tsvi

London producer Tsvi first caught our attentions through an exuberant edits package that captured the adventurous spirit of devil mix grime, only if it had the propulsive nature of percussive techno. Lacking any pretension, Tsvi’s work has an intangible immediacy to it and despite having a relatively small footprint, it’s clear that he has the panache to join a rarified stratum of artists. “I Married The Woman Of My Dreams” is the latest Tsvi jawn and, for now, the only track on his Soundcloud. In a recent Bok Bok interview, the Night Slugs head honcho referred to an aesthetic he calls the “hyper-real”, a distinctly hi-fi sound that retains an innate natural sensibility. It can be seen in the Classical Curves cover art, Girl Unit’s Hysterics project and, as far I’m concerned, “I Married The Woman Of My Dreams”. While Bok Bok’s use of the adjective “wooden” is a little convoluted, the conflagration of metal, earth and space in the aforementioned projects in undeniable. We might have a hyper-real movement on our hands so keep an eye out for Tsvi.

gundam

Over the past few years, it’s become apparent that Soundcloud has become the dominant form of sharing and funding unreleased dubs and radio rips. While Youtube still holds a place in the collective consciousness and radio stations like Rinse, NTS and Berlin Community Radio continue to shine, Soundcloud is the real digger’s paradise these days. It doesn’t rile the imagination like pirate radio or offer physical substance like acetate, but Soundcloud does at least offer a relatively comprehensive database for unreleased material, often uploaded only minutes after being rinsed on an online radio station like Sub.FM, RWD FM or Nasty FM. Essex resident Gundam, a member of the RawSense collective, has taken a special liking to the Soundcloud platform, uploading numerous radio rips, reposting whole shows that feature his music and regularly offering free beat tapes and remixes to his fans.

As far as aesthetics go, Gundam fits into a cadre of modern classicists that includes JT The Goon, Major Grave and others, taking what was so effective about grime’s early years and giving them a contemporary update. That being said, he also dabbles in hip hop production and clearly has a keen interest in breakbeat-led forms and the percussion-heavy machinations of producers like Neana and Akito. He’s remixed pop stars Drake and Beyonce to great effect (trust me) and also accumulated nods from Flowdan, Slackk and Son Raw. His nom de guerre elicits images of larger-than-life robots and his music is equally massive, both mechanical and fluid, a far from linear course leading from grime’s past and into its future. Gundam’s Astral Plane mix exemplifies this ethos, picking and choosing key elements from the formative era (in the form of Blackwax’s “Pulse X” remix) and contiguously mixing them with hyped, but untested new tracks (William Skeng’s “Symbiotic Wetsuit Riddim”). If you’re looking for a comprehensive account of where grime has been, is and will be, then look no further.

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dj sharda murlo

Continuing his string of impressive R&B remixes, Murlo has sunk his teeth into Cherish’s overlooked 2006 roller “Unappreciated”. The Jermaine Dupri produced original is subsumed in playful squarewave synths that are given free will to dance over a simple kick pattern. Left-field is entering an interesting phase where producers are finding new ways to aid and abet a vocalist without being entirely derivative of Timbaland or the Neptunes. It wouldn’t surprise me if Murlo turns out to be one of the producers to break that regressive influence-based duopoly either, what with the near-perfect roll of flips he’s got going at the moment.

motions-all-gone

Since Grown Folk broke up last year, Brendan Neal and Drew Kim have turned their attentions toward their respective solo careers, the former getting snapped up by Body High (and getting nods from Skream, Jacques Greene and other heavy hitters), while the latter dipped his toes in rap production and is prepping a release on Sinden’s Grizzly imprint. Today, we’re focusing on Brendan, now known as Motions, and his upcoming debut EP for aforementioned Los Angeles club outpost Body High. Set for an April 29 release date, the All Gone EP will feature Neal’s pristine take on mid-tempo house across four tracks. Stream the EP’s title track below and head over to Resident Advisor to receive some insight into Neal’s relationship with Samo Sound Boy and Jerome LOL and his goal of imbuing All Gone with outside-the-box production methods.

