace up your dancing shoes. Sure, a couple of those names do indeed frequent LA, however, having them all to yourself together in one night is pushing insanity.

For those of you who’re finding yourselves a tad confused, here’s a couple tasters to get your blood running hot. I trust the next couple minutes shall ensure that I’ll be seeing you there.

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Feadz – Go On Beef (Mr. Oizo Remix)

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Feadz feat. Spank Rock – Back It Up

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Kill the Noise – Hey You (Paparazzi Remix)