“Exquisite Basement marks the final chapter in my free EP trilogy on Jus Like Music Records. Everything you hear, with the exception of Jon Foster’s drums on the last song, is 100% samples – whether it be film, music or even some clips from old sci fi radio shows. Exquisite Basement marks not only the end of my free EPs, but also the end of my ’100% downtempo’ output. Look out for ‘The Love I Lost’ EP on Jus Like Music Records late 2013 on vinyl as it will showcase my new more ‘uptempo’ productions, as well continuing a similar downtempo style which is present on this ep. I hope you enjoy it.” – Jesse Futerman
Releasing the third and final EP in his free music series on Jus Like Music Records with Exquisite Basement, Toronto’s Jesse Futerman is a producer who rekindles the past ages of analog sound, spiritual soul and jazz music of the 60′s/70′s and has recently been blending it with mixtures of futuristic electronica rooted in uptempo dance music. Utilizing a large foundation in the world of sampling, his downtempo productions are hypnotic and sleek, powerful and elegant, propelling listeners into different eras of the past with an updated resonance of future beat music soothing itself over every tone. Exquisite Basement serves as a statement of duality for Futerman, launching the EP off with the more electro driven “Trouble Man”, a sound that will define future works as stated from Jesse above. The influence is a homage to a past era of electro, where beautiful harmonic passages are slipped into the hypnotic rhythms and a instrumentation driven aura rises forth. The sound is very raw and saturated with glowing sax and vocals and some of the best dance rhythms ever created in the 20th century. The remainder of the EP is given to the classic analog and spiritual based sound of the past that has served as the basis of his voice in previous releases. It’s a sound I am absolutely in love with and has served as one of those late night listening sessions that puts me in the most comfortable and peaceful of moods.
The beginning of the new EP is given to “Trouble Man”, a track that sounds like it was lifted right off a post disco record and a vibe reminiscent of the late 80′s and 90′s when soulful electronic dance music was everywhere. Uplifting and vibrant, the energy doesn’t break away for a second. “One For Dan Zacks” continues the train of Exquisite Basement, floating into a deep journey of jazz samples, sultry stand up bass and a mood that is mentally transcending. The intervals and layering is superb, coming off as a live band in a studio some 40 years ago. It’s this vision of re-examining the past that makes the music as special and close to my heart as it is. The elongated trumpet statements near the ending measures over the softly placed vocals is a beautiful contribution that reprises with me in various moments of the day. The tempo is given a little boost in the next number “Don’t Grecko Your Brother”, shining with another glowing essence of spiritual jazz and the hypnotic aura of natural piano, stand up bass, wind instrumentation and pulsating drums. The bass is elastic, bouncing around all over the mix with that beautiful feel only an upright can achieve. The simplicity of the rhythms really widens up the intervals between the instrumentation, giving a much clearer lens into the subtle dynamics of each component. The pure beauty of every section of the track really propels it past this simplicity of design.
“Broken Glass” and “Disappear” are both dreary pieces, searching for entirely new energy to absorb into the album. It’s this deviation point in which the darkness invades and the mood of the album reflects worlds entirely removed from the first half of the album. Elegant and raw, it connects into the core of Exquisite Basement as a sound reminiscent of the past and present. “Used To Be Thinkin’” retains this same darker vibe but with a more celestial elevation. The drums are more alive and the vocal samples are enlightening. It captures the essence of everyday life, relationships and all of the other moments that move us through our days in our most appreciated forms. The albums closing track “For My Parents” features Futerman’s musical colleague Jon Foster on drums, diving deeper into the sonic tapestry of spiritual jazz and electronics. As a gorgeous end to an already stellar album, there is nothing one can ask for more.
The tone and resonance found on Exquisite Basement is a very dreamy and pleasing voyage, full of the past foundations of jazz and all its complex branches of sound that have found their way to the modern age and the bridge of the uptempo side of Futerman that will appear on future works. Exquisite Basement is a special album that captures a man in transition, spreading his wings further then he has ever before. One of the best pieces of music we have absorbed all year.