glasser-shape-remixes

Alongside Hyetal, Kowton and Deetron, Visionist has taken part in remixing “Shape” from Glasser’s 2013 LP Interiors. While oversized remix packages are rather common in the contemporary pop music landscape, this one comes through on numerous levels with each remixer properly reworking the ghostly singer’s original into something fit for their idea of the club. The London grime non-traditionalist churns “Shape” into a hypnotiq piece of beat work, predictably devoid of percussion. It’s orchestral in its effect, but relies almost entirely on Glasser’s beatific vocals and a simple, harmonizing melody. It’s Visionist at his weirdest, but the thread of the original offers a recognizable pop trope that functions on a similar conceptual level to much of VIsionist’s solo work, especially when the throbbing, uncontrollable sub bass kicks in for the second half of the remix. The Shape Remixes single is out now on True Panther.

imaabsLast week, we brought you Imaabs and Tomas Urquieta’s Jam City Reworks project, a two track effort that sees the two Chilean producers take on signature tracks from the Night Slugs representative. The tracks fall somewhere in the nether region where ballroom, Jersey club and grime meet, distinguished by their raw sonics and non-linear rhythmic patterns. These characteristics put Imaabs and Urquieta in the same realm as the Her Records folk and Gang Fatale crew, despite living thousands of miles from the sound’s epicenter on America’s East Coast and London. It’s easy to get caught up in the fantastical idea that producers from outside of the Anglo/Euro world belong in an entirely different category than those who reside within Europe/America/Australia, but this stratification is rarely useful and often results in a regressive, bifurcated classification system. The fact that Imaabs and Urquieta are from Chile should be noted, but it shouldn’t define the artists involved.

That being said, artists who reside outside of dance music’s core can and do offer a different perspective on both production and consumption methods. After hearing Imaabs ingest and rearrange ballroom on his Baroque EP and various one-offs, we asked him to contribute to our guest mix series and he came up with the brilliant idea of highlighting the work of South American and Mexican producers. The following hour and ten minute mix both draws parallels and points out the contrasts between the work of Santiago’s Alpha Stronggah, Urquieta and others along with Astral Plane favorites Rushmore, Neana and Piri Piri. It’s both seamless and discombobulated; an impossibly smooth production that still manages to knock this listener off his feet with every subsequent listen. There are hints of kuduro, zouk and other Caribbean/West African styles, but the majority of the mix falls into the aforementioned ballroom/club/grime amalgam. Moving past geography, Imaabs points out a number of wildly talented producers (Paul Marmota, Inti Kunza) and previews a few special new collaborations. Track list after the jump.

 

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Earlier this morning, London-based label PC Music (so cool so cool) uploaded their first official music videos. PC Music has been a visual experience since its inception, creating eclectic, gif-championing individual webpages for each release (see Dux Content’s Lifestyle and “My Miss 2.0“) and, if you dig deep enough, you can find early videos for affiliates Serious ThugsDJ Warlord, and others along with other early goodies (where is Lil Gash ??!?) on the various tumblrs associated with the label, but bossman A.G. Cook has kept most video content under a tight lid. Now, in a step of maturation, two full-length videos have appeared along with the full easyFun EP on a brand new Youtube channel.

The tracks, “Odyssey, Pt. 2 (A. G. Cook Remix)” originally by Dreamtrak and “Sondico” by easyFun, mirror the full spectrum of artists seated on the label. “Odyssey Pt. 2 (A.G. Cook Remix)” with a hook of “We drove to Miami / because Miami is the place” features one of A.G. Cook’s nameless guest vocalists and is pure pop. The video takes a literal parallel and showcases clip after clip of Rick Ross meets Ultra type shots, all with a pink tint beneath the cover art. “Sondico,” while given a similar video made up of neon-dripping aerobic dancers, has no discernible beat and instead jumps around the sonic synth sphere in a scat-like manner. Both videos indulge in stock footage and manufactured bliss. Watch “Odyssey, Pt. 2 (A. G. Cook Remix)” below and click here for “Sondico”.

