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It’s easy to get bogged down in Raider Klan’s often obtuse nomenclature, but you would be bereft not to work through the morass and indulge in the phonk. Seattle’s own Key Nyata is the prototype, young, raw and ruthless. With a full length project with Blue Sky Black Death on the horizon, Yung Nyata is in the process of defining his own sound within the Raider Klan aesthetic. Until that project hits earth, get in the groove with “In BRK We Trust”, a funky DJ Troublesome produced jawn. Stream below and download here.

So Big Boi has an album coming out next months and I’m trying with every ounce of will I have to get hyped for it. Actually, there’s really no reasonable excuse for not being excited for Vicious Lies And Dangerous Rumors. 2010’s Sir Luscious Leftfoot was a surly announcement that Antwan Patton can and will succeed sans Three Stacks. I do have a few petty gripes though. First, that Kelly Rowland joint was fucking awful. Like water trash bad. Don’t have to explain myself there. Second, a few years back Big Boi no showed (due to “DJ problems”) at Outside Lands and I’m still a little bit peeved. Ok, maybe that’s a little (read: a lot) childish, but I’m stubborn. Anyways, this is me trying to get excited for a new offering from the gullier half of the best hip hop act of all time. With ASAP Rocky opening the festivities (which I don’t understand), “Lines” is a predictable boastful single with non-descript indie poppers Phantogram on hook duty. Rocky and Daddy Fat Sacks are impressive, but I have the nagging feeling that “Lines” was conceived in some Def Jam boardroom. Like that Harry Fraud/French Montana/Action Bronson track from last week, it feels canned and airless. Nonetheless, with Big Boi flipping rhymes about alligator’s navels and play doh with ease, I can’t be too mad. Still hoping for another “Shine Blockas”, but a set of awkward collaborations wouldn’t be the end of the world.  Vicious Lies And Dangerous Rumors drops on December 11.

A few weeks ago, I called Rudimental a “pretty non-descript, sometimes (really) corny, dance/pop crossover” outfit. I might have been a little a little bit harsh. The London quartet has grown on me over the past few weeks and while they won’t be occupying much space on my em pee three device, they’re clearly not as mundanely awful as I initially believed. Fellow Black Butter Records act Stay+ (formerly Christian AIDS) are the latest to remix Rudimental’s breakout “Not Giving In”, removing the original’s drum and bass tendencies and installing a smooth 4/4 beat. The vocals appear to sweep out of a deep concavity, coming ever closer, but never reaching an intimate level. Cold synth work is layered over the top of the track, cementing the longing and desperation established by the vocals. The track is a free courtesy of Ms. Annie Mac so stream and download away.

 

Lockah is not the first producer to match rave and Southern hip hop. AraabMuzik and Bird Peterson have been exhibiting the odd pairing for a few years now, but the results are largely cringe inducing (half of Electronic Dream being the exception). When done wrong, the results are surely flamboyant, but without any of the subtlety that Lockah has instilled on his latest Please Lockah, Don’t Hurt ‘Em EP. That’s not to say that the EP lacks flamboyance though. The progressive piano on the title track is undeniably corny, but the Aberdeen-native achieves a Rustie-like levels of absurdist cohesion, meshing the broad piano strokes with chipmunk vocals and rapid-fire drum hits. By the 2:45 mark, the song has morphed into an all-out slugfest, substituting the piano for huge, crispy synths akin to fellow Scot S-Type’s Billboard EP. The track teeters on the verge of disaster, but Lockah’s measured sense of chaos (if that makes any sense) prevails and the result is one of the most variegated party tracks oft the year.

“Sly Winking Usury” substitues rave for Nintendo, spattering 8-bit sounds and, you guessed it, more 808s. The track lacks the progression of the title track, but makes up for it with plenty of pulsating bombast. The third and final original on the EP, “This Is True Muscle Suicide”, is also the most restrained, slowing the tempo down and putting the emphasis on curiously clipping percussion. That is until the chorus when more emphatic synths and pitched vocals enter the picture, removing any doubts over what Lockah’s intentions are.

