Oneohtrix Point Never
Oneohtrix Point Never’s got a new track to show off from Replica, his forthcoming album based on audio culled from TV ad compilations. The album, touted as his first “studio” release, is already #4 on our year-end list, and we haven’t even heard it yet. In fact, we might not even listen to it before we compile our list because we know it’ll be so good.
Look for Replica November 8 on Software/Mexican Summer.
“The Pyramids of Northeast Belgium”
Innercity can take it from here. As in: Draak Jagers is so omnipotent [he can take it from here]. This year, Innercity has spewed out releases on Not Not Fun, Beyt Al Tapes, Animal Image Search, SF Broadcast, Ikuisuus, and Ginjoha, and now a 7-inch on NNA Tapes? And all the releases have a collective theme (trance, ya dig), yet individually doing they’s own thing? Please. Here, “The Pyramids of Northeast Belgium” puts the listener at a distance between techno-beat-bop, maximalist artist, trustworthy (?) narrative, and submission, bringing it back and back and, etc. Now, it don’t make no sense, but unless you ain’t got w00pher speakers, that bass better be MAX’dd. I got a dude round Linwood area say he do you a Blaupunkt and two 12-inch for $125 flat. Install and all. He don’t include this year’s Innercity collection, but he know a few dudes who you could holla at: Discogs, Mimaroglu Music Sales, Experimedia, and Tomentosa.
The War on Drugs
Mirror Universe is soon releasing a cassette version of The War on Drugs new album, Slave Ambient. However, this filmy take will be more than just an alternative media format: the cassette version will be a half-hour longer than the one already released, with side 2 adding six all-new tracks. Whereas the meat and potatoes (and smoke) of the heretofore release of Slave Ambient can be largely described as straight-driving, American rock ‘n’ roll (plus some fuzz on the side for the sake of expanse), the new tracks promise to make good on the latter half of the album’s title. In other words, if Slave Ambient proper is a soundtrack for travel, then the new half-album of B-sides is the destination. And that destination is Space. It is this writer’s opinion that the band should amend their name thusly: The War, On Drugs. Take a hit of “Snake Tongues” to see why.
“Audio, Video, Disco”
It’s kinda weird seeing this kinda normal video from “cool electronic group” Justice (I’m forgoing hyperbolic adjectives to describe artist’s you’re already an expert on – you’ve probably downloaded this video and watched it several times on your phone by now, right?) But, yeah, Justice… like, check it out, man. Directed by SO ME, check it.
Track Or Die [teaser EP]
Juke, with its syncopated hyperbeats, schizophrenic samples, and sub-bass lines, can be a challenging listen to the uninitiated, which is why we’re going to keep exposing you to the sounds that soundtrack these furious dance circles. Last Friday, we posted our review of the unfuckwithable new full-length Flight Muzik (TMT Review) by DJ Diamond, a 24-year-old Chicago producer who’s been at it since 13. Today, we’re posting a pre-release EP for Chicago producer DJ Taye’s upcoming full-length, Track Or Die, set for release on Ghettophiles. While not as refined as, say, Rashad, Roc, or Spinn, DJ Taye is barely old enough to drive! (If you’re short on time, at least check out “Put Ya Money Up.”)
And since most of us are clearly outsiders looking in on a style of music that’s so dependent on presence, wouldn’t hurt to check out some actual footwork action. Here’s a clip, which starts with DJ Rashad’s “Ghost,” a track off his amazing Just A Taste:
• DJ Taye: http://soundcloud.com/byrslf_division/dj-taye-so-many-placez
• Ghettophiles: http://www.ghettophiles.com
“Super Violão Mashup”
If you aren’t a professional dancer specializing in Brazillian music and you think you can dance better than the people in this video, you are most certainly lying to yourself (or, indeed, you are this man ). “Super Violão Mashup” is the ridiculously frenetic release from Lucas Santanna, a chap that can somehow make roughly 12 million noises from one guitar and mash them together into a song that sounds simultaneously cutting edge and traditional.
As you’ll gather from the clipped beats and choppy ambient glitches, this is not your average nu-bossa fare, which has been something of a stringent policy of the phenomenal Mais Um Disco (“The label releases music from Brazilian artists who fuse styles, disregard genres and irritate purists”). Santanna assembles electronic music’s vast array of editing tools and tastefully mangles the crisp, smoldering sounds of Brazillian music into something brilliantly unique. His album Sem Nostalgia is ready to be carted to your doorstep now.