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Remixes

Remember the tuba mpet stabs on Hudson Mohawke’s massive “Thunder Bay”? Well another Scott might have just one upped HudMo in the brass department. Today, Abderdeen-based producer Lockah’s When U Stop Feeling Like a Weirdo & Become a Threat EP dropped on Mad Decent’s Jeffree’s. Taking cues from everyone from HudMo to Lone to Samiyam, Lockah is one of the brightest up and comers in the bass/hip hop game. Far less club oriented than the past few Jeffree’s releases (Branko, Baauer, etc.), Lockah opts for intricately composed and overtly triumphant anthems. The southern hip hop influence is palpable, but not in the sense of massive 808’s and/or the “shove as much bass as possible wherever we can” mentality. The four track EP is far more of the head nodder quality than booty grinder.

We’ve been anticipating this release for quite some time now and it doesn’t disappoint one bit. Each of the three originals are distinctly unique and represent different facets of Lockah’s beat making abilities. “The Sour Drink From The Ocean”, is a pensive and measured take on late 90’s Southern hip hop. The track manages to take cues from the trance of yore without falling into any sort of cliche. “Now U Wanna” sees Lockah giving HudMo a run for his money. Big room hip hop at its finest, transitioning between maximal and minimal elements with ease. And that fucking trombone. No one has made a trombone sound this cool since Henry Mancini. “Goons N Roses” feels like an announcement that someone important is arriving.. in the future. Again, I can’t get over the brass, this time triumphant sounding trumpets. Lockah has arrived in high style and should be joining the big boys in no time. Like all Jeffree’s releases, When U Stop Feeling Like a Weirdo & Become a Threat is available for free download.

Stavrogin was one of the first artists we featured and interviewed way back in March. Since then, the Lewes, UK native has continued to progress as a producer and raise his status in the bass music community. His newest tune comes in the form of a remix London “post trip-hop trio” Charleston’s “Provocateur”. The Portishead influence is palpable in the original and Stavrogin more or less maintains the Florence-esque female vocals. With the beat simplified to a smooth rumble, the guitar takes on a hypnotic quality over the dense atmospherics developing via strong, simple percussion.

Unorthodox releases are a rarity in the digital age. This is not a knock on sites like Soundcloud and Bandcamp, we adore both, but it’s undeniable that creativity is oftentimes lacking in contemporary releases. Famous Eno and Mixpak Records are hear to end that trend. An ode to London’s long history of legendary FM radio, All Good FM is an amalgamation of London’s many sounds from grime to dancehall to funky. From the press release:

London has many a legendary FM radio station, from Kool to Kiss, Rude to BBC. This summer, Famous Eno adds yet another to the mix: All Good FM. With this release, the London DJ/producer (formerly half of rhythm gangsters Warrior One) explores all the best qualities of pirate radio: surprise, variety and the unadulterated sound of the underground.

On top of that, MC Stitch plays radio DJ, lacing Famous Eno’s beat with rhymes, shout outs and general debauchery. On top of that, the EP features remixes from Famous Eno himself, Arvene and Misk and Dj Sliink. Yeah, that DJ Sliink. Stream previews from the EP below and get it yourself over at Juno.

Pay for what, girl you better for this

Remember that Waka Flocka track towards the beginning of Ryan Hemsworth’s Live For The Funk mix? The one that sounded like he was rapping over some sort of new age bedtime psalm? Well, Ryan has let it loose to run rampant on the general public. Continuing his hot streak, “Cold & Tempered” takes Flocka remixes (and there is no dearth of Flocka remixes) in a whole new direction, managing to inhabit the worlds of turn’t recklessness and insightful banter. Quite a feat for Mr. Hemsworth. Stream below and catch a download here.

American pop radio = where oversized egos have piss fights about shitty pop festivals. British pop radio = where oversized talents lay down groundbreaking beats/rhymes/vibes on a  nightly basis. Case  in point, the recent Joe Goddard-helmed Hot Chip stab at Radio One’s Essential Mix. Today’s “indie” landscape is full of boring white people making boring white people music. Sorry for being frank. Hot Chip are one of the few exceptions. On the surface, they are just as pale and overtly ironic as the rest of their bunch, but they differentiate themselves from the crowd via a dominating grasp on the phonk. Yes, these London white boys have as good a grasp on 80’s era funk as anyone dis side of Damon Riddick. The mix spans a number of styles, from disco to funky to house, but the overarching funk is readily apparent. Goddard’s The 2 Bears side project makes a few appearances, most notably via a remix of Wiley’s “Skankin”, as do several Hot Chip originals. On a side note, is it just me or is Pete Tong doing a far better job curating the Essential Mix than he has in years past? Scuba, L-Vis 1990, Rustie, Nico Jaar and Martyn, just to name a few, have already graced the show. I’m thoroughly enjoying the two hour program, week in and week out. Anyways, Hot Chip’s fifth studio album, In Our Heads, is set for a June 11 release on Domino. Find the full tracklist after the jump.

