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.
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!)
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).
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…
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.