strict face

“Highbury Skyline”, the b-side of Strict Face‘s new release on Mr. Mitch‘s Gobstopper Records, has been floating around the Rinse.FM universe for some time now, but that doesn’t mean that the Australian producer’s most high-profile release to date is any less profound. Along with a-side “Fountains” (peep after the jump), the single sees Strict Face expounding upon an eski sound palette and utilizing melodramatic pads for an orchestral effect. Whereas “Fountains” falls more into the devil mix category touched on by contemporaries Visionist, Rabit and Logos, “Highbury Skyline” is exactly the type of song that critics refer to as the new wave of grime. More specifically, “Highbury Skyline” isn’t really grime at all. It’s a hybrid along the lines of Mssingno’s self-titled EP and Nguzunguzu’s latest Skycell EP, an entity that looks and sounds like grime, but doesn’t act like it. Fountains/Highbury Skyline is out now on Gobstopper.

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jam-city-reworks

Last year, Chilean producer Imaabs released the Baroque EP on Diamante Records, replete with a remix package that included ballroom kingpin MikeQ and Atlanta bass specialist Distal. It was the eighth release on Diamante, but easily garnered the most attention from American and European dance music fans alike (the label has also released music from Daniel Klauser, Hood Dreams and others). The label filters sounds from America’s East Coast, namely club and ballroom, and the UK into unruly, ill-tempered dancefloor bombs that rarely conform to the strictures of traditional dance music. While Tomas Urquieta does not have an official release on Diamante yet, he is a key member of the Chilean scene and has made a name for himself through an impressive array of remixes that touch on grime as much as they do the breakbeat crunch of Bmore.

Jam City remixes aren’t a new phenomenon by any means, but it’s still rare to come across reworks that disorganize and subsequently re-orient the original. Imaabs and Urquieta have done just that in their fresh-off-the-press Jam City Reworks EP, a two track affair that sees the former take on Club Constructions Vol. 6 track “500 Years” and the latter give his hand to Classical Curves standout “How We Relate To The Body”. The Chilean duo were kind enough to allow us to host the reworks and, to be honest with you, it’s an honor to work alongside such talented and earnest musicians. Download both reworks individually below or grab both in a zip file here.

chemist-uk2013’s end-of-year list busting Coyote Records compilation, aptly titled Coyote Kings, rung many a bell through its vivacious, immediate take on grime. Bringing in a mixture of new and old artists, the south London label’s collection featured the likes of recent Astral Plane mixer OH91, old school Skepta running-mate P Jam and relative unknowns (at the time) Spare and Jon DeVille. In hindsight, Coyote Kings was something of a seminal listen for this particular listener, proving in bombastic fashion that contemporary grime can both shmang on a soundsystem level and offer forward-thinking melodic content. Of the Coyote stable of artists, no one epitomizes that coalition better than Chemist.

Like many of his contemporaries, Chemist doesn’t actually have an “official” release to his name yet, but that hasn’t stopped him from garnering plaudits from some of grime’s more esteemed outlets. The UK producer’s “Hoodrat” (his contribution to Coyote Kings) has been utilized as a focal point in many a DJ set, its drastic mutations between feather-pillow loftiness and slamming, percussive weight captivating casual listeners and DJs alike. Chemist’s productions are angular, hawkish and immersive, often fluctuating between aggressive detonations and string-led melodies that are equal parts affecting and chilling. Chemist sits perfectly in the grime continuum, he often draws samples from video games like Metal Gear Solid, but his output also retains a certain tenderness that belies his propinquity for percussive machinations. This Summer, Chemist will release his debut “Defiance” single on Coyote Records, his first “official” record, albeit one that has already made its way into the Rinse rotation. Chemist’s Astral Plane mix brings the sort of gun finger waving attitude that we’ve come to expect from Coyote artists and we couldn’t be more excited to indulge in its madness. New and unreleased tunes from Rabit, Dark0 and Kakarot shine, while “Defiance” comes towards the end and rounds the mix off with aplomb. Enjoy. Track list after the jump.

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