Grab a copy from Jus Like Music by Clicking Here
On the 19th of April, the illustrious XLR8R premiered a video that we can’t stop playing over and over. This video is from London based multi-talented producer Memory9 and the new EP he is releasing later this month The Abyss Within. Releasing this new content on his very own imprint Mnemonic Dojo, the track created for the video is a production that mirrors the sonic complexity and futuristic form of artists like Squarepusher, Amon Tobin and Aphex Twin. Memory9 teamed up with visual producer Saizen Media and the two created a stunning cg based world that compliments the music perfectly. The Abyss Within is music of the future from one of the most gifted hands in electronic music. Check out the video below and watch out for the new EP The Abyss Within releasing on the 20th of this month.
Los Angeles recording artist Thavius Beck is still riding high on the creative success of his debut LP on the Plug Research imprint, The Most beautiful Ugly. To keep the creative steam going for this project, the following mixed media music video has been offered for the track “Eye of the Beholder” from animator and director Steve Harms. This video is truly amazing and very different than anything out right now. Thavius Beck’s music has always been a leap into the future of production and this video reaches that same standard. Very mysterious yet pleasing, it’s even a little creepy too.
From Plug Research | http://www.plugresearch.com/
In early 2011 musician Thavius Beck and animator/director Steve Harms crossed paths for the first time and it wasn’t long before both realized their creative worlds would become intertwined. Both artists had ongoing interest in the others craft and wondered what possibilities could be had should a collaboration take place. Harms recalls seeing visions play out in his head immediately upon hearing Beck’s work as several animated music video ideas presented themselves. The two decided to team up on Beck’s Eye Of The Beholder track which for Harms conjured images of a self-manifesting, digital, astral queen looking over her creation.
The title of Beck’s latest full length album The Most Beautiful Ugly served as a catalyst for Harms to develop quirky personality traits for the videos main character. As the video unfolds the viewer cannot help but discover something quite beautiful inside what at first may have appeared ugly. Beck and Harms blend electrifying sound arrangements with a hybrid of CGI and stop motion animation to tell an unusual story taking place in this odd, alien, other world.
California’s Amp Live has made an impressive name for himself over the last decade and the in many areas of the entertainment and creative world. He has defined himself as an artist of visionary levels, reaching across the musical spectrum with his own branding as a creative entity, productions for major label artists, Hollywood film scoring and background tracks for various sports culture. Jazz, electronica, downtempo, hip hop, rock, soul, his music is boundless and creates a tapestry all its own that never ceases to amaze us at SCV. Amp Live’s Zion I group has remained his most dedicated endeavor and the duo have continued to tour the world and release album after album that reaches the same standards of quality. With his music played on ESPN, Hollywood film and other large platforms, he has entered a realm very few artists of his creative approach are afforded.
In recent years, he has worked extensively with musicians all over the world as a solo artist, gravitating towards the forward thinking Plug Research for the release of materials under his solo name. When we were introduced to this years Kaleidoscope Theory, it was an immediate moment of awe and inspiration from the sheer density of skill and beauty in the music. Music that transcends the definition of genre and resonates with a gorgeous essence that only the most talented and creative can reach. We caught up with Amp Live for an exclusive interview about this new EP Kaleidoscope Theory, his background as a musician along with the full length he is preparing for Plug Research later this year. Amp Live is a musician we really believe sets his own standards outside of anything else coming out right now. He is bridging many different people under his music and because of this respect we have for his craft, we are very happy to present this exclusive interview today.
Check out the official music video for D.H.E.A. ft James Melo released in April of this year with Plug Research and director R.J. Sanchez before diving into the interview.
