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Author Archives: Gabe Meier

imaabsLast week, we brought you Imaabs and Tomas Urquieta’s Jam City Reworks project, a two track effort that sees the two Chilean producers take on signature tracks from the Night Slugs representative. The tracks fall somewhere in the nether region where ballroom, Jersey club and grime meet, distinguished by their raw sonics and non-linear rhythmic patterns. These characteristics put Imaabs and Urquieta in the same realm as the Her Records folk and Gang Fatale crew, despite living thousands of miles from the sound’s epicenter on America’s East Coast and London. It’s easy to get caught up in the fantastical idea that producers from outside of the Anglo/Euro world belong in an entirely different category than those who reside within Europe/America/Australia, but this stratification is rarely useful and often results in a regressive, bifurcated classification system. The fact that Imaabs and Urquieta are from Chile should be noted, but it shouldn’t define the artists involved.

That being said, artists who reside outside of dance music’s core can and do offer a different perspective on both production and consumption methods. After hearing Imaabs ingest and rearrange ballroom on his Baroque EP and various one-offs, we asked him to contribute to our guest mix series and he came up with the brilliant idea of highlighting the work of South American and Mexican producers. The following hour and ten minute mix both draws parallels and points out the contrasts between the work of Santiago’s Alpha Stronggah, Urquieta and others along with Astral Plane favorites Rushmore, Neana and Piri Piri. It’s both seamless and discombobulated; an impossibly smooth production that still manages to knock this listener off his feet with every subsequent listen. There are hints of kuduro, zouk and other Caribbean/West African styles, but the majority of the mix falls into the aforementioned ballroom/club/grime amalgam. Moving past geography, Imaabs points out a number of wildly talented producers (Paul Marmota, Inti Kunza) and previews a few special new collaborations. Track list after the jump.

 

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strict face

“Highbury Skyline”, the b-side of Strict Face‘s new release on Mr. Mitch‘s Gobstopper Records, has been floating around the Rinse.FM universe for some time now, but that doesn’t mean that the Australian producer’s most high-profile release to date is any less profound. Along with a-side “Fountains” (peep after the jump), the single sees Strict Face expounding upon an eski sound palette and utilizing melodramatic pads for an orchestral effect. Whereas “Fountains” falls more into the devil mix category touched on by contemporaries Visionist, Rabit and Logos, “Highbury Skyline” is exactly the type of song that critics refer to as the new wave of grime. More specifically, “Highbury Skyline” isn’t really grime at all. It’s a hybrid along the lines of Mssingno’s self-titled EP and Nguzunguzu’s latest Skycell EP, an entity that looks and sounds like grime, but doesn’t act like it. Fountains/Highbury Skyline is out now on Gobstopper.

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jam-city-reworks

Last year, Chilean producer Imaabs released the Baroque EP on Diamante Records, replete with a remix package that included ballroom kingpin MikeQ and Atlanta bass specialist Distal. It was the eighth release on Diamante, but easily garnered the most attention from American and European dance music fans alike (the label has also released music from Daniel Klauser, Hood Dreams and others). The label filters sounds from America’s East Coast, namely club and ballroom, and the UK into unruly, ill-tempered dancefloor bombs that rarely conform to the strictures of traditional dance music. While Tomas Urquieta does not have an official release on Diamante yet, he is a key member of the Chilean scene and has made a name for himself through an impressive array of remixes that touch on grime as much as they do the breakbeat crunch of Bmore.

Jam City remixes aren’t a new phenomenon by any means, but it’s still rare to come across reworks that disorganize and subsequently re-orient the original. Imaabs and Urquieta have done just that in their fresh-off-the-press Jam City Reworks EP, a two track affair that sees the former take on Club Constructions Vol. 6 track “500 Years” and the latter give his hand to Classical Curves standout “How We Relate To The Body”. The Chilean duo were kind enough to allow us to host the reworks and, to be honest with you, it’s an honor to work alongside such talented and earnest musicians. Download both reworks individually below or grab both in a zip file here.

chemist-uk2013’s end-of-year list busting Coyote Records compilation, aptly titled Coyote Kings, rung many a bell through its vivacious, immediate take on grime. Bringing in a mixture of new and old artists, the south London label’s collection featured the likes of recent Astral Plane mixer OH91, old school Skepta running-mate P Jam and relative unknowns (at the time) Spare and Jon DeVille. In hindsight, Coyote Kings was something of a seminal listen for this particular listener, proving in bombastic fashion that contemporary grime can both shmang on a soundsystem level and offer forward-thinking melodic content. Of the Coyote stable of artists, no one epitomizes that coalition better than Chemist.

