Posts Tagged ‘eskmo’

Al Gore Was Right

Tuesday, September 28th, 2010

Why is it so hot in Southern California right now? The entire summer, we managed to keep it under 90, and now that summer’s over, someone’s gone and struck up a 109 degree heat wave. I mean look at me; I’m supposed to be writing about music, yet here I am, almost crying over this abominable heat. Though why I chose a coffee shop, of all places to go when its hot, I’m not even sure myself.

Anyway, I’d normally be listening to music right now, but I’ve noticed that without my headphones, I’m almost able to hear the sound of dripping water in a far-off place. Perhaps it’s something to do with the coffee pots (which would be frustrating due to the fact that hot water is less than refreshing), but I’m quite happy pretending that somewhere nearby, someone (or some piece of equipment or flooring) is feeling perfectly refreshed. That’s right, it’s so hot, I’d rather listen to things that sound refreshing than actual music. Whew!

Seeing as this is a music blog, though, I’m assuming you likely didn’t come here for nothing. It is my responsibility to provide music relevant to the times, and encouraging everyone to simply snuggle up with a running faucet seems a tad unprofessional. In that case, have a listen to Mount Kimbie.

Mount Kimbie

In my experience, there are generally only two kinds of electronic musc: Those that find their base in electronics and synths, and those that rely more heavily on the recorded organic sounds of the world around us. Prior to today, artists like Flying Lotus, Eskmo, and Amon Tobin may have worn the royal crowns for the latter, but today, those crowns are stripped away by the UK’s Mount Kimbie, who are (pardon the mega-generic colloquialism) redfining music as we know it. Not only are they crafting into beats things that most of us probably didn’t even realize could be musical before, but they’re also (and here’s the real beauty of these guys on a day like today) the most likely to include the lovely sound of flowing water. God it’s hot out.

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Serged (Original Mix)

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Mount Kimbie – Ode to Bear

More Genre Bashing

Saturday, January 2nd, 2010

I love it when people wreck genre walls. It doesn’t even matter which genre they’re wrecking, just so long as everything I “know and love” about it is crushed into an ambiguous pulp and rearranged to look like something straight out of Frank Lloyd Wright’s worst nightmare. I’m talking bulldozer and wrecking ball status. That’s what really makes music appealing. You thought you liked genre’s for what they are. You thought you fell in love with disco because you loved those relentless, won’t-stop-for-nothing beats. You were wrong.

nosaj thing

It’s not what music is that makes it good. It’s what it isn’t. Justice blew up in 2006, and if you ask anyone, they’ll tell you it was because their sound was heavy and distorted whilst also maintaining a disco type groove, however, this is more an explanation of their approach to the solution, rather than the solution itself. Justice made it big because of what they weren’t. Sure, they were dance music, but they most certainly were not cheezy house music. They used the same synths everyone else was using, but they weren’t making bad techno remixes of 90′s movie theme songs. And sure, they were all kinds of heavy, but they didn’t bother with the cliche guitars, flesh eating monster tattoos, and neck beards. Justice was a piece of everything we’d already heard, and yet these guys were brand, freaking new, because they broke all the rules of music, and ended up spewing out a couple tunes that sounded like nothing anyone had ever heard before, and (FACT) that’s what makes good music.

eskmo

Take a look at the evidence: Justice‘s debut prompted a slew of impressionists to attempt to make their millions doing exactly what Justice had already done, but instead of being respected for make music that sounded almost exactly the same, these guys were despised and have long since been forgotten. In fact, each subsequent act earned just a little bit less respect than the one before it did, despite the fact that they were making the same stuff.

What’s my point? How about this: It’s not what you put in your music that makes it good. It’s what everyone else doesn’t.

Check these couple of tracks. Not only is San Fransico’s Eskmo making some of the most well produced beats I’ve ever heard, but he’s also doing to dubstep what Justice did to disco. Who would have thought dubstep could work in 3/4 time?

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Eskmo – Hypercolor

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Eskmo – Harmony

And then there’s Nosaj Thing, who’s somehow taken flying Lotus’s approach to tempo and beats, and made it just as friendly to IDM fans as it is to dubstep fans. How? Only an mp3 can tell.

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Jogger – Nice Tights (Nosaj Thing Remix)

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Nosaj Thing – IOIO