Hitting at the crossroads of rap, footwork, electro and more, Rushmore is finishing off the Trax Couture World Series in style with Vol. 12, an eight rack effort stacked with low slung club weapons. Whereas most of the World Series has come in fast, hard and mechanical, Rushmore’s final entry into the series he has expertly curated takes the tempo down a bit, recalling everything from hyphy and g-funk to footwork and electro. If you’ve been lucky enough to attend the perpetually hyped House of Trax parties Rushmore throws in London, you’ll probably be familiar with these sounds, if not the tracks from Vol. 12 in particular, and its clear that Rushmore has been learning from the best as he distills these classic dance sounds into his own, ever-growing repertoire. Be sure to grab World Series Vol. 12 from the Trax Couture store on November 2.
As the 10th release in Rushmore‘s globetrotting World Series, Portland-based producer C Plus Plus‘ entry has a lot to be compared to, from the terraforming madness of Dreams‘ Vol. 4 to Akito‘s neck-snapping, snare-heavy Vol. 5. The company is thick in this series and it takes a strong four track effort to stand out in any way. And even though the series is chock full of functional, stripped down bangers, it’s still a pleasure to find the odd track that just embodies the spirit it intends to convey. “Bounce Trak” is a runway track with flair, from the playful glissandos, walk-bounce-walk-repeat flow and on to the bang the box percussion. Think breaks and luscious pad work fill out the work, but the splintering percussion and formal intention are the focus here and while traversing several other spheres including techno and electro, the rest of Vol. 10 achieves on a similar level. World Series Vol. 10 is out Monday, August 24 and can be previewed after the jump.
It’s only been a few days since we dropped Heterotopia Remixes Vol. 2, but it’s hard not to look on to the next and final volume in the series. That being said, it almost seems like we’re getting a rhythm down with these releases and it’s a pleasure to see a good deal of our readers coming back for each of our first three releases. You can check out the full release down below, as well as the tracks that hadn’t been premiered previously after the jump, or just head straight to our Bandcamp for the free download. Thanks to everyone involved, including our own team of Sam and Will. Can’t wait to announce Vol. 3!
One week from today, we’ve got Heterotopia Remixes Vol. 2 on the docket, our third official release and the second volume in our Heterotopia remix series.
The second volume of Heterotopia Remixes has finally arrived, featuring a global collection of artists remixing songs from our debut compilation. With Air Max ’97, Mike G, Riley Lake, Rushmore and Victoria Kim involved, Vol. 2 is a thrilling run through stripped down club forms, a percussive melange that looks to Baltimore as much as it does Bristol. Angular club music has found its way into unexpected places as of late and this collection of producers are leading the way in the admirable charge to discomfit the dance music realm. This volume also features incredible art work by prodigal East Coast artist Terrell Davis (featured in Dazed, New York Times etc.), continuing the trend of reinterpreting the original release’s cover in new and exciting ways.
Out next Tuesday (March 10) via our Bandcamp, Heterotopia Remixes Vol. 2 features a selection of artists from the original compilation, as well as recent Gobstopper signee Iglew, who turned in an engrossing Astral Plane mix a few weeks ago. Check out the track list below and be sure to check back in this space over the next week for more sneak peaks of the tape.
1.) Jacques Gaspard Biberkopf – Public Love (Air Max ’97 Bootleg)
2.) Kid Antoine – Nightvision (Mike G Remix)
3.) Rushmore – Moment X (Victoria Kim’s Kowloon Edit)
4.) Celestial Trax – Illuminate (Iglew Remix)
5.) Victoria Kim – Apgu Freeway (Rushmore Remix)
6.) Arkitect – Foucault’s Dream (Riley Lake Remix)
Over the course of the past twelve months, the trans-continental South/Central American dance scene seemed to grow in both confidence in recognition as producers from Chile to Mexico flexed their various reinterpretations of folks musics and dance forms. Moreso, artists like Lao and Paul Marmota, Tomas Urquieta and Imaabs transgressed the traditional world of house and techno, drafting up wildly creative takes on dance music that subverted the hegemonic, often racially inferred physical and technological spaces in their respective cities of Santiago and Mexico City. We snagged Imaabs to lay out his favorite releases of the year, drawing source material from Chilean, Mexican, American and British producers. Enjoy and excuse the language barrier!
A selection is always a constellation, each track has to be able to open dimensions, generating movement, shouts, expressions, the body into a future, that does not subtract and multiply , but rather becomes intense; several of these tracks are instrumental, very percussive, others have voices that produce some recognition, voice, usually on a track is a face in which we identify.
This selection of the 10 most important tracks for me in 2014 focuses on links that open. For example, Rushmore’s “Bitch Please” has been apex at parties I played in Chile and Mexico; Marmota with “Malianteo” reopens a recognition territory between Chile, the apocalyptic vibes and Latin America ; the masterpiece called “Black Jesus” of Vaskular & Valesushi, two Chilean friends, thrill mixed with a Latin-Dembow dimension with Deep House vibes. Meanwhile, Kid Antoine is very European, but an expert in a post-apocalyptic latin dimension and that reminds me of Marmota´s Nueva EP (out now on NAAFI), resonating in such extreme places as Mexico and Denmark.
With transformations in mind, a song from the last quarter is “How About” of Dinamarca x Zutzut, Kassandra’s soft voice resonates much to the work of Kelela, but achieves a density and quite distinct flavor. Tomás Urquieta, my fellow battles, built one of the most consistent Eps I’ve managed to hear in this last year, beyond thinking about the Club, this EP is out of it, or at its limit; Somebody called it a kind of Post-club. Future Brown, opens a window and a way of doing pop, thinking of the club, and this track, Wanna Party, is but a manifesto of those osmosis. Another track that impressed me was the 2014, is the remix by Cyphr to “Moments XTC” of Zutzut and Lao (Extasis/Her), and the original track had struck me, but when he left the remix… I Said: amazing.
