Most Vangelis/Blade Runner-sampling hip hop songs don’t work. Neither do most hip hop releases on Canadian boutique electronic music labels. But then there’s Gorgeous Children’s upcoming mixtape/EP on Jacque Greene’s ever-picky Vase imprint. With Gorgeous Children’s resident producer Gila Monster taking a good helping of synth whirls from Vangelis’ soundtrack and adding a solid amount of hi hat/snare-based percussion, Face Vega takes us home with a few sharply executed, fuck the-world verses and a surprisingly chant-able chorus. The tape is called ICE and will be upon us soon. If you forgot, the group is Gila Monster and Face Vega. Expect big things.
New Music
Murlo Blends Kevin Gates & Meleka On Latest Bootleg
If you checked out Murlo’s recent contribution to Truants’ “Functions of the Now” mix series (or any of his other recent mixes), you’re privy to the London-based producer’s body moving, eclectic mixing style. Murlo operates in a number of unique spheres in both his production and DJ work, placing soca’s bright, airy melodies across grime’s spacious infrastructure and utilizing American hip hop and R&B to tie the whole affair down. Never one to hide away DJ secrets, he recently let loose a sublime blend of Kevin Gates’ “Arms of a Stranger” and Meleka’s “Go”, superimposing the latter’s aching vocals over the former’s (S1 produced) trance-informed melodies. The blend is a wonderful DJ tool and elicits quite a few feels as an original in and of itself. It’s also free so give it a listen below and jumpstart those creative engines.
Figgy Remixes Justin Bieber’s “Hold Tight”
Taking a step back from his usual slow house structure, Figgy’s latest remix of Justin Bieber’s “Hold Tight” falls somewhere between woefully nostalgic and perspective-altering re-imagination. As we’ve noted before, pitching down R&B isn’t exactly a new science at that point, but that doesn’t mean it can’t be done in a functional, effective manner. Figgy’s turning down of Bieber’s vocals works in tandem with twinkling synth work and refreshingly bouncy percussion, never settling down for a simple “screwed” effect. It’s not the most innovative remix on the block, but we’re glad Figgy took the reigns and not another less-gifted producer.
New Sinjin Hawke & Gangsta Boo – “Yea Hoe (Devil’s Daughter Mix)”
By most estimations, last months Sinjin Hawke + Gangsta Boo collaboration, “Yea Hoe”, was a resounding success, providing the former with an established, well-respected MC and the latter with some of the best club collaboration the world over. That being said, I don’t think anyone is mad that we’ve received an alternate/remix version of the song in the form of he “Devils Daughter Mix”. Whereas the original was all braggadocious horn work and Greek Tragedy wails, the new mix strips all of that away (for portions of the song), relying on reverberating, over-the-top synth drums and strapping hi hats. If the original was a club track, then this is a club track. It’s hard to choose between the two, but considering that both are free, expect to hear both in abundance over the coming weeks and months. Stream/download below and catch the original mix after the jump.
Nadus Remixes Drake’s “Furthest Thing”
There are a lot of producers (from the Northeast and elsewhere) that are making incredible Jersey club right now, but few manage to transcend the sub-genre, twist it around their finger and subject it to their will quite like Newark’s own Nadus. Whether’s he’s trending more towards the aggressive, breakbeat-led end of the club spectrum or whipping out a more subdued, feels imbuing sound, Nadus is straight quality, turning out a steady stream of new music and rarely faltering. His remix of Drake’s “Furthest Thing” certainly falls into the latter camp with a dream-like atmosphere, subdued kicks and drug-haze inducing synth-work. With all these varied remixes, we just have one question: where’s that Pelican Fly EP yung Nadus? We’re all waiting.
New Midland – “Driving Bell (Drum Dub)”
Midland’s hazy club contortions have been lighting up Britain for years now and it wasn’t until I caught the London-based producer at Decibel Festival last month that I completely understood why. Not that I didn’t enjoy his music, but as with many producers, it was difficult to put it in context until I heard it in a club setting. That’s not to say that Midland’s tunes can’t make good home music. In fact, his music functions on a plane that many others in his class cannot and can play the role of headphone music quite well. The alien squelches and rounded percussion of “Diving Bell (Drum Dub)” make for excellent club fair, but their slightly dissonant, off-kilter nature also turns out an interesting solitary listen. That being said, go see Midland if you get the chance. And look out for the digital and vinyl release of the Diving Bell EP (November 25 on Graded). You won’t regret it.
New Dubbel Dutch – “Inevitable”
Dubbel Dutch’s upcoming Cloud Cub EP (out November 12 on Mixpak) has either been completely mistimed (unless you live in the Southern hemisphere), or the man born Marc Glasser is just supremely confident in his music’s uplifting abilities. Belying the trend towards icier, cold, minimalist music come wintertime, Glasser has turned out his most effervescent track to date, the Ce’Cile covering “Inevitable”. Soca, dancehall, Jersey club and UK funky are all invoked on this riddim, but it’s the trampoline drums and nearly over-the-top, tinkling synth melodies that make the track a Dubbel Dutch riddim. It’s fair to say that there are few producers I would trust to turn out something so overtly poppy, but Glasser has turned in an incredible tune that might just light the dark months. Stream below and pre-order the Cloud Club EP here.
New Vissacoor (L-Vis 1990 & Massacooramaan) – “Spectral Evidence”
Straight out the fucking dungeons of planet Night Slugs (from the Fade To Mind galaxy), London’s L-Vis 1990 and Portland’s Massacooramaan have conjoined to form Vissacoor, a joint venture that is certainly more man than machine. If you haven’t noticed, the Night Slugs and Fade To Mind camps have a penchant for collaboration and this Thursday will see Vissacoor come together in New York City for a special live performance alongside a stacked lineup that includes Rinse.FM founder DJ Slimzee, Total Freedom, J-Cush and many more. “Spectral Evidence” is the first track from the duo and is currently up for free download. It’s a dense, dark affair so prepare yourself before listening. Stream/download below and check out the show flyer after the jump.
DJ Kiff Remixes Planet Rock’s “Sarah Palin”
There’s something to be said for senselessly repeated phrases in American club music and while I can’t exactly back it up with a cultural studies lexicon of terms and theories, I can say that it has become one of the defining features of the Baltimore, New Orleans Jersey and Chicago sounds. On it’s own, a repeated Big Sean line is annoying to the point of inflicting self-harm, but in the context of DJ Kiff’s remix of Planet Rock’s “Sarah Palin” it takes on new, hypnotizing function. Vocal repetition might not offer any deeper meaning into life, but it often makes for damn effective dance music. Stream Kiff’s remix below and cop a free download here.
Jim-E Stack Remixes Hyetal’s “Jam The Network”
Ever since he jumped onto the scene with a few well-timed remixes, San Francisco-born producer/DJ Jim-E Stack has been on an impeccable streak of releases. At some point between his transition from San Francisco to New Orleans, and most recently New York, Stack has developed one of the most refined sounds in the American club music game. First came the Come Between EP on Good Years, then Body High released his Bubble Boy single, all while Stack continued to spit out quality remixes. For his latest feat, Stack has taken on buzzing Bristolian Hyetal’s (of Velour and Modern Worship fame) “Jam The Network”, reducing the throbbing, riffy original into a calm, collected piece of slow house mastery. It’s almost too easy to fall into the slightly moody air of the remix, it’s pulsating rhythm growing ever more persistent without seeming to force the issue. Stack’s sense of pacing is just so on point at times that you forget that the listener forgets that they’re listening to dance music.










