You must have made up your mind by now what you think of Death Grips, and their attention-deficit-infused musical rage. So far, some may argue ‘I’ve Seen Footage’ is probably the best example of the project’s relationship with common counter-culture (as much a middle finger to CCTV as to MTV) and is still immediate in expressing their attitude of pure mindlessness. Are they saying something? Nothing? Lots of things? Ironically, they have had plenty of catchy moments, but this has a particular electronic energy driving it, and this video accentuates their maniacal nature.
It’s certainly an impressive piece of editing, considering the amount of original footage probably filmed or sourced, but Zack & co. definitely aren’t shy in terms of the visual aspects of the project. If you thought their .GIF experimentation was as far as they could go, watch the video below – just another weapon in the Death Grips arsenal, and again, at least pretty imaginative. Very excited for the album (by the way the first of two this year) – The Money Store is out on Monday!
 
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Video: Death Grips – I’ve Seen Footage

So that lad Monster Rally is back again with a second full-length – entitled Beyond The Sea and due June 19th on Gold Robot Records – and has kindly upped one of those tracks for us to download.
Once again touching on repetitive sample-layering, somehow his technique forming coherent tracks that work best when played back-to-back: an insistance, in todays “shuffle ‘n’ skip” society, to hear the whole work to build up an atmosphere that requires patience. Saying that, it’s pretty casual listening, almost like glorified lift music – not in a negative way, mind. There’s something meditative about the way the producer over-repeats the same sample, as if the record is stuck, intensifying your listening upon each repeat.
I say all this, then I give you access to download a standalone track – though maybe it will sway you to listen to more, or to buy his album in the summer. Enjoy.
Cop the track Jaguar below. You can also stream it. Fancy that!
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New & MPfree: Monster Rally – Jaguar

A nice soulful pop single from New York’s Sinkane was released today via his Bandcamp – and it’s a lovely little single at that. The singer-songwriter has performed as a drummer for Of Montreal, Caribou, and most recently, Yeasayer. He’s new to the whole solo thing, but an album is imminent – from this track alone you can get an idea of the simple but expansive sound he’s going for.
Not as campy as Yeasayer‘s recent output, I dare say, but still quite friendly. The best thing about this single is Dan Snaith, also known as the genius behind Caribou, under his electronic moniker Daphni, has done a drawn-out electrified remix. Similar to his edit of Orchestra Of Sphere‘s track last year, Snaith ‘goes lite’ on the track – modestly tossing it onto the dancefloor with not too much fuss and flair. I make it sound bad by saying that – if you know Snaith’s recent work, you’ll know how incredible it’s been (I don’t even need to mention Caribou‘s Swim and his Radiohead remix).
Both the original of this track and the Daphni mix are both a nice surprise. You can download the EP for ‘name your price’ over at Bandcamp below. Be sure to keep an eye out for Sinkane‘s debut album, and whatever Daphni has next up his sleeve!
Hear and/or download Runnin’ below, with remixes by Daphni and Chandeliers.
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New: Sinkane – Runnin’

Now Kieran Hebden (Four Tet) introduced this young London producer to the rest of the UK last year, releasing his excellent debut single Winter Turns Spring. Now Juk Juk is back with more mellow garage goodness – sampling away, once again. I assume it’s being released on his own label, or at least a new one, and one one side will be <a href="https://soundcloud.com/listenjukjuk/unwrap" target="_blank">this track</a> (uploaded a couple of weeks ago) that samples Pitchfork Idol and recent Grammy King Bon Iver.
Focusing on the more interesting track of the two – a smooth, mellow garage rhythm with tweaks in all the right places. The loud horn-like synth interrogates the track towards the end, ending things with a deeper tone than it started with. See what you think.
Listen to Fall below – out in March.
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New: Juk Juk – Fall

