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Mixes

myth2

If you dig through Myth‘s Facebook page, you’ll come across a seemingly endless treasure trove of the British producer’s music, nestled inside recently, or not so recently, deceased Soundcloud and Youtube links. Nestled among the dead links and paeans to weed, you might be lucky enough to find a song that hasn’t been wiped from the annals of the internet, maybe his recent Glimpses EP, or digging far deeper, an excellent Ruff Sqwad remix (although that, unsurprisingly, comes paired with a dead Rapidhsare link). Some Youtube clips have been switched to private while others have disappeared entirely, meanwhile an entire EP of slamming grime instrumentals live on via Grime Forum. Myth’s prolific creating then posting then removing process is more reminiscent of beat scene maestros like Knxwledge or even Flying Lotus and his quick witted approach to production separates him from potential contemporaries in the UK.

Which is why Myth’s partnership, besides any stylistic similarities, with Houston producer Rabit seems to make so much sense. Right off the bat, the two producers obviously adore R&B and while the majority of their productions together are wound around grime motifs, it’s undeniable that their work, both as individuals and as a duo, cannot be bound by the constraints of the genre. And as far as Myth’s work goes, it’s difficult to imagine an MC on most of his sub two minute productions. Instead, they exist in a bizarre mid ground between modern remix culture, Boxed-esque instrumentals and thrilling reformations of pop tropes. His entry into our mix series follows that amorphous spirit, less a mix than it is a collection of beats, remixes and tracks, haphazardly blended together. Considering that many of these tracks don’t exist in any other format, this mix functions as something of a (decidedly incomplete) register of the producer’s work over the past several years. You can find Myth on Facebook, Twitter and Instagram and can hit him up directly if interested in any individual tracks.

radar-schedule

Our third show on Radar Radio aired last night and our in-house DJ team took it in something of a different direction, flexing out some percussive house and techno numbers before diving into our collection of of raucous Bmore. Tracks from Hodge, Bruce, Zipcode and Matrixxman highlight the first section before KW Griff, Booman and TT The Artist take over. We also brought our good friend Jen Ferrer, label manager at FoF Music and resident at Far Away, onto the show to play out some of her favorite house, techno, disco and funk. No track list for now, but might be upping one in the next week or two. Enjoy.

dinamarca

Part of an increasingly strong contingent of producers, DJs and promoters pushing Caribbean, Central and South American sounds in Europe, Dinamarca has seemed to appear everywhere in recent months, from rampant collaborations to tireless work on his burgeoning Staycore label. With a name that simply means Denmark en español, it’s no surprise that Dinamarca has slowly begun to infringe on the London-Berlin hegemony in European dance music, bringing an exuberant, technicolor approach to the skipping, ever-in-motion sounds of dancehall, reggaeton and kuduro. Last December’s No Hay Break, released via Staycore, functioned as an announcement from the producer, an immensely listenable effort that still gets routine airplay from a collection scene figureheads. It’s subsequent remix volume featured Drippin, KABLAM and EndgamE, three of Northern Europe’s club music luminaries, as well as DJ New Jersey Drone and Imaabs. It might look bizarre from an outsider perspective to see Latin American club sounds flourish in Scandinavia and other Northern European locales, but considering the success of Berlin’s Janus, Oslo/Bergen’s Ball Em Up and Dinamarca’s own Staycore, its existence and continued expansion is actual rather logical. Granted, it takes strong individual actors to make all that happen, but the seeds for future success have clearly been planted and it will be a pleasure to watch Staycore and its various contemporaries grow over the coming years.

Back in March, Dinamarca contributed a mix to the excellent Mixpak FM series, lacing the New York label with a ton of original work and finishing off the mix with a Spanish version of “No Type”. That finishing move might just become something of a tagline for the Swedish producer as he signs off of his Astral Plane mix with an incredible version of “Trap Queen” by Gusho. Collaborations with KABLAM, Kid Antoine, L-Vis 1990 and the NAAFI All Stars pop up throughout the rest of the mix, which is a characteristically unrelenting affair. Odd percussion sounds, ringing and sirens appear throughout the mix, which is almost certainly aimed at representing a club environment. Staycore has a compilation featuring future label signees and friends coming very soon so expect to hear some of the material within imminently. And be sure to grab No Hay Break and the Remixes as they’re some of the most visceral body music to come out this year!