Please Lockah, Don’t Hurt ‘Em is aimed squarely at peak-time, ecstasy inducing pandemonium and attains that goal at every level. Unlike past explorations into rave on the part of hip hop producers, Lockah dispels the paranoiac nature of the come down, focusing his efforts on the youthful, drug-induced side of the come up. The EP is one-dimensional, but that one dimension is multi-textured, subtle and exciting. Furthermore, it seems pretty clear that Lockah is self-conscious of the one-dimensional nature of the EP and has embraced it. Rave is a beautiful thing when done right.

In which Cities Aviv continues to perform stylistic acrobatics, getting his new wave on. Approximating the distinctly British sound, the Memphis native half-raps half-sings over a classique sounding synth line. This is not complex music, but it works in the way that Alan Palomo makes his faux-psychedelic pop work. Hate it or love it, you gotta give Aviv some credit for actually attempting a sound as opposed to “sampling” it and throwing half-baked raps over the top (looking at you Theopilus). “Forever” will appear on the Black Pleasure tape, out tomorrow (November 13) via Mishka.

Little Dragon make some of the most unabatedly bright pop music around. I can attest that they bring down the fucking house in a live setting, leaving no rumps unshaken. Shlohmo doesn’t fuck with unabatedly sunny. Shlohmo fucks with pitched down vocals, sharp drum hits and intransigently dark synths. At least in his remixes. There’s a pretty clear trend in the Los Angeles native’s retwerk work (see here and here and here) towards dark, harsh and minimal, which at a certain point might get a little oppressive and boring, but I’m with it until then. There’s a reason people keep coming back to these tunes, right? Anyways, the downloads have run out, but you can stream below and use your own facilities to search out a download link.

I’m going to avoid using the obvious meteorological indicator here, because 1) it’s overused, and 2) it limits imaginative criticism. Seattle maestros Blue Sky Black Death recently took a stab at pimp impresario 100s and Mondre Man’s “Closer” and brought the possibly sleep walking Nacho Picasso along for the ride. The West Coast connection works seamlessly and proves once again that Oakland and Seattle (no Macklemore) are stylistically closer than ever in 2012. Of course the Pacific Northwest will always be a step behind the Yay, but guys and gals like Nacho, Kingdom Crumbs, THEESatisfaction and Key Neyata are closing the gap. Anyways, “Closer” is pretty much what you would expect so lay back and indulge in your favorite strain.

As much of radio hip hop devolves into a weirdo version of the Bohemian Grove, SpaceGhostPurrp (or Icee if you prefer) and his Raider Klan move in the opposite direction, relinquishing any fame/wealth/status related bullshit and retreating further into their anti-social, fuck the world shell. It’s good to see that Purrp still has time to make music amid beefing with ASAP Mob and “Whole Lotta Icee” represents the Klan and its most convoluted, otherwise known as its best. A simple xylophone progression is juxtaposed with Purrp’s grimy alley/blunted rhymes as warbling reverb and sirens push the song into ever gullier territory. Stream below and grab “Whole Lotta Icee” here.

It has been a long while since the last edition of Sounds From The Astral Plane, but with tunes piling up in the inbox, it feels like the right time to bring it back. Although we only started this whole blog deal in January, I feel it’s safe to say that 2012 has been one of the most exciting music years in recent memory. We attempt to cover all of the music we love, but sometimes things slip through the cracks. We’re human after all. Every week (or so), you’ll find the originals, remixes and DJ mixes that we missed. This will also be a space to see how y’all respond to new artists so don’t hesitate to send over your/your friend’s latest and greatest. At this point, the scope of Sounds From The Astral Plane is wide open so you’ll find anything and everything in this space. This week, we have everything from Formes’ incandescent take on psych rock to Dubbel Dutch’s dancehall stylings. As always, any and all feedback would be much appreciated! Hit the jump for the full list…

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Having witnessed Low End Theory resident Nobody lay down the freshest in hip hop leaning dance music (or dance leaning hip hop if you prefer) a dozen or so times, it’s no surprise that dude can lay down an outright banger. We’ve seen him lay down psych rock and funk in the past, but “Rex” is his first (official) attempt at drowning out and rising above the masses in the so-called trap game. In reality though,  “Rex” is just a really fucking large hip hop beat just aching for Danny Brown to hop on. Like really, have you heard a beat more tailor made for The Hybrid? Praying to the hip hop gods for that one. Anyways, “Rex” is the A-Side to Nobody’s new single, dropping  onNovember 13 via Alpha Pup.