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doctor jeep

Photo by Elliot Holbrow

Boston’s Doctor Jeep first grabbed our attention via “Dem Hoes”, his ghetto house meets smooth jazz collaboration with Astro Nautico boss Obey City. Simply put, the track made repeating the phrase “do you love them hoes?” somewhat acceptable (emphasis on somewhat) in public. We haven’t heard from the good Doctor in quite a while, but this remix of Chaos In The CBD’s “Pale Moonlight” has him coming back with a vengeance. Jeep flips the mellow, piano-driven original into an aggressive garage number mounted on on a tumultuous bassline. Instead of being the focal point of the song, the original’s poppy vocals become another instrument in a procession of shuffling percussion, the increasingly funky bassline and what sounds like some sort of warped brass instrument. Stream below  and look out for Chaos In The CBD’s Never Ending EP on December 17 via Youngunz.

Nosaj-Thing-2

Nosaj Thing is arguably the second most well-known producer (Flying Lotus first of course) to work within the general confines of Los Angeles’ “beat scene”. As a result, the man born Jason Chung has spent the past few years touring the world and selling out large-scale shows across Americaland. It also means that his music is covered by large magazines and other media outlets, a largely positive trend that will hopefully lead to the wide-spread proliferation of his complex, moody sound. “Snap” is our second taste of Chung’s sophomore album Home, due on January 22 via Innovative Leisure (!). Unlike “Eclipse/Blue”, which is driven by dreamy vocals from Kazu Makino, a quick tempo and a blunt kickdrum, “Snap” is more akin to Chung’s past work in hip hop production. The percussion is sharp and understated, providing a rubric for ghostly synths to weave their exploratory magic. After witnessing the incandescent visuals that accompanied “Eclipse/Blue”, one can only imagine the optical magnificence in store for “Snap”. Stream and download below.

maru - porta alpina

Since founding their own label/group Transmission Collective earlier this year, Maru, Wolf Cub and Kahwe have been rolling out brilliant production after brilliant production and establishing themselves as a formidable force in the UK’s increasingly retro-leaning house scene. With groups like Disclosure and Bicep storming the charts, one has to ask if there is any point in referring to this type of house music as “90’s” or “retro” anymore? As a response to the garish, blow your load, synth-heavy shit on the radio, this more organic sound has become prevalent in the “underground,” otherwise known as anything not played on the radio. I don’t have a problem with noting that these artists are influenced by the past, but at this point, it seems a little bit demeaning to confine them into such a rigid structure. Rant over.

Anyways, the label’s first release, the Lex EP, was released in October and featured all three crew members collaborating. Porta Alpina is the label’s second release and comes as a Maru solo production, although it also features Wolf Cub and Kahwe remixes so take that with a grain of salt. “Porta” is centered around an low-hung vocal sample from Floetry’s “Say Yes”. Everything about the track, from the vocals to the euphorically warm synth washes, exudes a tactful sexiness, disguising a particularly propulsive kick drum. “Alpina” is built on a laid-back garage rhythm and deep organs and while it doesn’t reach the peak-iness of “Porta” it functions especially well as a slower paced B-Side. Kahwe and Wolf Cub’s remixes aren’t anything to write home about, allowing Maru to really take center stage. Expect to hear “Porta” is sets from some big names and stream below.

lone

With the release of the critically acclaimed Galaxy Garden LP in April, Lone not only raised his profile in a popularity sense, but gained a certain confidence that might have been lacking in his previous releases. Instead of dabbling in sample-based, Boards of Canada-indebted middle ground as he had in the past, the Nottingham-native took his euphoric productions straight to the dancefloor, crafting an impressive homage to early rave music. The various remixes and one-offs Lone has released since April have seen him experimenting with new styles and sounds, including heavier, more vocal oriented work. The results have been a somewhat mixed bag, but his willingness to expand and experiment is a sign of good things to come. Take his most recent effort, an official rework of Nathan Fake’s “Paeaan”. With a steady kick that would have been anathema to Lone just a few years ago, the track feels like an exploratory probe into a technicolor alternate universe. Euphoria is replaced by child-like wonder on “Paean” as Lone gently guides the ship into new territories. Stream below and grab Fake’s Paean EP here.

pepperboy

As you’ll probably hear quite a few times in the coming weeks, Little Rock MC Pepperboy is not your average rapper. He’s in his mid-30’s, defiantly positive and far more interesting in shouting out the hospital that saved his life after a shooting incident than exhorting the gangstas life. There’s an excellent feature in the Arkansas Times that tells his story far more thoroughly than i ever could. “Love My Life” is the first preview from his joint album with our favorite spacemen Blue Sky Black Death, dropping December 12, and sounds like a little like Squadda B of Main Attrakionz with a Texas drawl. The relentless positivity is clearly reminiscent of Lil B, but in a far more grounded sense, as if Pepperboy is happy to enjoy every second of his life on this planet. The above artwork is courtesy of the always wonderful Meaghan Garvey. Stream and download below.