As I’ve said before, this is a big year for Nottingham-cum-Manchester producer Matt Cutler (aka Lone). I’ve been following his career ever since discovering his excellent 2008 album Lemurian – since then, he has released two singles (Joy Reel, Once In A While) and an album (Ecstasy & Friends) on Actress‘ Werk Discs imprint, one single (Pineapple Crush) and a mini-album (Emerald Fantasy Tracks) on his own label Magic Wire Recordings, and more recently, got signed by Belgium’s legendary R&S Records, signified with the release of his Echolocations EP. In and around all that, he’s pushed out collaborations (Kids In Tracksuits, Kona Triangle), snuck out some more tracks here and there on Amsterdam’s Dekmantel, Manchester’s Hoya:Hoya, and Boys Noize‘s Boysnoize Records, and remixed everyone – namely Tensnake, Underworld, Bibio, Chilly Gonzales, Friendly Fires, Totally Enormous Extinct Dinosaurs, The Count & Sinden, CitR favourites Solar Bears, and of course, Radiohead.
Having said that, he’s still got a lot of steam left in him – his adventures with R&S continue, this year starting with new single Crystal Caverns 1991, due out on 26th March (backed with B-side Vulcan Mill Acid). This being the first single for his forthcoming album Galaxy Garden (due 30th April), it shows a lot of promise. The familiarity of Lone productions is there (distorted melodies, incessant drums) is throw up in the air by the use of a playful rave element only teased with before. Harking back to the ’90’s (not so subtly, considering the track’s title), his music still manages to retain the exotic nostalgia he’s expressed in the past, but with a similar bite to his peer Rustie – in fact, I’m hoping this album will build on the excitement and innovation set up by last year’s Glass Swords.
R&S may be offering a lot from their newest roster – new singles from James Blake and Bullion, and another soon from Pariah – but Lone looks to be their biggest bet yet. Galaxy Garden will feature vocal spots from both Machinedrum and recent Planet Mu go-to Anneka, but this is the titular character’s solo time. The man is simply killing it.
Check new Lone single Crystal Caverns 1991 below.
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New: Lone – Crystal Caverns 1991

It’s something Jack White should have done years ago, but he’s finally got around to it. Everybody’s favourite magpie musician has been a very busy man – previous band projects (The White Stripes, The Raconteurs, The Dead Weather), producing (everyone from Whirlwind Heat to John C Reilly), messing around with collaborators (from Beck toInsane Clown Posse) and releasing live recordings (White Denim, Jacuzzi Boys, Jeff The Brotherhood) through his label Third Man Records – and is now ready to go solo.
The new album, Blunderbuss, will be out in April, and this is the first taste of that material. Warm, stripped back, but distinctly White‘s style. You know what you’re getting with this one. I hope this will be a nice little album, possibly taking note of his friend Beck‘s more acoustic country stuff, but with strong blues and folk elements. We’ll have to wait and see about the full album, but for now, enjoy this…
Hear Jack’s debut solo single, Love Interruption, below. Blunderbuss is due April 23rd on Third Man Records/XL Recordings.
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New: Jack White – Love Interruption

Been mulling this dudes shit for a few months now. Since picking up his 2011 release SWiSHeR on tape (Baltimore’s WTR CLR label) his music has only left my ears for stretches at a time. The Aussie ex-pat, now based in Baltimore, has been footworking in his own little corner to some weird, fucked-up version of Chicago juke. The point is, it’s completely alien from the bandwagon everyone else has seemed to jump on.
This latest track is possibly a direction he could be headed for – deep juke. Starting in an ominous, brooding fashion to deep dubstep or even obscure Aphex Twin, the track morphs into a melacholic, and later quite tribal, ode to footwork. Lil Jabba is something superlatives are wasted on, because there isn’t one to describe his stuff with. He regularly posts new stuff on SoundCloud, and let’s just say it doesn’t get any worse at all. Absolutely pumping.
Listen to Detektor below, for your health!
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New: Lil Jabba – Detektor

