Tag Archives: Jam City


We’ve always been a huge fan of the informal tangle of edits, blends and bootlegs that fly around both public and private channels. The constant deluge of Rihanna takes might annoy some, but there’s nothing better than hearing “Sex With Me” flexed in and out in every way possible. One of our favorite developments of the past 12 months was seeing our own releases informally bootlegged and blended in some genuinely odd directions. We heard Mechatok and Cupcakke, Nunu and Illapu, and SHALT and The Supremes — takes that would have been inconceivable until they came to fruition. To celebrate the new year and all of the wonderful support we’ve received, we gathered a few of our favorites from family friends for a free giveaway project titled NEW YR NEW US. We’ll be back on the official release train soon enough, but in the meantime we grabbed Why Be, Nunu, SHALT, Kablam and LOFT for this short entry. You’ve likely caught a few of these in our radio sets, as well as sets from the artists involved and they have just as much raw energy removed from that context. Hit the download link below and share around if you’re so inclined.




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.

jam city

As one of the kingpins of the Night Slugs empire, Jam City has been given a lot of leeway in the past to experiment and to postulate on a number of different sounds and concepts. His debut album, Classical Curves, was a dense and often difficult to digest, but after multiple listens, a largely rewarding listening experience. For his most recent Night Slugs release, Club Constructions Vol. 6, Jam City dispensed of much of his conceptual arsenal and instead turned in five straightforward-as-hell drum tracks that just might be the most impressive of the series. It’s some of the best club music of the year and has endless playback qualities, not an easily attained combination. “Bells” is a track that (somehow) didn’t make the cut for Vol. 6. Like the other five tracks, “Bells” is a stripped down drum track, accented by charm-like synthesized bells. It’s also currently up for free download so listen below and head here to snag the track.

So the TNGHT (Hudson Mohawke + Lunice for those living under a rock) EP saw its American release today. Instead of an album review (words don’t do it justice), we’ve decided to compile a little retrospective on British producers lending their talents to American hip hop. In an interview with FACT last month, Lunice had this to say:

We’ve been doing this shit for years, and it’s not like we’re new or anything, it’s not like we’re new money shit, it’s not like we came out of the blue and we blew up like crazy. We’ve built a whole foundation of our work. So it’s about that time. I feel like that sort of movement is backed with all of our homies together, like: “This is us! You can’t do this shit! You can’t just take our ideas and come up with it all after all these years. We’re coming for you!

Clearly, Lunice believes that American hip hop producers have been misappropriating hip hop-indebted UK bass for a minute now and are taking a stand. While I don’t think Toomp and Hit-Boy are listening to too much Mount Kimbie, I get it: Lunice has a persecution complex… just kidding. With the EP set to take the States by storm and the duo’s remix of Flocka’s “Rooster In My Rari” igniting the interwebz, it’s easy to see where Lunice’s frustration is coming from. As the UK sound constantly progresses into exciting new territories via labels like LuckyMe and Night Slugs, American producers are often too content to find a sound and stick with it. As a result, some of the best interpretations of American, especially Southern, hip hop have come from British producers. TNGHT might be the apex of the trend (yes we know Lunice is Candian), but many other (mostly) pasty perpetrators have attempted to freshen up Stateside hip hop tropes, both new and old. This is not meant to a comprehensive review, because that would be impossible. It’s just a list of a lot of really fucking good producers remixing a lot of really ignorant hip hop music.

Dubbed by some as the “British Diplo”, it made all too much sense for Sinden to host volume two of Mad Decent’s Free Gucci series. The Burrrtish Edition features 16 remixes of Mr. Radric Davis’s trap anthems, courtesy of a  coterie of revered Brits: HudMo, Rustie, Melé, Mosca and Toddla T just to name a few. Predictably weirder than the Diplo hosted Volume One (with the exception of the Flying Lotus contribution), the tape is an exhibition in low end sounds with varying levels of success. HudMo’s take on “Party Animal” essentially spawned TNGHT, is utterly playable to this day and should probably soundtrack your next night of drunken shenanigans. Melé also wins big with his wonky reinterpretation of “Missing” from The Appeal: Georgia’s Most Wanted (a largely overlooked Gucci project). Stripped down and menacing, “Missing” is a precursor to some of Melé’s more recent Soundcloud uploadsBurrrtish isn’t much of a cohesive project drawing from every realm of bass music, but who cares when HudMo, Melé, Rustie and Sinden bring the collective heat?

Download: Sinden Presents Free Gucci 2:The Burrrtish Edition

Hit the jump for the rest of the retrospective…

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