xxyyxx

Orlando-based producer Marcel Everett aka xxyyxx has repeatedly stated in interviews that he doesn’t make music for anyone but himself, a somewhat unrealistic artistic endeavor in today’s music landscape, but an admirable outlook nonetheless. “Never Again” is our first taste of Everett’s upcoming album on Relief In Abstract and, while only 1:25 long, represents a new, heavily side-chained sound. Somewhat reminiscent of the lucid, crashing percussion in Amon Tobin’s ISAM production, “Never Again” abandons the pop-sensibility found throughout Everett’s self-titled debut LP, opting for a more abrasive sound. Like xxyyxx, “Never Again” is centered around a meticulously twisted R&B vocal, a viscerally human light shining through the cavalcade of percussive noises. Stream below and look out for more details on the album in the coming weeks.

julio bashmore

Over the past several years, Julio Bashmore has risen from underground hero to the figurehead of a new brand of crossover UK house built on infectious hooks and radio ready vocals. Beyond Bashmore, the style has been championed by his PMR Records compatriots Disclosure and Jessie Ware, as well as 90’s leaning acts like Bicep and Ejeca. As Bashmore’s profile has risen, a familiar divide has opened up between “old” Bashmore fans and “new” Bashmore fans. It’s a familiar debate, largely staged on Youtube videos and message boards, revolving around integrity and selling out. The truth is that Bashmore’s music has become more linear, more monochromatic and more pop-friendly. “Au Seve” is also one of 2012’s unforgettable tracks and one that brings the house down every time it is played, regardless of setting. I can personally attest to witnessing drastically different crowds in Germany and Morocco wyle out to the anthemic number, exhibiting a genuine enthusiasm that transcends silly internet debates. On Friday, Bashmore uploaded “Pelican”, out today as the third release on his own Broadwalk label. “Pelican” isn’t as boastful as Julio’s past few tunes, offering a deeper, swerve-y bassline and understated synth stabs.  The track is the B-Side to “Husk” and is available now via Broadwalk.

Can we talk about Steven Ellison for a moment? Just take a few minutes out of this lovely Sunday afternoon to recognize what the man stands for and what he represents in the 2012 music landscape. This little piece probably won’t include anything that hasn’t been said, but it’s so worth reiterating it, especially this week. As Flying Lotus, Steven Ellison has produced some of the most divergent, thought provoking and challenging electronic music of the past 20 or so years. Since his arrival, Mr. Ellison has essentially put Los Angeles’ instrumental hip hop movement, known by most as the “beat scene”, on his back, pushing it into international waters. Despite being the figurehead of this movement, touring incessantly and heading a hugely successful label, he is still the very best at what he does. Furthermore, he seems to genuinely enjoy making music, meeting fans and performing. If you’ve ever seen a Flying Lotus set, you know what I’m talking about. That ear-to-ear smile is just impossible not to replicate. That’s why it isn’t even remotely surprising that Ellison devised and followed through on the Captain Murphy project. Ok, his above-average rapping ability is a little surprising, but the fact that he would release a free album featuring a menagerie of the best MC’s and producers in hip hop shouldn’t be. So before getting to the rest of this week’s sounds, can we all take a moment to thank Steven Ellison? He deserves that much from us.

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don froth

Photo courtesy of The Brand Scientist

Prominently placed in the description area of Julian Smith aka Don Froth’s Soundcloud are lyrics from noted bucolic and hippy movement folk hero Eden Ahbez’s “Full Moon”.  The song is about the moon, the sea and the beach, but mostly about a removal from the constraints of time and a sense of being free. It’s also about everlasting change, be it personal, physical or otherwise. That last point, of everlasting change, is the most intriguing factor in Froth’s music. Like Ahbez, Froth is from Los Angeles, although he has spent long periods of time in San Diego and England. Through several EP’s, Froth has refused to stick to one genre or sound palette, preferring to jump around, a feat he usually achieves effortlessly. Froth’s next EP, REflex, will be released on December 11 via New York home of all things delightfully weird and out of whack UNO. If “VAP” is any indicator of what REflex will sound like, then the EP will be one of the most exhilarating listening experiences of 2012, full of futuristic production flairs and rhythms grounded in classic 90’s garage. Lasers, apogeic synths and repetitive vocals nested deep in the mix abound as the track mutates from space ship hip hop to percussion driven garage. Stream and download below and grab REflex on the 11th.

On Tuesday, we wrote about Eugene Hector’s first full length under the Tuff Sherm alias, the gutteral Shrapnel Maestro. Yesterday, Hector adopted another sobriquet, the maniacal, juke-adoring Fad TMB,  previewing the “Head Down”/”Axle Rot” single on his own Soundcloud. Both tracks are steely and cutthroat, employing razor sharp percussion that scythes through every of sonic element. B-Side “Axle Rot” is the standout, but then again, I’m a sucker for Birdman samples. Grab both for free on December 6 courtesy of Sonic Playground.