Q&A with Amp Live of Plug Research
Conducted by Erik Otis
SCV: Hello Amp Live, we have been into the Kaleidoscope Theory heavily this year. It’s a record that we feel really captures the growing evolution of where music is going in electronic and acoustic based realms. The instrumental technique is off the charts and the experimental nature of the album never deviates the refreshing and soothing vibes that the rhythms evoke. It’s a powerful record that took me a few full listens to really grasp, thank you for such an immersed album experience. Did you record everything present on the album or did you bring in guests for the Kaleidoscope Theory EP? How long did it take to construct the EP and where was it recorded at? We would love to know as much as possible about the construction of this EP that the public doesn’t already know.
ANS: I created most of the melodies and music ideas. Some songs I did myself in terms of writing/producing, but on most of the songs I worked with live musicians to really expand on what I was thinking. Kaleidoscope Theory took me around four months to complete.
SCV: I really love the artwork for Kaleidoscope Theory, something that really compliments the variation of color tone and modes that are in the music. How did you get the album artwork together?
ANS: I wanted the artwork to look colorful and very interesting. I thought that doing a colorful face mask for the cover would do both. The vibe of this EP was to show a lot of variety and modes, but meshed into one to create a pretty picture. About a year ago, the layout designer took pictures and tweaked the cover to what you finally saw.
SCV: The spiritual essence of your music is a really contagious element to the album, immediately making me feel really good regardless of my mood before the album started. What are you looking for your music to achieve or affect through your listeners and their emotional and spiritual states?
ANS: I definitely want listeners to get something from my music, no matter what emotion it is. I think it is all positive, whether if it makes you upset, happy, or mad. As long as it evokes thought.
SCV: How important do you feel it is for artists to take into consideration the spiritual well being of their audience?
ANS: I think artist should stand behind what they are about and what they put in their release. Some people aren’t worried about the spiritual well being of their audience and are about just releasing their thoughts and that is okay. I on the other hand, I am. I want my audience to be uplifted spiritually or be thinking in some kind of way on another level after hearing my music.
SCV: You have been producing and creating music under different monikers and projects over the years. How does Amp Live differentiate from all of these previous projects?
ANS: I have always used my name Amp Live in conjunction with my music. I just have never really put my self out there as a solo artist until the past few years. Usually I am just producing albums for artists and playing the background position. With my own personal projects I am just more open and basically working by myself.
SCV: What kind of live set up are you using to bring the music of Kaleidoscope Theory to life on the stage?
ANS: The live set up I have is constantly changing. I love creating new machines and instruments for the stage. I currently use a drum machine and guitar during my show and the Zion I show. Plan to definitely add on to that. I also will be using live musicians to play along with me. I want people to feel like they have been on a journey when they see my show.
SCV: There’s a lot of exciting music going on right now with artists who are bridging jazz, electronica and many other genres under one roof. Who are some your favorite artists or groups in the evolving movement of visionaries who are bridging the past, present and future of sound? Any records from recent years that just really blow you away?
ANS: You are right and this is a very fun time right now to be doing music. I am feeling a lot of people actually. Artist like James Blake, Jonti, and IG Culture are tight to listen to. Tylers new album Wolf, Robert Glasper, and the Kendrick Lamar’s album stay in rotation also.
SCV: Looking back through your career, who are the voices of reason that have really steered you in the right direction and have stayed mentors for years now?
ANS: I have always listened to my family in terms of big decisions. When I was in college, I was debating on whether to go to Medical School or pursue music so I confided in my parents a lot and they told me to follow my heart.
SCV: You have released music with many labels and have toured in so many different situations. Without expecting too much, what do you feel a label should provide an artist so the future of their success can have a chance? What do you feel the artist should provide the label in the act of balancing the equation?
ANS: I think of the years because of such a big industry shift, the definition of a label has actually changed. Now days, a label is really just some entity that can make phone calls and provide money for marketing (publicity, videos, etc). I feel like that a good label will do just so, with realistic goals in mind. I feel like for any artist to succeed during these times, they have to be really committed to push their own music, be active on their social media and create a lot of content for a label to work with.