Like many of his contemporaries, Chemist doesn’t actually have an “official” release to his name yet, but that hasn’t stopped him from garnering plaudits from some of grime’s more esteemed outlets. The UK producer’s “Hoodrat” (his contribution to Coyote Kings) has been utilized as a focal point in many a DJ set, its drastic mutations between feather-pillow loftiness and slamming, percussive weight captivating casual listeners and DJs alike. Chemist’s productions are angular, hawkish and immersive, often fluctuating between aggressive detonations and string-led melodies that are equal parts affecting and chilling. Chemist sits perfectly in the grime continuum, he often draws samples from video games like Metal Gear Solid, but his output also retains a certain tenderness that belies his propinquity for percussive machinations. This Summer, Chemist will release his debut “Defiance” single on Coyote Records, his first “official” record, albeit one that has already made its way into the Rinse rotation. Chemist’s Astral Plane mix brings the sort of gun finger waving attitude that we’ve come to expect from Coyote artists and we couldn’t be more excited to indulge in its madness. New and unreleased tunes from Rabit, Dark0 and Kakarot shine, while “Defiance” comes towards the end and rounds the mix off with aplomb. Enjoy. Track list after the jump.

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william-skeng

In only a few months, rising square wave impresario William Skeng has proven himself as one of the most melodically gifted producers on either side of the Atlantic (or any ocean for that matter). The wily American producer has quickly ingratiated himself in a number of UK circles, garnering support from the likes of Slackk, Tom Lea and Mr. Mitch. Skeng is prolific as hell, but doesn’t just throw half-assed sketches on Soundcloud. His work is polished, equal parts referential and forward-thinking and dynamic to work in a settings. “Two Parts Nightshade” is a deft take on contemporary instrumental grime, a near-trance melody riding over buckshot percussion and meticulously prepared sub-bass. If the sound is familiar, that’s probably because you’ve hear Skeng’s tunes in any number of popular mixes over the past several months. Be on the lookout.

tinashe

While “Vulnerable” might have been Tinashe’s don’t-stop-looking-at-me statement, 2014 single “2 On”, featuring Schoolboy Q and produced by DJ Mustard, was the commanding singer’s clear breakout moment. It probably isn’t a coincidence that Murlo let loose his “2 On” refix the same day as the original’s impossibly sexy music video hit the web and the London producer’s filled out, chugging riddim is a perfect addendum to the visual component. Without losing the luster of Mustard’s sultry bassline, Murlo brings a slightly sunnier disposition to “2 On”, making the easier-than-you-might think jump into soca territory.

niagara

 A lot of ink has been spilled on Lisbon, Portugal’s Principe imprint over the past several months, but few commentators have focused on the breadth and quality control that the label has achieved in just five original releases. DJ Marfox and DJ Nigga Fox have (somewhat fairly) garnered much of the plaudits from the press, largely because of their wildly creative synthesis of Lusophone-derived production methods, but each of Principe’s releases has shone a different light on Lisbon’s prismatic dance scene. As far as redefinition goes, Principe’s star act is Niagara, the trio made up of brothers António and Alberto Arruda, and Sara Eckerson. Working almost exclusively in the range of house and techno, the trio might lack the polyrhythmic capabilities of some of their label-mates, but they more than make up for it with melodic innovation and a keen sense of the grittier ends of texture. The most obvious contemporary comparison is Actress, but Niagara’s dubby, wind-drag take on house has a sunnier disposition than the London don’s brightest productions. 2013’s Ouro Oeste, the trio’s hardware-driven debut EP, is a six track rough hewn expose on chintzy snares, thick acid basslines and gritty, punchy kick drums. It’s easy to get lost in the fine-tuned analogue basis of the EP, but the sparkling, deceptively complex melodies are what really drive Ouro Oeste.