Time Wharp has been a name to look out for for a while now. The excellent New York lavel Astro Nautico (home to Kuhn, Howse and Obey City, amongst others) have quite-rightly been eyeing this guy up, and have just plucked him from his various self-released beat adventures (GRN EP, later.) and straight into a ‘sequel’ to his last one, dubbing it BLK EP.
What I love about this guy is that he creates blissful, minimalist, under-the-radar stuff, and builds on this ambiguous USP with each release. Giving each new record a polish each time reveals mysterious layers and greater depth, and especially with this new release – excursions from the producer’s usual comfort zone. In a Machinedrum-like turn, the Boston-via-Atlanta producer tackles house and juke rhythms like they’re new toys to add to the collection. And the result is crackling with anxiousness for more.
Stream and download BLK EP below.
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New & MPfree: Time Wharp – BLK EP

That girl’s back again. No, not M.I.A, but that Philly girl Santigold (also known as The Artist Formerly Known As Santogold). Her debut was a worthwhile shot in the dark, a brilliant pop album that should’ve been a chart hit had the general Western population not been stuck with their heads in the Winehouse-infested sand.
I was won over by her live show, her work with Spank Rock and Diplo, and later her collaborations with N.A.S.A and just last year, Beastie Boys. This time around she’s back with another album, and the first track that has appeared features production from Switch (aka Solid Groove or one half of Major Lazer…or just Dave Taylor) and Angola-via-Portugal banditos Buraka Som Sistema.
Judging from the latter’s last studio attempt, this isn’t too agressive in comparison, and is just a decent pop record (possibly thanks to Switch‘s involvement, who has done great favours for both M.I.A and Santigold in the past). Check out the rough visuals below, and you can actually download the song for no investment at all (other than your email address) <a href="https://www.santigold.com/" target="_blank">via the girl’s website</a>.
Watch the video for Big Mouth below. The new album Master Of My Make-Believe is out in the spring and will also feature guests Nick Zinner and Dave Sitek (the latter of whom will also feature with the rest of TV On The Radio alongside Santigold on the new Amadou & Mariam record).
 
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MPfree & Video: Santigold – Big Mouth

I can honestly say everything this man does is completely inspired – whether it’s under the name Grizzly Bear or Department Of Eagles, songwriter Daniel Rossen is an expert at his trade. That’s probably why Warp Records are releasing a solo EP of his work in March, entitled Silent Hour / Golden Mile.
The first track has been released and it’s heartbreaking. There’s something in Rossen’s voice that’s so stripped-back and semi-worried, something like a melancholic Cat Stevens, or thereabouts if I had to make a comparison. He’s an essential element to Grizzly Bear‘s unique sound – Yellow House is one of my favourite albums of all time, and it wouldn’t have been without his voice and musicianship. If the rest of the material is like this, I know I’m thoroughly looking forward to it.
Listen to Saint Nothing below. Silent Hour / Golden Mile EP is out on March 19th on CD/12″/download via Warp Records.
 
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New: Daniel Rossen – Saint Nothing

Albums of the Year 2011: Benny’s Top 40

This year will be a big year for Nottingham’s Lone, I trust. His label Magic Wire has previously released a promising single from his colleague Neon Jung – a friend I presume, previously known as Keaver & Brause and one time working with Lone as Kona Triangle. All projects I’ve mentioned are worth checking out if you haven’t already.
Anyway, Lone mentioned a release of both his next album (entitled Galaxy Garden) and Neon Jung‘s next single, featuring a remix from James Holden‘s Border Community regular Nathan Fake. I assume the single’s coming soon because the remix has just been posted by Fake, and it’s brilliant – a long one, usual for the Norfolk producer, but also returning to previous greatness (2009’s Hard Islands was his career highlight so far), and leapfrogging off last years Radiohead remix success. Plenty of ambience and a solid techno beat makes this one another surefire winner. It just needs to be heard to be believed…
Enjoy Nathan Fake’s remix of Delirium Tremens below. The single is out mid-February on 12″ via Magic Wire Recordings.
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New: Neon Jung – Delirium Tremens (Nathan Fake Remix)

