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New Music

urulu

Back in August, Urulu released the Left Coast EP on Let’s Play House’s white label series. The EP overtly celebrated Urulu’s move to Los Angeles (“Pacific Coast” and “Sunset Blvd.” are two song titles), but also saw the British producer throw praise at his American predecessors in a way that we haven’t witnessed to date. The influence of Roy Davis Jr., Cajmere and The Juan Maclean is palpable in Left Coast‘s rhythmic structure, use of effects and (typical of a Urulu effort) and utilization of sonorous soul samples. Recently, the man born Taylor Freels took on remix duties for Australian duo Yolanda Be Cool’s latest single, “To Be Alone”, and the result only solidifies his heavyweight credentials. Excellent pacing sets off a shuffling rhythm, a pleasing base that is later accentuated by a surprisingly deft low end touch. It’s not hard to imagine why Los Angeles’ house denizens are already lapping up this young producer’s releases and looking eagerly to his next booking. Stream and download the remix below and the follow the XLR8R link for a free download

maribou state

Our adoration for Maribou State is well-established and the quickly rising duo seem to affirm that love with every new step they take. Representing a slight departure from their previous material, the duo’s latest effort, “Blue Sunday”, is a club-oriented track that borrows some of the retching, contorted bass tones prevalent in jungle, early dubstep and most recently, in the likes of Tom Demac and Kyle Hall’s work. The soul samples and shuffling house rhythm’s that have come to define Maribou State’s sound are still there, but “Blue Sunday” is a less linear offering than what we’ve come to expect from the duo. The track will appear on the upcoming Truths EP, out October 28 on Southern Fried Records.

akito

First grabbing our attention via his bubbling, maniacal “Fuck U All The Time” remix, London’s Akito Hearnshaw has been making a name for himself by crafting unremitting grime/techno derived drum tracks. Night Slugs’ Club Constructions series made the style trendy and it doesn’t look like it’s going to disappear anytime soon with producers like Akito and Neana championing the sound. “Bordello Bounce” is sparse, industrial and aggressive, expanding from a limited sound palette into a monolithic club machine. No word on whether the track (or last week’s equally massive “Aqua Tryst”, which you can stream after the jump) will see an official release, but I’m sure some enterprising labels are chomping at the bit to get a piece of Akito.

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goon club allstars

You’re probably familiar with Mssingno if you frequent Dubstepforum and/or have seen Moleskin DJ in the past few months, but if you don’t fall into one of the two aforementioned categories, then you are in for quite a treat. Slated for a digital/12″ release on November 18 (on Goon Club Allstars), the London-resident’s self-titled EP is one of the most striking grime EPs to cross our ears in quite some time, combining the spatial awareness of new era eski producers like Slackk and Visionist with a synth-oriented sense of the moment akin to a Girl Unit or Lone. Every one of the EP’s four tracks are undisputedly huge, but “XE2” stands out amongst the greatness, matching an earworm vocal sample with beatific, undulating synth work. The feels are real with this one. Listen to clips from the EP below and hit the jump to stream the full version of “124th”.

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oneman

The past nine months have been tough, what with Oneman only appearing on Rinse.FM for two hours every Tuesday! It’s been nine months since the release of Solitaire Vol. 1, the London-based DJ’s self-released, rapid-fire mix au jus and it’s about time we receive another 80+ song peppering of the finest in grime, dubstep, drill and R&B. Like most Oneman efforts, Vol. 2’s highlights come in the form of idiosyncratic mixes between of-the-moment hip hop and ‘nuum-style UK tunes. Rising Glacial Sound artist Rabit has quite a presence in the mix, as does the drawling Memphis style presented by the likes of Lil Ugly Mane and Denzel Curry. Check out the cover art and tracklist after the jump…

