Clams Casino Remixes Florence + The Machine

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March 21, 2012
2012, New Music, Remixes
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Here’s your goosebump-inducing track of the day. Producer mastermind Clams Casino has taken Florence + The Machine‘s “Never Let Me Go,” which was already a huge, heart-wrenching track, and combined it with his signature noisy, reverb-heavy, somber-yet-insanely-listenable style, and the result is fantastic. This track is a welcome departure from Clams’ usual distinctively mellow feel, because Florence’s vocals provide such an epic, emotional pedestal for the echo-y drums and muddy, multi-layered instrumentals. This remix will be featured on the b-side of Florence’s limited-edition Never Let Me Go 12″ single, which will be released on April 9th.

Listen to it here (and then listen to it again):

(Via Gorilla vs. Bear)

Senzu Collective Specializes In Experimental Hip Hop, Releases Volume Six of Compilation Series

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March 21, 2012
Mixes, New Music, Remixes
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Since we started this blog back in January, there have been several artists that have caught our eye and really stuck with us. Pennsylvania producer Lytesho is one of the brightest of those. Lytesho makes scuzzy hip hop beats that are often accompanied by the droning vocals that “witch house” artists like Salem have become known before. They are as hazy and psychedelic as they are boom bap-y. Like most talented artists, Lytesho has associated himself with other talented artists. Senzu Collective is a group of experimental hip hop producers and MC’s from across the United Sates pushing the boundaries of the genre. Like so many other crews/collectives of our time they love their symbols, ∆∆∆ in this case, and while that imagery is overwrought at this point, it is more of a sign of their internet savvy than their youthful naiveté. In October 2011, Senzu began a monthly compilation series featuring members of collective as well as artists from elsewhere. Knxwledge, Giraffage and RL Grime have all been featured in the past as have other members of wedidit, Dropping Gems, Resonate and other highly touted labels/collectives. A few days ago, the sixth edition of the compilation was released, and like usual, it includes a truly unique blend of disparate elements of hip hop. UK bass music and the LA beat scene are prevalent on numerous tracks as are the recent alternative R&B explorations of The Weeknd, Jamie Woon and Miguel. The tape is inconsistent as a cohesive product, but compilations, especially monthly ones, aren’t necessarily meant to be cohesive. Instead, it serves as an update containing what Senzu and friends are working on and the direction their sound is moving. Find past compilation tapes at the collective’s Tumblr.

Get To Know: Skips

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March 21, 2012
2012, Interviews, New Music
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Earlier in the week, I wrote that there has never been a dearth of producers coming out of London. While this is undoubtedly true, what I should have said is that there has never been a dearth of producers coming out of the United Kingdom. Whether it’s London, Glasgow, Brighton, or Manchester, the grime, dubstep, house and bass music worlds are centered in the UK. In this case, we’re going to focus on on artist coming out of Leeds, Yorkshire. Skips aka Martyn Woolley makes a wide variety of sounds that most would classify as house music. Most of it hovers around 128 BPM’s, but Martyn refuses to confine his tunes, instead referring to Mala’s excellent take on genre limitations at the Red Bull Music Academy in 2008. Skips started making music in 2006 after attaining a copy of Logic and has not looked back since. He originally began making music after encountering the Leeds dubstep scene and became enamored with DMZ records soon after.

Stream: Skips – “Curse”

While Woolley refuses to be classified, most would consider his music a form of deep or minimal house. That’s too simple though. Woolley incorporates elements of disco, funky and acid basslines into his tracks with ease. Skips’ music is airy and effortless, yet driving at the same time. Every kick, snare, or organ feels perfectly placed and meticulously arranged. While Skips isn’t associated with any label at the moment, he has been working with friend James Welsh for some time and has built a steady following. Expect to hear more from this North England producer soon. We’ve certainly got our heads cocked for the next release. Find the full Skips interview transcript after the jump and more tunes at his Soundcloud.

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My Big (K.R.I.T.) Problem With Big K.R.I.T.

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March 20, 2012
New Music
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Over the past two years, Big K.R.I.T. has become one of the most consistent hip hop artists in the game. There probably isn’t another MC out there who produces all of their material with the skillset that K.R.I.T. has. That being said, I’m always left with something to be desired after listening to a K.R.I.T. song. For one, the “come up story” raps that have been his bread and butter have quickly become stagnant. This is because of one major deficiency: K.R.I.T. is not that good of a story teller. While the beats on Return of 4Eva and 4Eva N A Day are top notch, I’m always left wondering how much better they would sound with Three Stacks rattling over them… or even Juicy J for that matter.

This is not meant to be a slight to K.R.I.T. though. He is one of the most talented producers around and has a solid, ever so consistent flow. Somehow though, I have trouble listening through an entire K.R.I.T. mixtape without fighting through fits of boredom. “I Got This,” presumably the first single off of K.R.I.T.’s debut album Live From The Underground, has done nothing to change my opinion. K.R.I.T’s trademark Dungeon Family meets DJ Screw beat is infused with a little g-funk magic to create a rapid-fire, trunk rattling monstrosity (in the best way possible). Still, even though K.R.I.T. goes harder on the chorus than usual, chanting “fuck these haters, fuck these hoes,” it’s still a mediocre come up anthem. I like the track, but will it resonate with me in three months? One month? Two weeks? Probably not. I like K.R.I.T. and I’m not saying he should put down the mic by any means, but if Live From The Underground is gonna be 14 “I Got This Here”‘s, It’ll amount to nothing more than a brief indulgence.

