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milo

It’s easy to say that Milo’s take on hip hop is not for everybody. It lacks the bravado, (traditional) punchlines and self-congratulatory tone of the majority of the rappity rap realm. The references are somewhat academic and the tone is self-deprecating. Some might call Milo an arthouse rapper, but placing him in the Digable Planets/Brand Nubian lineage would be a mistake. The deadpan flow and highly referential nature might bring up Das Racist comparisons, but Milo’s lyrical arrangements aren’t as populist stream-of-consciousness as the deceased Brooklyn trio. Milo is also probably smarter than you, a point that is emphasized throughout his recently released double EP Things That Happen At Day/Things That Happen At Night (out now on Hellfyre Club). The Riley Lake-helmed former is the focus of this post, partially because it’s my favorite of the two and partially because there is entirely too much to take in and comment on across the span of both projects. Before listening to the EP, I highly recommend reading Milo’s “addendum” on duality, Schopenhauer and his father:

this record is about (false) dichotomies and the transcendence of them through genuine expression, and the exploration of things that make me, personally, uncomfortable. it’s about olde-tyme notions of heroism, quests and being in the search of. it is about action for the sake of action without regards to consequence. it is about verbs and not nouns.

Milo is both an astute media critic and a philosophy student and Things That Happen At Day is as dense a work as you’ll come across in contemporary music. It’s easy to get lost in the Hegel talk or whatnot, but like most self-aware lyricists, Milo is mostly just attempting to find a justifiable truth in his personal relationships. He admits that much on EP standout “folk-metaphysics”, a track rife with an immensely relatable insecurity. What’s more relatable after all? The illusions of exorbitant wealth and grandeur in more radio ready rap or the existential worry that you might not matter after all? Milo’s rap might not be for everybody, but it should be. Expect to hear much more about this Riley Lake guy tomorrow as we’ve got some big things (think LOL Boys x Fader mix, but better) in line, but just know that the production on Things That Happen At Day is like no other hip hop release you’ll hear all year. Kombucha bottle percussion, Wallflowers covers and jazz guitar are the new norm so, like, get with the program. I can’t do this EP proper justice in a condensed writeup unfortunately, but just give Things That Happen At Day a listen. And then another one, because while Milo isn’t quite as incomprehensible as Hegel, this shit is packed with meaning. I certainly haven’t begun to grasp the majority of it yet. Stream below and show some love to two immensely talented artists. Also catch Things That Happen At Night after the jump.

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ryan-hemsworthI don’t need to tell you that Ryan Hemsworth was one of 2012’s most apogeic performers. The rest of blog world has that covered I think. Not to toot our own horn or anything, but we did interview Ryan back in April. Just sayin’. Anyways, “BasedWorld”, right. Sounding as triumphant as he ever has, Hemsworth’s “BasedWorld” falls somewhere between video game proportions super hero music and an “I’m God” approximation. There a few points last year that Hemsworth’s glut of remixes began to sound a little verbose and mechanical, but “BasedWorld” certainly bucks that, proving that despite a propinquity for remixes, his best work comes in the form of originals. Stream below and download here.

Update: Commenter ei8htzer0 pointed out that sample in “BasedWorld” is M83’s “Moon Child”.

velour

I would be lying if I said I didn’t love the populist direction Julio Bashmore has taken his sound over the past 12 months. Not every release has to further the critical conversation and Bashmore has pretty clearly opted for straight-up fun times over any sort of challenging project. For his latest trick, the Bristolian has linked up with Hyetal to once again form Velour, the neonic duo that debuted on Night Slugs back in 2010. The Prince is strong in “Speedway” and while not as initially intruiging as say “Booty Slammer”, the song is certainly a grower and has a way of weaseling its way into your ear canal. Fuck NASCAR tho. Stream below.

happa

Happa, the prodigal son of everything good and holy in the techno-verse, got in the holiday spirit last week to give away the unremittingly dark “Freak”. 2012 was the year that the once ubiquitous TR-303 came roaring back and while it didn’t quite permeate the mainstream, the machine was utilized far and wide. On “Freak”, the 15-year old wunderkind buries traditional acid under a mound of dirt, forcing the relatively traditional sounds to squelch out from deep within a cave. It’s not Happa’s biggest or best effort, but it offers a side of the producer we haven’t seen yet and, well, it’s free. Stream and download below.

