If you follow us on the various modes of social media we frequent, you’ve probably noticed that we have a little bit of a crush on Claire Boucher aka Grimes. Ever since reading the tail of Boucher’s Tom Sawyer-esque houseboat adventure down the Mississippi, we were stricken by the dreamy vixen. That haircut, the fact that she’s from our corner of the woods and her obsession with Blawan all speak directly to our hearts. If you frequent this blog, you are probably also aware of our infatuation with Jersey Club kingpin, and recent tarp purveyor, DJ Sliink. Yesterday, Sliinky Sliink upgraded his Soundcloud (free downloads for all!) and uploaded a brand new remix of Grimes’ standout track “Oblivion” as a sort of symbolic champagne shower (at least in our minds). Honestly not Sliink’s best rework, but fuck it, Grimes + Sliink should make everyone happy. Stream and download below.
There’s been a lot of discussion over the past few years about the appropriation of regional sounds by members outside of those respective scenes. The truth is that this has been happening for years. In the 80’s, Chicago House and Detroit Techno were appropriated by everyone. More recently, UK Bass has infiltrated the American hip hop market on Drake’s back. The internet has obviously sped up this phenomenon, democratizing music in general and opening localized scenes to national and international attention. Jersey Club music has been the latest craze to hit the blog world and Frenchman Sam Tiba of Club Cheval has taken notice. Last Fall, Tiba debuted his Jersey Club Music and in the months since, the scene has ascended to new heights in creativity as well as national exposure. Tiba, ever impressive for his skills as a member of Club Cheval, has really outdone himself with these volumes, encapsulating the frenzied, style-heavy Jersey style. Volume 3 features over 80 tracks in half an hour. This shit goes. Our favorite Jersey son DJ Sliink shows up quite a few times as do scene stars Nadus and DJ Jaystar. Tiba edits quite a few tracks himself to keep the mix flowing properly. If you are uninitiated to the Jersey Club sound, this is great place to start. Far from a definitive take on the Club sound, but more than an adequate introduction. The mix was concocted in collaboration with the Pelican Fly label. Stream and download below.
Over the past several months, the Los Angeles based Body High record label has grown into one of the foremost forces in American electronic music. The roster is highlighted by DJ Sliink, Todd Edwards and DJ Dodger Stadium (Jerome Potter of LOL Boys and Samo Soundboy), and trends towards Club music, but you would be remiss to label it a Club label. We’ve witnessed Sliink’s impressive ability to synch standard Jersey Club with multitudes of other dance sub-genres and his label mates have a similar dexterity in their productions. Elements of acid house are prevalent in numerous DJ Dodger Stadium tracks while Myrryrs often utilizes the beloved cracking percussion of Southern hip hop. Last week, label head Samo Soundboy featured in The FADER’s mix series and did an excellent job of introducing the Body High roster over the mix’s 40 minute run time. Samo rolls out plenty of exclusives including a Jim-E Stack track off of a future Body High release. The mix wraps up with a well-placed screwed and chopped take on Miguel’s “Adorn,” one of the frontrunners for R&B track of the year. Stream the mix below and download it right over here (left click).
Over the weekend, the prodigal son of Jersey Club, the one and only DJ Sliink, by dropping not one, not two, but three new reworks up on his Soundcloud. While the renowned Newark producer has expanded beyond his Club roots, these three tracks harken back to the subgenre in its purest form. Taking on Bone Thugs N Harmony’s “Thuggish Ruggish,” M.I.A.’s “Paper Planes” and the Beastie Boys’ “No Sleep Till Brooklyn” doesn’t seem like the most forward-thinking venture, but it harkens to the essence of Jersey Club. The staggered chopped vocals and shuffling drum patterns are apparent from the get go and Sliink manages to infuse just enough of his unique flare to make the tracks worthwhile. These tracks aren’t going to revolutionize Club music, but they serve as another notch in the belt of one of the East Coast’s most promising young producers.
If you don’t live somewhere between Newark and Baltimore, you’re probably not all that familiar with the heavily local style of Club music that dominates teenage parties in the region. Baltimore Club originated in the 90’s and takes cues from ghetto tech, booty house and Washington D.C. style go-go music. More recently, the Club phenomena has extended up the coast and a specific brand of New Jersey club has emerged, centered around dance halls in Newark. Jersey Club tracks are usually situated around 134 BPM, although they can be slightly faster or slower, and tend to include complex chopped vocals, often from pop/hip hop songs. In recent months, 21 year-old producer, DJ Sliink, has taken the scene by storm with a sound that takes Club and infuses trap beats, moombahton and vogue house into the mix. While the Jersey Club scene is quite internalized, Sliink has broken the mold and has brought the Club model to the rest of the country. Case in point, his remix of the Diplo produced Usher track “Climax.” Shuffling drum patterns, and deep sub bass give the original a dance floor feel, all while maintaining Usher’s sexy smooth vocals. You thought the original got stuck in your head? This is a whole different animal. Sliink collaborated with Sinjin Hawke on Lights EP standout “Gas Pump” a few months ago showing he has the versatility to make more than just Club cuts, but who would want him to stop when he’s making bangers like this?