Inevitably you can not do a review of 2014 without mentioning Neana; means most of the old continent as USA, considered him as someone to must be listened to; the consistency is not enough, and successes are needed hits to the expected visibility and consolidation; the remix he makes to SPF666 is required in any dj set. Finally another great Latin American producer going to have to talk this 2015, what impresses me greatly is the expertise that takes into percussions, I think unusual and very unlike anything that has been done regarding club music.
Release day is always a bit bittersweet, because, despite all the dithering and busy work that goes into releasing music, it means that the process is almost over. That being said, Heterotopia has been a passion project of ours for quite some time now and it’s with great, treacly pleasure that we finally get to unleash it on all of you. Heterotopia is inspired by Michel Foucault’s essay of the same, but not to the extent that the compilation is imprisoned within the French philosopher’s admittedly problematic framework. The tape is positioned to guide the listener into an alternate reality, not in the science fiction sense, but in the liminal, distinctly body-oriented manner of the club-verse. It was our intention to gather a group of transcendent, progressive musicians and the artists who participated in the project took the conceptual framework to heart and drafted 12 polyglot heat rocks that have continued to defy our expectations on nearly every listen. This sort of language is hyperbolic, but for those of us who take pleasure in the expectation, aftermath and release of the club context, this topic truly is important. Heterotopia is a free release, but if you do happen to have a few spare dollars to spend on otherworldly club constructions in your monthly budget, it would always be appreciated. And while this is release day, Heterotopia will continue as a project of ours in the coming weeks and months. Expect more soon on that front and enjoy.
There are also, probably in every culture, in every civilization, real places–places that do exist and that are formed in the very founding of society–which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted.
– Michel Foucault
You’ve already heard two songs from Heterotopia and with the tape set to hit the web tomorrow, it’s time to give a little love to the full experience. Watch this space and this space tomorrow and enjoy. Huge shout to Arkitect, Kid Antoine, Jacques Gaspard Biberkopf, Air Max ’97, Victoria Kim, Imaabs, Rushmore, Divoli S’vere, Mike G, Celestial Trax, Riley Lake and Iglooghost for turning in exceptionally creative tracks. And Jesse Treece for fashioning the poignant visual side of Heterotopia. Made this process far easier than it should have been.
Throughout a series of free releases and EPs for the likes of Unknown to the Unknown and his own Trax Couture imprint, Rushmore has gained a penchant for crafting the sort of free wheeling club tracks that defy both time and genre. The free “Air Trax” series is the perfect example of the London-resident’s stripped-back approach and resembles something in between the raw, feverous energy of ghetto house and the tightly-wound proficiency of UK techno. Unlike many of his contemporaries Rushmore doesn’t stab at concepts of futurism or technological progress, instead working towards the sort of machine-led dance floor proficiency that originally led to the rise of dance music in Chicago. Rushmore’s newest EP, his third on Trax Couture, is raucous at times, but also sees Rushmore adopt some of the paranoiac spirit that pervades much of the capital city’s output. Kicks, toms and stomp boxes are still in order for much of HOT004, but so are cut up violin bits (akin to Dark0’s recent work) and other video game soundtrack-derived melodic content. “Silent Melody” still embodies the gleeful linearity of Rushmore’s past productions, but trades in ghetto house for Jersey club’s rumbling kick pattern and grime’s melodrama. It’s metallic and slightly obsessive in its repetitious melody, source material drawn directly from post-Olympic East London, but also from the growing figurative diaspora of UK and American club sounds. HOT004 will be out on vinyl and digital on October 20, but can be pre-ordered through the Trax Couture website now.
If you’ve checked out our guest mix series recently, then you’ve probably heard Rushmore’s “Bloodlines”, a monster of a track that contains just about everything you need for a proper club joint. Neana played it in his mix and then the Trax Couture boss himself had to give the world a little preview in his contribution. “Bloodlines” will appear on HOT002, the second release on Trax Couture (also run by Fools), which also features three other grime/ballroom/ghetto-influenced heaters. The EP is slated for a December 30 release date, but if you’re in the UK, then you can check out the Trax crew alongside Georgia Girls this Friday.
It’s always interesting to witness disparate (in both a stylistic and geographic sense) musical scenes interacting, referencing and building off of each other. It’s also no surprise that we’re big fans of collaboration and intertextuality in these parts so you can imagine how pleased we were when Trax Couture bossman Rushmore agreed to contribute to our guest mix series. On his own time, the London-based producer makes machine music pure and simple. Rushmore’s tracks are industrial in nature, drawing on London’s ‘nuum fascination to bring together grime, dubstep and techno. He also draws much inspiration from Chicago and New York, specifically the sharp, linear lines of ghettotek and the lewd abrasiveness of ballroom, both of which are clearly apparent in his productions and mix work.
Lucky for all of us, his second 12″ (also the second in Trax Couture’ss HOT series) will be released in early December. You might recognize “Bloodlines” from Neana’s guest mix last week and the rest of the EP follows similar contours, repeatedly throwing jagged rhythms and undulating sub bass at the listener. To celebrate the EP release, the House of Trax folks (Rushmore and Fools) are throwing a party in London with Georgia Girls. The function will occur on December 6 at Birthdays and is sure to feature plenty of choice cuts from the HOT crew. Stream/download Rushmore’s mix below and hit the jump for a full tracklist.