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riz la teef

As one of the most prolific deejays in the game and that rare breed of tastemaker/historian, Riz La Teef has been making waves over the past year in the London club world and across a number of internet-based hubs. Known for cutting personal dubs of his favorite tracks, Riz has become the consummate DJ’s DJ recently and has begun to pop up on, what seems like, nearly every bill. And with an ever-growing collection, a selfless willingness to pour nearly all of his earnings back into the pressing plant and a seemingly insatiable desire to spin, there’s no reason to leave him out of your very own favorite DJ list. And it’s not just his unmistakable skills behind the decks or fervor for dub culture, Riz seems to act as a sort of glue for many of London’s scenes, bringing together dubstep, grime and funky from all over the city into his mixes. His Astral Plane mix acts in exactly that manner, tying together the bass weight-focused techno of Hodge, Beneath and Kowton with nu school grime provocateurs Logos and Loom. Plus, there are a few coming-of-age classics from Lil Silva, Deadboy and Digital Mystikz to tie off the whole affair. It would be a Sisyphean task to try and work through every Riz La Teef mix on the web, but I can’t imagine a DJ I’d rather spend a few weeks with.

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arkitect

The Astral Plane DJ Team was back on Radar Radio last night for the second time, bringing an hour of 100 BPM-ish dancehall, rap and dembow to the London station. The track list is still in the fog at the moment, but be on the lookout for selections from Sudanim, Sami Baha, Drippin, Santa Muerte and Sinjin Hawke. For the second hour of our slot, we brought in our good friend and neighbor Arkitect and the Private Selection co-head brought an hour of blistering, all-vinyl techno. As we continue to feature more and more of our Los Angeles friends, cohorts and assistants, we hope to showcase as much of the talent, in several arenas, this city has to offer. We’ll have represenatives from the Far Away and N0 Rules cliques in the next few weeks to accompany our own selections are working on locking down a studio space to record interviews! Stay locked.

karmelloz

In the sphere of internet-based art forms, the act of being prolific connotes more than just producing a large quantity of work. Prolificacy is often a comment on technology, means of production, industry habits and norms and much more than can be fit in these narrow pages. Adam Harper did a great job of surveying “The New Digital DIY Labels”, the web-focused outlets like 1080p, AVNL, Hoko Sounds which are all prime examples of this, for The FADER here. In terms of releasing a ton of music in terms of volume, hundreds of names could be railed off, but when you bring breadth of style, genre and form, the list narrows considerably. Oregon’s Karmelloz is one of the key names on the latter list, an artists who’s released on the aforementioned 1080p and Hoko Sounds and let loose more than a handful of albums, sketches and more through his own Bandcamp.

Whether he’s working in the confines of Hippos In Tanks-inspired hypnagogic pop, taking cues from percussive club forms or piecing together abstract sonic collages, Karmelloz’s work has come off as inspired and irresistibly candid. Almost always layered under levels of gauze and smoke, releases like Source Localization (for 1080p), Cearà (for Apothecary Compositions with C Plus Plus) and Bud Air could easily have been released under a half dozen different pseudonyms, but ignoring the possibility of historical revision, Karmelloz lets each and every piece, dating back to 2011, sit out in the ether. This allows the listener to sort through it on their own terms, following chronological directives or ignoring them altogether.