SCV: What were some of the most memorable experiences that first come to mind when thinking about the Kaleidoscope Theory sessions?
ANS: The most memorable was working with James Melo on the song D.H.E.A. I had been introduced to him by a friend and I really liked his voice because he was part of a indie rock group. After I made a skeleton track for the song I just sent it to him to lay down some ideas. When he sent it back to me I took a immediate listen to it. The rap verse was first and I was like “okay this is interesting”. Then all of a sudden this crazy big hook comes in and I almost fell out my chair. I was excited.
SCV: From a technical stand point, what were the most challenging pieces on Kaleidoscope Theory to record and for what reasons?
ANS: Definitely recording the horn parts. I had to set up flash studios to record them, meaning using my mobile rig in hotel rooms, apartments, etc.
SCV: You have released this new EP with Plug Research in preparation for your full length on the label. What do you have in store for your full length album (guests, material already recorded, tours, etc…) and how has it been working with Plug Research so far?
ANS: Plug Research has been great and very supportive. The album in the fall that will be released is called A Headphone Conceirto. I definitely will have some cool features on the album, cant say yet. Will be an album I can perform all the way through. Look out for it!
Check out the full stream of Amp Live’s You Are Not Human (The Love EP) via Amp Live’s Soundcloud Page
Brainfeeder recording artist The Gaslamp Killer has launched a new video from his debut full length Breakthrough with the production crew Hyperballad. The Gaslamp Killer selected the track “In The Dark” for his latest music video release and the team at Hyperballad executed the visual representation of the songs atmosphere and vibe to astonishing affect. The faint traces of Gonjasufi’s voice over the dense sonic madness of GLK is fitted with an other worldly dark mystique in visual form that only music, film and the imagination can take one. After just one viewing from our staff and it was easily agreed that this is our favorite music video of the year thus far. Stream via Brainfeeder’s YouTube page along with film credits below.
The Gaslamp Killer | http://www.thegaslampkiller.com/
Producer: Filip Čermák
Dp: Tomas Jelinek
Editor: Jarrett Fijal
Compositing & additional fx: Mo Stoebe
3D FX: Charles De Meyer
Wardrobe: Lenka Kovaříková
Sound Colour Vibration is very happy to present the second release in our new mix series on dublab called Sound & Colour Lab. The following downloadable mp3 and streaming mix is an eclectic affair called “Quietude” that focuses heavily on material released this year with a stretching to the past that is reflective of the mixes we specialize in at SACVS. The rhythms are smooth, melodic textures are gravity pulling and the emotional weight from track to track is always all encompassing. The sound of joy and tranquility is present from beginning to end.
I compiled this mix in the latest hours of many evenings to serve as a musical backdrop to the winding down moments from a long day of work. Every track is one that puts me in a hypnotic mind state and I hope this mix can offer you the same type of relaxation. We thank you for tuning into dublab with our new show Sound & Colour Lab.