Stream/Download: Big K.R.I.T. – “I Got This Here”

Stream New EP From Sufjan Stevens, Serengeti and Son Lux

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March 20, 2012
2012, New Music
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When it comes to artist collaborations, some pairings seem more predictable than others; however, it is unlikely than anyone could have anticipated the collaboration between indie stalwart Sufjan Stevens, Chicago rapper Serengeti, and New York composer Son Lux. Nonetheless, the trio has just released a collaborative project, under the moniker s / s / s. The 4-track EP is called Beak & Claw, and it involves calm, trance-like (and sometimes autotuned) vocals by Sufjan, intermixed with intelligent verses from Serengeti, over complex and intriguing instrumentals by Son Lux. The EP was released today via Anticon, but you can stream the entire thing at VPRO.

#based Mix From DJ Darwin and Keyboard Kid

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March 20, 2012
Live, Mixes
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#based martian Keyboard Kid and DJ Darwin, member of Seattle party rap crew Mad Rad, got together to deliver a mix in anticipation of their upcoming show at the New Museum in Brooklyn. The mix covers several of contemporary bass takes on hip hop anthems (Jaw Jamz “Mr. Me Too,” Obey City’s “Fuck That Wobble”) before delving into Keyboard Kid and Darwin originals. The Phoenix sampling “BURN ONE, PASS IT” shows up as does “God Devil.” Overall, the mix has impeccable song choice and the two artists more than adequately handle themselves behind the decks. Here’s what they have to say about the mix.

808’s & Space is a handful of original productions, remixes and tunes me and my lil broKeyboard Kid have been feeling of late. Its also a small chunk of the live mix/set will be performing at The New Museum this Friday in NYC. Hyped to also be playing an after party at Santos Party House to wrap the night up. FREE Download below.

If you’re around NYC on Friday, you would be remiss to miss (see what I did there?) out on this great event.

Tomas Barfod Releases “Broken Glass” Single on Friends of Friends, Features Shohmo Remix

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March 20, 2012
New Music, Remixes
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In the aftermath of music conferences/festivals like South By Southwest or Miami Music Week, there is always an influx of collaborations, both between artists that have worked extensively together prior and others who have never met. Collaborations between Friends of Friends artists are almost always fruitful and Shlohmo’s remix of Tomas Barfod’s “Broken Glass” is no different. Barfod is a recent FoF signee and the drummer for indie rock band WhoMadeWho. Barfod is also Danish and brings some international flair to the FoF roster. “Broken Glass” is a marauding track, accentuated with vocoder’d vocals, that slowly builds, until, marked by crashing glass, a disco bassline breaks through and the track transforms and last 1:15 are dance floor bliss.

Stream/Download: Tomas Barfod – “Broken Glass”

Shlohmo, as he usually does, takes a different route on the remix, abandoning the earthy sounds that have defined his past few releases and pitching down the vocals to create a brooding atmosphere without slowing down the BPM. Shlohmo’s drums crack and sizzle over the original to create a more complex, although not necessarily superior effort. Whichever version you enjoy better, it’s great to see artists like this work together and hopefully we’ll see more material from the two in the near future. Barfod’s FoF debut, Salton Sea (love the title!), will be released in May. Stream the Shlohmo version at the Boiler Room.

Hudson Mohawke + Lunice = TNGHT, “Bugg’n” = Batshit Insane

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March 20, 2012
2012, New Music
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Towards the end of 2011, a video surfaced of Lunice dropping a brand new collaboration between himself and fellow LuckyMe-er Hudson Mohawke. Then, Rustie dropped the track again in a Boiler Room set. In the months since, the internet has been ablaze with rumors surrounding the collaboration and it has become common knowledge that the duo will go under the moniker, TNGHT. When HudMo and Lunice appeared on the same stage, as TNGHT, at SXSW this past week, word spread that an EP on LuckyMe/Warp was imminent by the end of the calendar year. This morning, we have been graced with the first non rip/live TNGHT song. And. This. Shit. Is. Mad. It is no surprise that these two would go the distance with regards to eardrum shattering bass, but “Bugg’N” is out of control. I don’t even know how to describe this. Once a (at least semi) talented MC learns to rap over these types of beats, it’s over. Hip hop’s going to the stratosphere. At this point, all we can do is wait for the next TNGHT track. Hopefully(!) the one from Rustie’s Boiler Room set. For now, pump up the volume and let it all soak in.

Teen Daze Drops Synths In Favor Of Acoustic Guitar On New Album Under Little Chords Moniker

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March 20, 2012
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If you didn’t think British Columbia’s own Teen Daze could get any more euphoric, think again. Under the moniker Little Chords, he has put down the synths and picked up an acoustic guitar to make a surprisingly agile album. I’ve been a fan of Teen Daze for quite some time now and wasn’t sure if I would like the new direction, but it’s great to see an artist move out of their comfort zone and excel. Although largely acoustic, the album is not bereft of pop material, and while it is more sleepy-time than dance-floor, it is obvious that Teen Daze is an expert at crafting pop songs. The album is up for purchase, but for those of us that are too cash-strapped to throw down the dough, there are three tracks from the album up for free download. Download “Remember,” “For You” and “Always/Never” below and stream/purchase the entire album. on Bandcamp. Teen Daze’s first full length (as Teen Daze) will be released on May 22nd on Lefse Records and is titled All Of Us, Together.

New Mono/Poly – “Crew”

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March 19, 2012
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The LA beat scene never ceases to amaze me. Beyond stalwarts like Flying Lotus, Daedelus and The Gaslamp Killer, the scene turns out dozens of young up-and-comers every year. Mono/Poly is one of the brightest of those youngsters. “Crew” is a clattering track that falls on the heavy side of the beat spectrum, but retains that classic LA sound. Stream the track below.