He lists his genre on Soundcloud as “psychedelic” and the Karmelloz sound often comes off as a tape edited version of the pages of your favorite magazine. Your favorite rap songs cut up and laden in echo effects, the kick pattern and breaks from a Bmore classic entering the fray and leaving just as quickly. It’s not a lack of patience that defines Karmelloz’s music, but an insatiable desire to filter, comment on and divulge the way he himself partakes in technological music and music technology. His Astral Plane mix is “based on a set I did at S1 in Portland last Saturday. Mostly special edits made at 140bpm with synths dropped out, and including a lot of unreleased/forthcoming material.” It’s reminiscent of much of Karmelloz’s past work and many bits will be familiar to fans, but like every successive release it offers a refreshing drive, this time by means of a concise tempo. Don’t expect him to fall into a 140 four-on-the-floor groove for more than a release or two, but for now this hat is fitting on Karmelloz pretty damn well.

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soda-plains

Associations with London’s PC Music clan, soundtrack work for a Kendall Jenner feature and a debut release on Renaissance Man’s ‘No Beat Is Illegal’ Black Ocean label. That’s the bullet pointed career of Berlin-based artist Soda Plains, a slightly confusing path through fashion, place-less club music and geography. Considering that Soda Plains is originally from Hong Kong, has resided in the UK and now lives in the German capitol, his whirlwind journey over the past year or so, from the DIS Magazine feature to appearances on Endgame’s Precious Metals NTS show and the aforementioned connection with PC Music, comes into focus at least a little bit. The treasure trove of unreleased Soda Plains material, in his DIS Mag and Liminal Sounds mixes and various radio appearances, goes a bit further towards illumination. Within the Soda Plains aesthetic, there are snippets of nearly every regional sound we cover, from desultory pop to squarewave-driven beatwork and on to the snap of the dembow beat. “Rushes” puts him in cahootys with the likes of Imaabs, Murlo and Rizzla, but those comparisons are as fleeting and inconsistent as the rhythmic structure of the song.

And then there’s the video for “Æthelflæd”, directed by Ivana Mladenovic, that positions dancer Christina Pucean in front a sky blue screen as she twists and turns in slow motion. The song is simultaneously too fast and too slow for Pucean’s movements, a disarming effect of the visuals that results in each and every sonic inconsistency coming to the fore. Without any other visuals to go by, it would be folly to read too much into “Æthelflæd”, but it’s probably not unfair to say that Soda Plains, like Arca & Jesse Kanda, has a fascination with body representation and tactile dance forms. His Astral Plane mix sits comfortable around 100 BPM to start, bringing Ynfynyt Scroll, Kablam, Endgame and more into the fold, as well as a few curveballs in Nava Luvu and The Sabres Of Paradise, before leaping up in tempo and intensity. A Fraxinus dub you might have heard at last night’s Her Records Boiler Room pops up as do Iglew, Last Japan and Strict Face, strafing the ever-changing rhythmic quotient with a bevy of meticulous melodic work. Definitive statements about Soda Plains have largely proven futile to date and, in this case, the path of least resistance, just going with whatever he brings to the table next seems to be the best strategy. And in the meantime, enjoying the jackhammer kicks, skipping syncopation and beatific vocal cut ups of his Astral Plane mix isn’t the most difficult task.

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spokes

As editor for Mixmag and head of Coyote Records, Tomas Fraser’s curatorial skills have never really been in question, but, as FACT notes, the “conveyor belt”-like nature of the label is continuously surprising. A few weeks ago, the label held their three year anniversary party featuring Dark0, Last Japan w/ Trim and a who’s who of label favorites. Spooky showed up with USBs on hand and, by all accounts, the party was an unabated success, both highlighting the label’s heavy hitters (Last Japan) and younger go getters (Forever Forever, Chemist). On June 1, Coyote will release the debut EP, Green Eyes, from London’s Spokes and a vinyl pressing will follow on June 28. Having already featured mixes from Coyote representatives Chemist and OH91, it was only fitting for Spokes to cook up a mix for the site and the volume he produced is a testament to the eclectic nature of contemporary instrumental grime.