STREAM AT MIXCLOUD BY CLICKING HERE
- MV + EE – Environs (Three Lobed Recordings, 2013)
- Gandhi Speech Pt 1
- Paul Horn & Carlos Nakai – Spider Web (Canyon Records, 1997)
- The Sign of Four – Topsy Turvy (Jazzman Records, 2013)
- Soft Machine – Facelift (Columbia, 1970)
- The Heliocentrics – Ethnicity (Now-Again Records, 2013)
- Chief – Card’s Guardian (Feelin’ Music, 2012)
- Astronautica – Something About You (Alpha Pup Recordings, 2013)
- Carmen Villain – Obedience (Smalltown Supersound, 2013)
- King Henry – Teddy Rooster (Alpha Pup Records, 2013)
- Sweatson Klank – Opium Scented (Project: Mooncircle, 2013)
- Long Arm – After 4AM (Project: Mooncircle, 2012)
- Mo Kolours – Promise (One-Handed Music, 2013)
- ☒hLx – The Better Pill (DaP Station 2013)
- Amon Tobin – Bedtime Stories (Austin Peralta Reinterpretation) (Ninja Tune, 2012)
- Carlos Nino ft Dntel – Shapeshift of Uranus (Porter Records, 2012)
- Osunlade – Satellite Beneath The Stars (Yoruba Records, 2013)
- Gandhi Speech Pt 2
- Owen Marshall – Casa Del Soul (Aditi Records, 1975; Jazzman Records, 2012)
- Lapalux – Straight Over My Head (Brainfeeder, 2013)
- EPROM – Transparency (Rwina Records, 2012)
- Juj – Rainy (HW&W Recordings, 2013)
- Flying Lotus – Archway (Teebs Remix) (Warp Records, 2011)
- Dibiase ft Knx – Count Sheep (Dibiase, 2013)
- Asa – Ark (Bokeh Music, 2013)
- Squarepusher – 303 Scopem Hard (KCRW Session) (Warp Records, 2012)
If you would like more information on any of the artists present please contact us via email: email@example.com
*Art credit: Dan Nguyen “Thoughts” (2009)
Sound Colour Vibration = Music, Art, Film, Science, Technology, Gear, Comedy and Culture
*Stream or download the mp3 from dublab by Clicking Here
Houston based multi-instrumentalist and producer JayLotus is actively releasing music digitally, meeting artistically at a high ground with his latest offering for the Gergaz Netlabl, Thrust. A four song EP full of hypnotic productions, it’s a sound that is soothing, relaxing, spacious and smooth, giving off a vibe that compliments the various pathways of life. The synth influence of the 70′s-90′s is a special feature of the album, raising nostalgia in all of the technical key lines that lace around the modern sense of rhythms and bass runs. With grids of melodic layering and drum work, the soul of the music extends with the phrasing on the key lines that are recorded in bigger chunks. Pitch bends that hit those really sweet spots reminiscent of the best fusion jazz in the 90′s, wavering oscillations controlled and recorded live and other minimal enhancements that really bring the music to life. Thrust has a very warm and welcoming sound for the world to absorb and has become a favorite beat record for late night writing sessions.
The EP begins with the hazy and experimental dance track “Space Jazz Beat”. The bass and rhythms are out of the J Dilla song book, reminiscent of a sound that has embedded itself into the fabric of a plethora of younger beat makers. JayLotus brings that soul and essence of where Dilla was taking all that, extending this foundation with quality tones and musicianship in every measure. The next track “For Yuki” carries on with the same vibe as the first track, buzzing along with smooth bass lines, soulful synth lines and locked in drum grooves. JayLotus stretches out a bit in various measures of the track, really highlighting his approach in the electronic side of things. It’s modern beat music but has touches of R&B, fusion, jazz and funk. With a very open and spacious sound that rides really smooth in a good sound system, the concept that more is less truly comes to life in a track like this.
When I first heard the self titled track from Thrust I knew this was going to be an album that I would be recommending around. The tone achieved sets me in the calmest of moods with a breezy and easy flowing style of drums, bass, keys and overtones. I feel myself float out of consciousness and take a much needed rest from the consuming nature of my life. Music this gentle, delicate yet sonically powerful is what I live for. Bass enlarges in small pockets to beautiful affect, providing even more emotion to soak in. The solo’s from JayLotus on the ending segment are transfixing and really takes the album to another height. The ending piece “Namek / Big Bang” is another track from the EP that has been rotating in my mind long after listening sessions. The atmosphere turns a lot darker for the second half of the piece, transforming into an entirely different being than anything else felt on the album. These dynamic transitions are achieved with a seamless effort all over the EP and define the technical prowess of this young producer and instrumentalist.