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Last September, New Orleans by way of San Francisco producer Jim-E Stack let loose his seminal remix of one of 2011’s most ubiquitous tracks, A$AP Rocky’s “Purple Swag”. The track set the stage for a number of hip hop indebted American bass producers from Shlohmo to Baauer to dominate 2012. Stack, now a member of LA’s Body High roster, just put in another burner, this time a remix of Kirko Bangz’s syruppy crossover hit “Drank In My Cup”. Brenmar took a stab at the track back in March resulting in a bubbly club smasher, but Stack takes a decidedly different take. A stomp box immediately ups the tempo, but saxophone arpeggios and otherworldly wind chimes transforms Bangz’s H-Town anthem into a sentimental ode to lean and the fairer sex. We unfortunately only access to a stream at this point so give it a spin above.

Every once in a while, a song comes along that puts you on your ass, not because of its wobble bass or snare rolls, but because of its immense beauty and utilization of silence. Los Angeles by way of Wisconsin producer Viette, also known as our very own Will Mitchell, has done just that and more with his cover of The Wallflowers “One Headlight”. Before I self-combust, I’ll get this out of the way; James Blake blah blah blah; Mount Kimbie blah blah blah. Yeah, Mitchell utilizes emotive vocals. Yeah, he does it at an unconventional tempo. Yeah, this cover is fucking beautiful. The vocals strain to be at the forefront as percussion entirely built via Mitchell banging assorted shit on his desk percolates below the surface and Jakob Dylan’s guitar wallows in the foreground. For someone who’s been “bangin Mannie Fresh since age 13” though, “One Headlight” is just one side of Viette’s production dichotomy. “The Funk” represents the  stark other side. Once you get passed the fact that it samples Old Gregg (I’m not sure I have), “The Funk” is a stripped down trap cut that quivers and belches as much as it bangs. That’s a good thing. Comparing “One Headlight” with “The Funk” is like comparing apples and orange. Fuck that, it’s like comparing a Wallflowers cover to an Old Gregg sampling trap track. Whichever one tickles your fancy more, we love both, watch out for this kid and stream/download “One Headlight” and “The Funk” below.

As distraught as it makes me, the majority of the hip hop listening populace holds a certain disdain for the instrumental tape. In my opinion, this is because a lack of respect for the production side of the bidness, but it’s also because instrumental tapes are so often monotonously clunky. Despite these reservations, the instrumental tape is exactly where Pennsylvanian LyteSho excels. The Chainsaw EP, LyteSho’s fifth release of 2012, is yet another fastidious release from the 19 year old Wilkes-Barre resident. Coming in at just under 16 minutes, the tape is long enough to give you a taste of the direction the young producer is moving without boring you with the asinine details. A remix of Shlohmo’s “Birthday Beat” breaks the tape up nicely, without breaking the flow. Chainsaw is not a mixtape, but moves in enough of a quietly controlled manner that it might as well be. LyteSho removes some of the sticky gauze that has both aided and weighed down previously releases, resulting in a more clear-eyed, down to earth product. The EP is probably his most true to form collection of straight up hip hop beats. Like all of his previous releases, Chainsaw is available for free on Bandcamp. Stream and download below.

Frenchman Brodinski is known by most for his electro chops and eclectic DJ sets, but what many don’t know is that he’s also one of the foremost purveyors of chopped and screwed jams. The Best Of Everything mixtape featured some of the best in bass and club tunes from the likes of French Fries, Dubbel Dutch and Bok Bok and The Chopped & Screwed Mixtape brings his interests full circle. Always impressive when an artist can adeptly show their chops in a genre that is not even remotely alike to what they usually produce. Long live DJ Screw. R.I.P. Pimp C.. H-Town Down.

Don’t know how I missed this one. The ever-Based Young L took a stab at Tomas Barfod’s “Broken Glass” and damn the results are beautiful. The original’s droning vocals are chopped to bits over shuffling drums and wallowing synths. Young L has never been shy about straying from his comfort zone to sample the likes of Wye Oak and Yeasayer and by the looks of it, he’s not going to stop. Who woulda thunk that the guy who produced this could make something like this. I’m not complaining. Anyone who can make ignant bangers as well as heartfelt coasters is good in my book. Stream and download Young L’s remix below and be sure to give Barfod’s Salton Sea LP a listen.