With a remix from E.M.M.A on the tail end, Spokes’ Green Eyes is an effervescent take on a collection of grime’s classic tropes, from an obsession with minor chords to the carefully constructed sub frequencies. “Lo Pan Strikes” and “Mutations” are available to stream now courtesy of Boiler Room and FACT respectively and each has garnered attention from Blackdown, Slackk and other on-the-cusp selectors. Spokes’ Astral Plane mix reads like a roll call of his contemporaries and potential experimental influences, from Yamaneko, Iglew and Sharp Veins to Steve Reich, Bill Kouligas and Lee Gamble. The mix twists and turns from brilliant melody to brilliant melody, blasts of percussive noise entering the picture periodically, but unlike the steady, predictable groove of house and techno, Spokes’ work is deliciously non-linear. And with Green Eyes on the not-so-far horizon and Tom E. Vercetti seemingly in the Coyote staple, the label won’t be running out of starry eyed grime releases any time soon.

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dj-rashad

A year after his passing, it’s still extremely difficult to grapple DJ Rashad’s sudden death, but it has become increasingly important to celebrate his life, legacy and importance to footwork and contemporary music at large. It’s neither our place or within our skill set to eulogize Rashad, but with anniversary of his passing taking place this past Sunday (April 26) and our monthly slot on KCHUNG going down the next day, there wasn’t a better time to lay down some of our favorite tracks from the legend. Double Cup features heavily of course, but so does Teklife Vol. 1: Welcome To The Chi, DJ Spinn’s Teklife Vol. 2: What You Need and the dozens of other collaborative projects he helped out with and/or co-produced. DJ Earl, DJ Manny, DJ Phil, Taso and more pop up here and there and Rashad’s influence, both in terms of the raw musical inspiration he imbued and his own oversized personality, is palpable among Teklife’s younger generation. Hyperdub’s Rashad-inspired Next Life compilation is still available here and there are still so many artists from Chicago putting on for footwork and furthering the legend of Rashad Harden.

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basile

Known primarily for its more well known members, namely Neana and Sheen (formerly Georgia Girls), sparse, rough and tumble take on club music, the Gang Fatale set/label has amassed a small cadre of stylistically coherent artists from the UK and beyond. Trap Door and Kieran Loftus both cleared out space for themselves via EP releases, Emerald Dove on B.YRSLF and All Black Outfit on Paradise Rhythm respectively, while Bleaker, Clara La San, Simon Divine, Basile (formerly Prince Jean) and co-label head Ra’s Al have all released tantalizing snippets, single drops and other ephemera. We’ve got the Paris-based Basile on for this week’s Astral Plane mix and the French producer, keyboard wizard and visual artist came through with a stomping, disarmingly referential volume of his own productions, edits, loops and favorites from others.

Having already released an album’s worth of keyboard jams, new age, jazz and more than a few vocoder-heavy tracks on Astro Nautico, there’s plenty of Basile material out in the world, but that doesn’t make it any easier to pinpoint his aesthetic. There’s a little Tangerine Dream and a little Strictly Rhythm, a little Zapp & Roger and a little Principe Discos. Like his Gang Fatale compatriots, the Frenchman’s sound is an amalgam of disparate eras and genres, a geographically implacable combination of influences and technological flourishes. Names like Ty Dolla $, Drake and Iamsu show up in the track list of his Astral Plane mix, but the mix is neither an out an out party tape, nor is it an abrasion-inducing club volume as the SD Laika (in edit form) inclusion might connote.

In his own words, the mix is an “inclusive” look at the club, intended to be consumed “with an open mind and a chaotic approach” and that’s exactly where any discussion of Basile should be begin. In a world where house and techno are the only true insider forms of dance music in the underground at large, the club music community has formulated itself as something of an outsider clan, banging at the doors of the establishment. And while that approach isn’t necessarily wrongheaded, it is alienating. Basile’s take on club music is as inclusive as any softball house or techno record, but he retains the jagged edge and re-inventive spirit so favored in the club music community. In a sense, this inclusive approach can be boiled down to semantics, whether or not an artist engages with a perceived establishment shouldn’t really matter, but Basile’s particular brand of populism and stylistic incorporation really does come into focus when you listen to Anumi Pause or the mix below. It’s effortless, or at least it seems that way.

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