Thrust is a collection of four tracks that reveals why JayLotus is one of the best producers out. The short track listing leaves me wanting more, hoping that the mans music will be printed in physical formats as his awareness grows and more people hear how special his craft is. I highly recommend checking out Thrust and all of the other music he is creating right now.
Project: Mooncircle has become a very special record label to the staff at Sound Colour Vibration, releasing music of tranquil and hypnotizing affect with some of the most mind blowing album art and packaging. The music is like walking into a lush garden where mirrors outline the exteriors and rays of light are shooting in every direction. The mastering on every single release is top notch, allowing the mixes to glisten with that shining resonance that plays so well in big system sounds. With any venture, identifying your purpose and integrity comes with every step you make, every wave of energy given to the world. The label has continued this path of excellence and creatively enriched standards with the new mini-compilation album Σclipse, released today for the lunar eclipse. As a limited edition cassette and digital release, the sounds of Project: Mooncircle alumni Robot Koch, Submerse, Rain Dog, Sieren, Daisuke Tanabe, Lomovolokno, KRTS, and Daixie grace this 7 song futuristic electronica excursion. Pulling the music outside of the identity of a compilation, the entire album flows with the balance of a singular voice, showing the communal bridging all of these artists are sharing together as they put out albums on the same label and tour around the world together. Σclipse is a very strong and beautiful collection of work that stands up there with all of the best electronica coming out right now.
Submerse, one of our favorite producers, starts the album off with the hazy and dreamy LA beat influenced “Quiet Lights”. Gentle placement of keys, glowing synth swells and circulatory rhythmic patterns, it feels like you can walk right through the sound and shatter it instantly from how delicate it all holds together. A state of relaxation begins Σclipse, taking on a lucid cosmic dream state that is a perfect introduction to the albums celebration of our moons celestial cycle. Berlin based producer Sieren is next up with the experimental electro piece “The View”, a floor burning excursion into the voice of this generation that compiles a sonic history lesson of European electronic music over the last twenty years. Robot Koch is another Berlin based producer who is featured on the compilation, lending an entirely different approach to what the region is currently offering in “Gorom Sen Returns”. More hip hop driven with neck breaking drum work and harsher bass tones, the overall feel is more raw and underground sounding than that of Sieren. I feel like I am walking down a path that leads to the center of the earth unlike the other tracks that evoke a more celestial sky driven aura. It’s a deviation that feels very right in the compilations presentation.
Melbourne, Australia’s Daixie turns out the most immaculate and heavy track of the compilation in “Days Like Them.” A dreary and raw landscape presents itself with drum work that is industrial in touch and fragmented in result. Daisuke Tanabe achieves a similar affect of raw tranquility with “LaLa”, where an elongated and morphed out synth intro takes the track into an experimental voyage. A feeling of the past eras of electronic music enter with these two songs that makes me love the approach they have with Project: Mooncircle. Rain Dog is another enlightening artist feature, shining rays of happiness, hope and confidence in “Like A Lame Man Stepping”. There is a brightness and uplifting feel that shines through that none of the other tracks contain. More linear in compositional approach and layering, the wavering vocals and small synth patches become the forming body and voice to the nucleus. The final track “Lomovolokno” from producer Eena is another warm and vibrant addition to the album that is in a state of duality between experimental electronica and pop. It’s a very wild sound of different worlds that carries the album out with a courageous and bold feeling.
Σclipse is a phenomenal collection of material that defines why Project: Mooncircle has become such a prominent electronica label in recent years. The album is free of charge digitally along with a rare cassette print for the label that you can purchase by clicking here.