It’s not that Niagara are re-defining house music as a whole, but like their contemporaries MGUN and Actress, they strive to re-orient the form should be consumed. It can be both glamourous and uncompromising, dusty and sonorous. The following mix features 12 original Niagara compositions that make up 45 minutes of infectious, distractedly lo-fi fun. I would be lying if I said I wasn’t completely obsessed with it and Niagara’s focus on the minutiae of mixing cannot be ignored. I was also lucky enough to share a short email interaction with the group so stream/grab the mix below and hit the jump for the full interview and track list.

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lotic-damsel-in-distress-mix

This post is late for promotional purposes, but now that I have some time on my hands, I can’t pass up posting it. In anticipation of last week’s massive Nadus, Jam City and Venus X bill at Berlin club night Janus, resident DJ Lotic put together the “Damsel In Distress” mix, a selection that both breaks down and builds up modern club music. An eclectic track list features oddly familiar song titles like “Hummingbird feat. MikeQ, Bobby Johnson, and Miss Modular” and “KIDDIKUGKIDDIKIGKIDDIKIDDI”, but there are only a few bits of recognition in this mix, mostly in the form of ballroom crashes and occasional snippets of recognizable vocal work (with the exception of an extended Beyonce rendition). The mix is full of pauses, brief and not so brief silences and bleating effects. There’s no discernible “flow” here per se, but that works in Lotic’s favor as he misles the listener into a supine state where the macro effect of the piece is more important than its constituent parts. Stream “Damsel In Distress” below and download it here.

cyphr-brace-gloss-finish

Last June, Her Records caught our attention with the unique, R&B-inflected club vibes of CYPHR’s Girl Shake, a free EP that set the stage for Miss Modular’s wildly popular “Reflektor Pack”, although hasn’t received nearly as much popular acclaim. With Sudanim’s The Link EP already under their belt, it’s clear that the Her crew are looking to flex their shit in 2014 and today brings  release of CYPHR’s Brace/Gloss Finish single. More unbridled than Girl Shake, both “Brace” and “Gloss Finish” abandon the R&B trappings of CYPHR’s first Her release, the former opting for a growling, percussive monster and the latter straining ebullient vocals and analogue synth work into a techno framework. Both tracks are wildly efficient club efforts and allow CYPHR the room to remove himself from the shadow of his fellow Her artists. The single is out now and can be bought at the Her store.

iglooghost

In the general sphere of “beat” music, the instrumental hip hop sound both directly and obliquely centered around Los Angeles’ Low End Theory club night, it’s an incredibly difficult task to differentiate oneself from the competition. While the club night has diversified and expanded (by leaps and bounds) since its inception in 2006, there’s a resounding sense that much of its original sonic make-up has become staid and predictable. With the exception of several recent projects, notably Teebs’ E S T A R A, it’s rather difficult to find producers invested in pushing the boundaries of experimental music. Which is exactly where the United Kingdom-based Iglooghost enters the picture. Encompassing both the direct and oblique connections to Low End Theory, the teenage producer is presently working on an LP with Hellfyre Club member-cum-laude Milo, the obvious connection. Iglooghost also represents an ever-growing camp of international producers adapting, expanding upon and sometimes aping the sounds of Los Angeles.

In January, Error Broadcast released Iglooghost’s first official EP, Treetunnels, an effort that saw him adding R&B flavor and vocals to his jazz-inflected productions. With productions under his belt for the aforementioned Milo and Kool A.D., he has also made strides into the hip hop world, resulting in collaborations that belie the oceanic distance between rapper and beatsmith. Outside of his work with rappers, he brings an expansive take on hip hop to the table, showcasing an impressive comprehension of sound design and composition. Iglooghost’s Astral Plane mix features a mature sound that starts with drum and bass and quickly dissolves into immersive ambient space. We first listened to the mix after a weekend at Death Valley and were quickly enveloped in a semi-coherent haze by 32 minutes of richly melodic, deeply rewarding beat work. The track list might not be immediately familiar, but rinse yourself in the mix and it will take you away.

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