djao

Photo by Patti Miller

Dropping Gems mainstay and Astral Plane favorite DJAO looks primed to have a breakout 2013 starting immediately. On January 16, label of the moment Friends of Friends will release the Show Me The Future compilation featuring tracks from AO, Kid Smpl, Evenings, Ryan Hemsworth and more. There isn’t a truer bet in this fucking industry than FoF so you know the final product will be tip top, but in the meantime you can stream AO’s contribution below. If you’re familiar with the Seattle native’s  past work with Dropping Gems, the effervescent “Time To Stop Waiting” will come as no surprise, but for the uninitiated, ready yourself for full immersion into AO’s underwater universe. More beat-oriented than the Wuhn EP, “Time To Stop Waiting” combines understated wailing vocals and slightly clipped percussion into a simple progression with hypnotic effects. We couldn’t be happier that AO is finally getting his proper due and FoF is the perfect place for that to happen. Stream below and look out for Show Me The Future on the 16th.

john talabot

John Talabot’s ƒIN LP was released last February, but it wasn’t until the cavalcade of year end lists came around that the hype machine really got behind the Barcelona-based producer’s prodigious debut. Admittedly, we missed the album the first time around, but it certainly didn’t leave the proverbial tapedeck for months after we realized the mistake we had made. At his best with fellow Spaniard Pional at his side, Talabot’s measured, Donna Summers-inflected house numbers represented a decidedly anti-traditional take in a fairly by the numbers year that saw numerous artists gravitate towards a four-on-the-floor structure. After touring with The xx, Talabot put on his remix hat and joined up with Pional to take on the London trio’s album standout “Chained”, adding some much needed playfulness to the often-times dreary original. Like the majority of ƒIN, Talabot and Pional expertly manage the ebb and flow of “Chained”, teasing the listener with plinking chords and an ever-throbbing kick that drops out predictably at times, but remains engaging. Talabot and Pional sample a familiar synth line from The Streets’ “Blinded By The Lights”, but retain a feeling of unfamiliarity throughout despite the propinquous nature of its elements. Stream below.

We only jumpstarted our Sounds From The Astral Plane series a few weeks ago, but this edition will (unfortunately) most likely be the last of 2012. We do have a few nice features coming your way in the next couple of days so keep your eyes peeled. This week, we have two (!) Missy Elliot reworks, a quartet of amorphous mixes and more on-point Kid Smpl night bus vibes. Much love as always.

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ab-soul

Only God and Ab-Soul know what’s really going on. The government’s after him (both?) after all so you might as well call him the Black Lip Pastor . In peak form, Soulo spits over some DJ Muggs circa 2012-esque production from Willie B, exhibiting the finest in paranoiac cult talk. Fuck with Ab-Soul and stream and download below. You might just make prophet off of prophesy.

south london ordnance

For a guy that prefers to operate behind the scenes, but doesn’t indulge in any purposeful obfuscation of his image, South London Ordnance has made some absolutely massive waves in 2012. Prone to drop one offs and other sketches on his Soundcloud, the south London (obviously) resident has built a genre-spanning resume of deep, distinctly London cuts that bely his youth. XLR8R did a wonderful feature on him back in September, but the best way to enter his world is by digging around his Soundcloud for old, unreleased cuts. What you’ll find is a huge collection of mystifyingly impressive dubstep, techno, house and, well, everything else. Just beware that you’ll be getting yourself into a 3-4 digging session. SLO’s latest cut comes as part of FACT Mag’s Advent Calendar gimmick and is appropriately titled “Dune”. Whether or not he’s inferring the Herbert novel and/or Lynch movie, “Dune” is as transgressive as they come, refusing to abide by any existing structure. Vaguely techno informed, “Dune” slowly evolves into all-out acid madness, the 303 stealing the show among ambient synth swooshes. So start with “Dune”, then check out his LuckyMe mix and you’ll be off.

chrome sparks

Jeremy Malvin lives in Ann Arbor, Michigan and makes music under the Chrome Sparks moniker. He also plays in Stepdad, fthrsn and sometimes makes music as Promises and Sean Broadway. His Professor Purple moniker has been retired. That’s what I just gathered from Jeremy’s Soundcloud description. I haven’t listened to all of his side-projects, but I really enjoy his work as Chrome Sparks so I will probably check them out at some point. As Chrome Sparks, Malvin makes the type of live instrument driven beat work that could/should make Ghostly International come a callin’. Malvin’s latest song as Chrome Sparks is called “Send The Pain On” and is his best work to date, applying the intricate, warm arrangements of his beat work to a more pop-oriented structure. The grandiose, big band feel of M83’s most recent album is probably a sonic precedent to “Send The Pain On”, although Malvin doesn’t engage in quite as many synth and vocal histrionics as Anthony Gonzalez. There’s a lot going on here, but it feels rightly structured, nothing completely out of place, but nothing too predictably placed either. If I’m not mistaken, the vocal sample is from Chevelle’s “Send The Pain Below”. Apparently, there’s some sort of EP in the works, but in the meantime you’ll have to deal with a stream of “Send The Pain On”.