From Project: Mooncircle | http://projectmooncircle.com/
Every six lunar months – when Sun, Earth, and Moon are aligned – we experience a partial or total lunar eclipse that can be observed anywhere on the night side of Earth. Lunar eclipses can only occur at full moon, that time when the moon is directly opposite Earth in relation to the Sun. Many ancient civilizations cultivated a multitude of myths surrounding these astronomic events, most of them depicting wild animals or mystical creatures eating the moon or crossing it’s path. Tibetan Buddhists say that during a lunar eclipse, our actions, whether good or bad, are multiplied one thousandfold, whereas, in ancient egypt, a lunar eclipse was considered to be the precursor of natural disasters, catastrophes, wars, and diseases and the biggest possible harm would be cast upon the earth if Isfet, the manifestation of the total eclipse and god of injustice and violence, would make the sky fall onto Earth and therefore bring chaos upon it.
As the soundtrack for tonight’s lunar eclipse, we selected some exclusive and unreleased songs from Robot Koch, Submerse, Rain Dog, Sieren, Daisuke Tanabe, Lomovolokno, KRTS, and Daixie on this mini-compilation.
The latest addition to the forward thinking electronica label FoF Music is Evenings, a young producer who has already made a name for himself through a handful of independent releases. The sound of Evenings is hypnotic, lush and crafted with a special essence of the human soul, characteristic of the duality present between the dance floor and the expansive headphone experience that defines this era’s producers. The atmospheric density is centered in the hazy and glossy world of dreams with the rhythms shining and breathing full of life. Evenings has offered his first release with FoF Music this week as a compilation titled Yore. Sourced from his previous North Dorm EP and Lately full length, the music has been remastered and assembled for a glow and delightful resonance that is every part satisfying. Some music has that ability to put you in a really relaxed and sensory responsive state and Evenings brings that special aura on every track of this new compilation. It’s music that goes far beyond production and dives into forms of instrumentation, composition, tonality and timber that goes far beyond just electronics. There are comparisons that cane be drawn to the sound of Evenings but it’s all his own things when absorbing the big picture. Refreshing to hear something this open and alive with roots planted firmly in the electronica movement of the 21st century.
What makes Yore an exceptional piece of music for me is the balance and flow of colors and emotions from track to track. Some songs rely on large amounts of rhythm while others drift into the cosmos with little rhythmic identity present. Experimental music with that driving rhythmic force to keep the music locked into position. One of the tracks that really grabbed me during the first few initial listens is the 8+ minute piece “Softly We Go”. The song resonates with one of the most special feelings I have heard from anything of this era, adding in tones and textures you don’t normally hear of the acoustic side. “Friend (Lover)” flows like waves off the ocean with its wide open drum rolls, hazy looped overtones and vibrant mystic synth aura. The album really takes on an entirely new direction with every song, especially on the elegant work of “Goodbye Forever”. A very composed and structure song, the tones are from very distant eras into the past and it’s a remarkable shift of direction for the album near the close. “Chesapeake” is another song from the collection that has really burned an imprint onto my brain. The drum tracking is immaculate, rolling around the mix with a soulful bounce that hits me right on contact. It’s a dreamy and exotic platform for being submerged into sounds of a wonderful nature.
The backwards mirror like effects used on the intro for “Lately” puts forth one of the most astonishing moments of the album. Piano loops are present in various sub forms, with gently placed lyrical lines of more piano that is stretched over the loops. The beat has a really exotic feeling that builds the song into a really heavy sound once fully realized. It’s the track that I have played the most and is something I feel so many different types of people can vibe deeply on. The backward layers are a glowing addition to the song that gives it a sea of depth. The lens on the album enlarges with the piece and really puts Evenings up their in the category with the best producers out.
Yore is an emotional record that really puts me in very specific moods. FoF Music is a perfect platform for this young producer to expand more and we can’t wait to see what new material he has for the label in the future. Yore is truly a phenomenal collection of music that ushers in new creative energy to the beat movement. The album has been pressed on 12″, which can be purchased by clicking here. The album is streaming full below courtesy of FoF Music.