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teklife

The collaborative spirit is strong in Chicago these days (as witnessed at this Boiler Room x Pitchfork Fest affair) and some of the young guns in the Teklife crew, including the unstoppable DJ Earl, recently got together to put together the serrated blade that is “Niterave”. Earl, Heavee, Taye & Sirr Tmo bring fucked up synths (I don’t use that lightly) and the huge, rapid-fire toms that have come to define the footwork sound on one of the more aggressive, unremitting 160 tunes I’ve heard in some time. Mid-range synths are much maligned in this post-post world of ours, but “Niterave” proves that when utilized correctly, they can add to the breadth of a genre.

nadus

After giving Yeezus’ “Send It Up” the club treatment last month, the Brick Bandits reppin’ and Philadelphia-based Nadus has contributed his impressive abilities to Travi$ Scott’s WondaGurl produced, and A$AP Ferg featuring “Uptown”. The original has been lighting up traps and trunks for for a minute now after it was originally released as part of Scott’s Owl Pharaohs tape, but it seems like Scott is on the verge of a major leap that will likely see his back catalogue exposed to far more attention. The track’s menacing, chord progression and creative use of a number of flows (from both Scott and Ferg) make it a perfect subject for Nadus’ rhythmic use of vocals as the synth work is virtually kept intact and used as a hypnotic base for a menagerie of vocal stabs. Word on the street is that Nadus will be releasing an EP through Belgian label Pelican Fly in the near future so if you’re not familiar with his expansive remix catalogue then get clickin’.

sinjin-hawke1

Last week, Sinjin Hawke let loose a remix of DJ Assault and Socalled’s ghetto house number “Sleepover” and today, we’ve received another Hawke remix of DJ Funk’s “Three Fine Hoes” in what appears to be an attempt to delve into the unfairly maligned sub-genre. In typical fashion, both remixes are bombastic as hell and built around some crisp, huge sounding horn stabs. I remember the latter having an especially large impact on the dancefloor at the Witness 3.0 event at 1015 Folsom in San Francisco, but both are sure to have an especially long run in DJ sets the world over due both to their enormous capacity for genre busting goodness and their always wonderful freeness. Stream Hawke’s Funk remix below and catch the Assault & Socalled jawn after the jump.

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monto

Irish producer Monto has been churning out a delectable blend of Low End Theory-derived beat work and R&B machinations for the better part of the past two years and appears to be coming into his own as a producer. The young Irishman released the excellent Best Boy EP last August and has posted a series of impressive remixes and bootlegs for the likes of Ciara, Mr. Carmack and someone named Kanye West. “Choirboys” is an ever-progressing track that transitions from pitched down choral work/organ manipulation to thrusting mid range synths. It’s not exactly dance music, but follows in the head nod continuum inhabited by Lapalux, Devonwho and others. “Choirboys” is up for free download, so get ready for some serious feels.

kelela

A female grime MC you say? She’s singing you say? I wouldn’t have believed it even six months ago, but in the year of the Yeezus it is meant to be. Bok Bok recently uploaded a 40 minute grime set recorded from a club set and lo and behold, Fade To Mind signed songstress and frequent Kingdom collaborator Kelela lays down vocals across the majority of the mix! Grime is obviously not generally produced with the intention of a female vocalist riding across the squarewaves and incandescent bass hits, but that idea is being challenged more and more these days. First we had Nguzunguzu’s rework of Samename’s “Make It Hot” featuring vocals from Ashanti and more recently, Kelela and Kingdom’s “Bank Head” from the Vertical XL EP, both tracks utilizing distinctly pop/feminine vocals on traditionally rougher grime production. Of course, there are moments when the Bok Bok/Kelela set falls a little flat (the portion at around 29:00 is pretty damn clunky), but the fact of the matter is that this a truly genre breaking moment for electronic music. If grime’s hard-nosed, eskibeat factions continue to collaborate with talented R&B singers, the results will be dramatic and widespread. As seen in this mix and the aforementioned tracks, the production/instrumental work doesn’t have to change, but an open minded spirit must be embraced. Maybe I’m exaggerating the importance of work like this, but I see grime’s sphere of influence expanding greatly in the coming months.