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mid-week-mix-round-up

Inspirational mixes from the past week that deserve to reverberate beyond our “office”.

Over the weekend, the Astral Plane team ventured into warehouse land to attend the Fade to Mind/Night Slugs rave, featuring Bok Bok, L-Vis 1990, Nguzunguzu, Total Freedom and Prince William. The Fade to Mind cadre is known for throwing some of the wildest parties Los Angeles has to offer, but the Night Slugs component brought a larger-than-large system and a distinct London aesthetic into the fray. Us Angelenos are spoiled, but that doesn’t mean that we can’t look to New York here and there with a sly eye and a bit of jealousy. In this case, the envy is squarely focused on MOMA PS1’s summer Warm Up series, an expertly curated series of outdoor events featuring the likes of Robert Hood, Tessela, Mumdance, DJ Marfox, Evian Christ and many more. This past weekend’s event featured the inimitable DJ EZ alongside an all star cast of Todd Edwards, Maxmillion Dunbar, Ramona Lisa and Lit City Trax bossman J-Cush. To hype the event, PS1 asked J-Cush to contribute a “Warm Up Mix” and the result has enough fire power to resentment out of the most resolute characters. Lit City exclusives are placed alongside belters from Georgia Girls, Massacooramaan and Inkke and mixed in J-Cush’s signature spin back heavy style. I’ve pondered spontaneous cross country flights many a time this summer and J-Cush’s Warm Up mix might just do the same for you.

As part of the promo run for his upcoming LP on Innovative Leisure, Jim-E Stack stopped by Nina Las Vegas‘ Triple J show to lay down an hour of jazzy, psychotropic house, thumping call-and-response techno and disorienting club deconstructions. Tell Me I Belong hits on July 28 through the Los Angeles-based label and will feature ten originals from the genre-trotting Stack. In his Triple J mix, M.E.S.H. and Shlohmo are surprising bedmates with Shed‘s Head High alias and techno connoisseurs Kassem Mosse and Marcel Dettman. Throwing genre to the wind, Stack focuses primely on beatific, supernal melodic work, preferring carefully constructed, supremely patient constructions to anything that even hints at immediate gratification. That predisposition towards restraint shines in Stack’s existing productions and is exactly why the premise of a full-length from the mans is so tantalizing.

Moleskin, fresh off the release of his debut self-titled EP on Goon Club Allstars, brings tracks from “Chicago, Baltimore, London, Durban, New York, the internet” to the table for Clash. Rhythmic exploration is the name of the game here and Moleskin jumps effortlessly from Neana‘s metallurgy to the polyrhythms of DJ Firmeza and DJ Lag. Cop the Moleskin 12″ and you won’t be sorry.

And to top everything off, don’t sleep on Sharp Veins‘ (William Skeng) recent frozen entry into the Liminal Sounds archives, Australian curators of everything grimy and rough-hewn Ktrax ode to ghetto house and rave, or Shriekin‘s all-original contribution to the ever-growing Boxed family’s mix series.

jim-e stack

A few week, the Wedidit horde presented us with Shlohmo’s cavernous remix of Purple’s “The Club”, a track that surely fit the LA outfit’s aesthetic, but left us a little cold. With the song came the promise of remixes from Jim-E Stack and IVVO, which have finally reached daylight along with a free download of the entire three song package. Whereas Shlohmo decided to submerge the already dangerously dense original into a reverb-filled hell hole, New York-resident Jim-E Stack opted to re-contextualize the emotions emanating from “Feel Alone”, transforming it into the sonic equivalent of driving a car on the beach at night. It’s still darkly melodic, but there’s hint of a confusing tropical vibe and a propinquity for propulsion that elicits auto travel. Or maybe I’m full of shit. Regardless, it’s a brilliant flip that evens mutates into a breakbeat-laden jungle monstrosity in the last twenty seconds. Stream Jim-E Stack’s “Feel Alone” remix below and download the full package here.

jim-e stack

Ever since he jumped onto the scene with a few well-timed remixes, San Francisco-born producer/DJ Jim-E Stack has been on an impeccable streak of releases. At some point between his transition from San Francisco to New Orleans, and most recently New York, Stack has developed one of the most refined sounds in the American club music game. First came the Come Between EP on Good Years, then Body High released his Bubble Boy single, all while Stack continued to spit out quality remixes. For his latest feat, Stack has taken on buzzing Bristolian Hyetal’s (of Velour and Modern Worship fame) “Jam The Network”, reducing the throbbing, riffy original into a calm, collected piece of slow house mastery. It’s almost too easy to fall into the slightly moody air of the remix, it’s pulsating rhythm growing ever more persistent without seeming to force the issue. Stack’s sense of pacing is just so on point at times that you forget that the listener forgets that they’re listening to dance music.

