Tech house hypnotist Daniel Avery has collaborated with fellow electronic music producer Volte-Face for a little EP here with a few new cuts partered with a couple remixes as well. These two tracks are texture heaven, and showcase some relentless grooves. Slightly different personalities, though: "Rote 1" feels a bit more grimy while the ethereal keys in the middle of "Rote 2" leaves the track feeling blissed-out. Enjoy!
A new single from the GOD himself Nicolas Jaar on R&S. It's a masterfully produced 8-minute monster withmultiple passages flowing throughout it. It's awesome to see Jaar continuing on this abstract, ambitious streak he's been on since the release of his breakout Space Is Only Noise.
Make sure to check out the recent Pomegranates soundtrack he dropped as well.
With just a few brief albums and a handful of singles under her belt thus far, Holly Herndon is quickly becoming one of the most interesting electronic music producers to watch in 2015.
If I'm correct, she's slated to drop a new full-length toward the start of next year via RVNG Intl., and her most recent single here shows her incorporating lyrics into her usual mix of glitchy rhythms and strange vocal manipulations.
Not only is the chord progression on this thing pretty epic, but the massive bass and dense cacophony of rhythms is pretty overwhelming much of the time--of course, the visuals in the video attached to this song mirror this.
For his sophomore album, electronic music producer SBTRKT brings on more guests, more experiments, but somehow ends up with a less enjoyable album.
French electronic music producer Mr. Oizo has dropped a new track that's set to be featured on his forthcoming full-length album titled The Church. The album is currently looking at a November 18th release date via Brainfeeder Records.
To be completely honest, I had never put much stock in Mr. Oizo's music before I heard this track. His previous material struck me as being pretty inconspicuous, just not that bold. However, "Bear Biscuit" has a huge freak flag that it has no shame in flying. With loads of heavy, noisy start-stop grooves, I'm not sure if I'm waiting for a more fluid song to start or getting a musical beatdown. The disorienting vocal samples are a nice touch as well.
Props to Mr. Oizo on this one!
Pure insanity coming from these two major tracks from anonymous producer SOPHIE, and both of these songs are out now via Numbers.
Between all the vaporwave and trap out floating around the Internet right now, there's no shortage of zany electronic music at the moment. SOPHIE seems to embrace a lot of the tenants of TNGHT, Rustie, and post-modernists such as Daniel Lopatin; however, these sensibilities are unabashedly fused with commercial pop, a flavor that reads strongest in the often squeakily pitched melodies and lead vocals. There's just something about the melodic shift at 0:39 that sounds like Carly Rae Jepsen's "Call Me Maybe." Someone on Twitter went as far as to say the groove on "Hard" resembles that of a Death Grips track, and I have to nod in agreement on that comparison.
Despite the obvious present-day influences, something about SOPHIE's productions thus far feel as if they're coming from at least ten years into the future. Their energy is incredibly hyper, their accessibility is high, but there's something sort of avant-garde about these tracks as well. Maybe it's sort of short-sighted to assume that songs like "Hard" could become the norm in a decade, but I certainly get the sense that I'm catching up with something ahead of the curve when I put these beats on.
UK-based electronic music producer Hudson Mohawke has recently announced that he's got a new EP on the way via Warp Records. He's dropped a new track along with the announcement, and it's the title track of that forthcoming EP, Chimes. It's dropping officially on September 29th.
Needless to day, considering I've enjoyed Hudson's previous projects so much, I'm excited for what's coming up on Chimes. The title track itself takes an incredibly loud, rowdy approach to the trap banger. While there are some ethereal, glossy synth passages on this track, much of it's runtime is taken over by loud, distorted sub-bass and slightly offbeat synth horns.
It's unquestionably colorful, and even though it might share a little too much common ground with what Hudson's already done in TNGHT, I'm still loving what's going on here.
Deadmau5' new, double album showcases much more finesse and maturity than his past releases. His usual house bangers are dark, textured. Meanwhile, much of the second disc feels like it was inspired by some in-depth listens to a film score or two.