Berlin’s Emika is gearing up to release her next record with Ninja Tune in the full length Dva. Scheduled for release in June of this year, Emika has offered another taste of the new album with the online single release “Sing To Me”. Emika is a powerful multi-instrumentalist and vocalist that has really made a name for herself through electronica in the past few years and we have been following her career with Ninja Tune from the beginning. The release of her content and the tours that have followed are a step above many of her contemporaries and she has really set a standard for us on the state of 21st century artists. We can’t wait to get our hands on a copy of Dva this June. Check out the streaming version of “Sing To Me” below.
From Ninja Tune | http://ninjatune.net/
Dva is a language, a form of personal expression that comes from and ends with the creative spirit. Produced exclusively by Emika with Executive Producer Hank Shocklee by her side, every song is inspired by a different dimension of oppression and the challenges of a present day creator with the courage to define a space where artistic expression lives free.
Sing To Me is taken from Emika’s new album Dva.
Dva will be released in June 2013 on Ninja Tune.
Pre-order now at iTunes or the Ninja Store
Ninjashop – http://bit.ly/emikadva
iTunes – http://glnk.it/20g
As the first 12″ pressing on the Tuff Wax Records imprint, Jaw Jam’s upcoming EP The Truth has become a highly anticipated release from this young New Jersey based producer. Support is already rising high for the new single “The Truth”, getting play from B Traits, Lefto and Ally McCrae of BBC Radio. The single was released this month as the first means of promotion on the EP’s release date of May, 6th. Jaw Jam has been known for his remix and retooling work in the past and he takes on a Brandy sample to surreal affect. The rhythms are cut up into fragmented sections with plenty of room for experimentation. The vocal skills of Brandy defined an era and this is a great homage to what that world has given 21st century music. Electronic and R&B merged as one. Listen to the single and read the full details from Tuff Wax Records below.
From Tuff Wax Records | http://tuffwaxrecords.com/
On May 6th, New Jersey producer / DJ Jaw Jam will release The Truth EP, Tuff Wax Records’ eleventh release and first 12” pressing. The three tracks explore Jaw Jam’s signature style; soft sine synth-work, unorthodox structures and elusive vocal samples that strike a balance between a deep reference to the club atmosphere and the producer’s engagement in jazz and improvisatory music.
Released on a single-sided pressing with a stunning laser etched design on the flip, packaged in hand-screened recycled card sleeves, backed with a digi-EP featuring a freestyle inspired electro-pop remix with all the melody you’d expect from label honcho Lockah, and completed with a screwed opium-house rework from fellow rising Aberdonian Yoin.
Brooklyn based duo Matt Kilmer and Haale are known as The Mast and have really made a name for themselves in the last few years with their unique brand of futuristic electronica. Working without a label, the duo has garnished attention from many areas of the world and continues to expand. The Mast has re-released their 2012 video for “UpUpUp” this time with the online streaming video site Vimeo this month and it has popped up on radar for the first time and we could not be happier. Featuring dancer and choreographer Pandora Marie, the visuals are next level and something that puts us in the greatest of moods. Enjoy this spell binding video below and stay up to date on this up and coming group.
From The Mast
Get the song here: http://themast.bandcamp.com/album/upupup
http://facebook.com/TheMastMusicDownload on Beatport: http://www.beatport.com/release/upupu…
Music by The Mast (Matt Kilmer and Haale Gafori)
Director, designer, editor – Haale Gafori
Director of Photography – Ernesto Lomeli
Post-editing – Matt Kilmer
Dancer and choreographer – Pandora Marie
Hair, make-up, costume – Haale Gafori and Vanessa Kudrat
Studio Assistance – Shane Greavette
Next time you’re wading through the swamp I know so well
Please find it hiding in the reeds, the shining shell
Of your elevator up up up
Up Up Up, to the highest part of us.
Next time your spinning thoughts are casting a heavy spell
Please find it hiding in the deep of your moonlit well
Yeah, your elevator up up up
Up Up Up to the highest part of us.