In the months since Jim-E Stack burst onto the bass music scene via his momentous remix of ASAP Rocky’s “Purple Swag”, he has been on an absolute tear, remixing everyone from Kirko Bangz to Reptar and releasing an EP through en vogue LA label Body High. Featuring similar synths to “Purple Swag”, Stack’s rework of Malaysian singer Yuna’s “Lullabies” falls on the smooth, melodic side of his production dichotomy. Stack has proven to be proficient in crafting club tracks (see “Bubble Boy”) as well as more laid-back jams. Stream and download “Lullabies” below.

The Boiler Room’s American editions have been on fire lately, LA bringing in Friends of Friends and New York hosting a coterie of young production talent and left-field MC’s. At the end of July, hip hoppers Haleek Maul, Mr. Muthafuckin’ eXquire, Flatbush Zombies took the stage at Boiler Room NY and tore it done. The one seeming outlier on the line-up that night was Body High representative Jim-E Stack, but by the end of his, his place on the bill was more than justified. For some reason, the Body High sound works perfectly when surrounded by pure-bred hip hop. Stack, DJ Sliink and Myrryrs clearly play a ton of hip hop in their sets, but it still surprised me when this set fit perfectly in between the stark sounds of Haleek Maul and Flatbush Zombies. Stream the mix below and download it here.

Los Angeles has been the hub of club oriented electronic music on the West Coast for quite some time. That has resulted in dozens of artists labels dipping their toes into the melting pot of regional scenes that have emerged over the past several years. A number of labels have had success within the club realm, but only one, Body High, has mastered it with an impressive streak of fun-loving consistency. Sporting releases from DJ Sliink, Myrryrs and DJ Dodger Stadium, the young label run by Samo Soundboy (of DJ Dodger Stadium) and Jerome Potter (of LOL Boys) has taken the City of Angels by storm. Their newest release comes courtesy of San Francisco native Jim-E Stack in the form of the “Bubble Boy”. Stack has made quite a name for himself with his remix game, but his original work is a complex menagerie of club and hip hop influences. Whether drawing from New Orlans, Chicago or Baltimore, Stack has managed to infuse his own unique flair to original releases. Stream “Bubble Boy” below and head over to Boomkat to give some love in the form of paper money.

San Francisco native current New Orleans resident Jim-E Stack has been on quite a roll with his remixes. In the past he’s taken on A$AP Rocky, Kirko Bangz and LOL Boys to great effect his take on Reptar’s “House Boat Babies” is no different. This one’s got a nice tropical feel and expands into an ebullient dance riddim around 1:45. Stream below and download here in exchange for an email address.

Last September, New Orleans by way of San Francisco producer Jim-E Stack let loose his seminal remix of one of 2011’s most ubiquitous tracks, A$AP Rocky’s “Purple Swag”. The track set the stage for a number of hip hop indebted American bass producers from Shlohmo to Baauer to dominate 2012. Stack, now a member of LA’s Body High roster, just put in another burner, this time a remix of Kirko Bangz’s syruppy crossover hit “Drank In My Cup”. Brenmar took a stab at the track back in March resulting in a bubbly club smasher, but Stack takes a decidedly different take. A stomp box immediately ups the tempo, but saxophone arpeggios and otherworldly wind chimes transforms Bangz’s H-Town anthem into a sentimental ode to lean and the fairer sex. We unfortunately only access to a stream at this point so give it a spin above.

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).

Well this is a pleasant surprise. One of 2011’s quickest risers, New Orleans by way of San Francisco producer Jim-E Stack threw up a brand new heater to his Youtube page last night. Stack brought the revitalized garage sounds of London to A$AP Rocky’s seminal “Purple Swag” last year to break into the scene and cemented his place as one of the most promising young producers via the Come Between EP. Stack puts the emphasis on percussion on this one, letting the sinewy vocals float in and out over quiet synth pads. An understated banger if I’ve ever heard one.