Gotta admit, Monster Rally is a good-vibe genius. He’s a head above a lot of other instrumental beatmakers – maybe he can’t make that many good starts-and-ends to his tracks, but he can sure create smiles. His charming edits of MF DOOM tracks continues, this time with a fan classic from the 2004 album MM..FOOD.
Retaining the beatbox (why get rid of it?), he layers harps and atmospheric vocals in place of the original samples. These edits bring a new charm to already charming tracks – if you haven’t before, try his versions of DOOM‘s <a href="https://monsterrally.bandcamp.com/album/gooey-gum-drops" target="_blank">Change The Beat</a> and <a href="https://monsterrally.bandcamp.com/album/mf-doom-vomit-monster-rally-remix-single" target="_blank">Vomit</a>. Hope there’ll be more of these, they’re a treat when they appear out of nowhere. Charming.
Listen to Monster Rally’s remix of Hoe Cakes below.
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New: MF DOOM – Hoe Cakes (Monster Rally Remix)

She’s done it again! After showing she knows her stuff with a Machinedrum collab, now she’s spat all over an original Lone production – his beautiful rave banger Pineapple Crush. Lone is possibly my favourite UK producer – his blissful style positively killing any memory of ‘other electronic music’ for me when I listen to him. Azealia Banks has great taste. She also shows why she’s not just another Kid Sister/Amanda Blank/Rye-Rye, and could perhaps be the new Fresh Prince(ss)? She can certainly keep a flow going like the aforementioned ex-high-faded ex-party-rapper. ‘Cept she’s ruder, and more contemporary; she’s down to earth. So nothing like Will Smith then…
Forgive that awful analogy. More to the point, I can’t wait to hear her debut, despite Paul Epworth being quite a straightforward choice to produce her album. But I’m sure you’re all as excited as I am, especially after hearing this joint.
Listen to Liquorice below.
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New: Azealia Banks – Liquorice

Things that make you go woah. SBTRKT has made it back into my good books. Not that he was in my bad ones – my ears just got so saturated with his sound it became way too familiar, and the album a little too catchy on repeat listenings. What I forgot was his brilliant, brilliant production skills when not trying for an album. And delightfully, he has chosen to show us all en edit he did of one of the best tracks from one of the greatest albums released this the year – the album being Room(s) by Machinedrum, and the track being U Don’t Survive (returning the favour after the latter’s remix of Look At Stars).
And wow does he juggle around with it. Unabashedly using his signature production all over this joint he manages to pull a sure-fire doozy; never detracting from the original. If anything, it’s enhanced. I can’t much describe it in words – I’ll try…it’s like someone tasered Machinedrum‘s original……ahem? To put it frankly, this may have been the best reinterpretation of someone else’s work he, SBTRKT has put his mind to. Check it out.
Listen to SBTRKT’s edit of U Don’t Survive below.
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New: Machinedrum – U Don’t Survive (SBTRKT Edit)

Mr Matthew Dear graces us once again with his brilliance. The acclaimed Ghostly International label boss hit us with Black City last year, which for me was one of the most perfectly formed pop albums of the last decade. Channelling a lovely meld of Byrne/Bowie/Gabriel (just a few that spring to mind), sprinklings of Prince, and a techno framework (boiled down further with his Audion side project), he really has a bigger personality than most musicians and really deserves more credit for his sheer creativity.
He seems to fill a void that we didn’t know was there. And he does a great job of showing his contemporaries up over recent years. To give you an idea of the kind of diverse electronic styles this man is interested in I’ll give you a snippet of his label roster: Dabrye, Tycho, Gold Panda, and Com Truise. And If you’re embarrassed to not have engorged yourself on Black City, I’d try and keep an eye out for his upcoming release, Beams. This track is just a tease of what’s to come – it’s the title track of a new EP out in January – but after that what we can probably expect is a hugely ambitious pop album, considering his track record. Enjoy.
Listen to and download Headcage below.
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MPfree: Matthew Dear – Headcage

Black Up was one of 2011’s sonic anomalies. What is it? I still don’t know, attempting to wrap my head around its madness. To aid my plight, Sub Pop have handily uploaded an ecstatic pastiche of the album in moving visual form, and it’s breathtaking.
I can’t explain it much in words, more in facial features, which is a bit of a problem when trying to type an article. I’ll let you decide what you think. Ladies and gentleboys, as I’m sure you’re aware, this is Shabazz Palaces…
 
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Video: Shabazz Palaces – Black Up

I may have not given Gang Gang Dance‘s newest album Eye Contact enough attention, but they’re still a great band. I just can’t take them seriously since that track with Tinchy Stryder. You know the one. That’s not to say it’s a bad track either (in fact it’s my favourite track on Saint Dymphna) – but more to the point, they do attract talent of a similar certain calibre.
Since releasing this new one, they’ve been remixed brilliantly by Lee ‘Scratch’ Perry, and now LA-based trendy duo NGUZUNGUZU have had their turn – and the lovely folks at 4AD thought they’d treat us for free!  The duo really are converging with the distinctive Night Slugs sound, thanks to their dabblings with sister label Fade To Mind (run by the excellent Kingdom, of all people). The remix is unmistakably catchy, turning the original into a chopped-up tribal drum infestation with retro sampling, vocals hopping about playfully, and the usual necessary amounts of ‘n-tsh’ house percussion. This is a great little footstepper, layered and sequenced as acutely as any of NGUZUNGUZU‘s own productions. Cop this one yo.
Stream and download NGUZUNGUZU’s mix of Chinese High below.
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MPfree: Gang Gang Dance – Chinese High (NGUZUNGUZU Remix)

This is something huge. Oscar winners Trent Reznor (of Nine Inch Nails fame) and Atticus Ross have been working once again with David Fincher (previously on The Social Network soundtrack, for which they won their Oscar) on the soundtrack for his adaptation of The Girl With The Dragon Tattoo (written by Swedish journalist, and master of several trades, Stieg Larsson), starring Daniel Craig, Rooney Mara, Christopher Plummer, and Stellan Skarsgård. The films aesthetic, as usual with a Fincher film, is hugely dark and brooding, but also effortlessly cool. Every time that man releases a film he builds on these effects. This time around, Trent Reznor and Atticus Ross have created some exceptional music – and a lot of it.
According to Reznor, the soundtrack will be released on several different digital formats, a special edition 3xCD digipak, and a ridiculous limited-to-3000 edition signed 6xLP in a metal sleeve with a poster and an 8GB razor blade USB pen. Now I know Fincher/Nine Inch Nails collectors will go crazy, but Reznor being Reznor, he wouldn’t be himself if he didn’t give some music away for free. Which is great, ’cause that’s exactly what he’s done.
Below you can grab on a 6-track sampler of full tracks from the forthcoming OST for the film. And they’re beautifully created tracks. If you’ve heard much of the releases Nine Inch Nails and How To Destroy Angels have put out recently you’ll know what kind of scale Reznor often aims for, and if you liked the soundtrack for The Social Network, you’re going to effing love this. I don’t really want to spoil it for any of you by analysing the tracks – they just need to be heard.
Also released is the track (debuted in the film’s teaser trailers) Trent Reznor and Atticus Ross did with Karen O of Yeah Yeah Yeahs – possibly going down in history as one of the best covers of all time. Immigrant Song by Led Zeppelin. And if you haven’t heard it, you’re crazy. Building on the original with industrial brutality, the cover isn’t so much of a cover as an agressive, postmodernist update – it’s relentlessly serious as much as it’s in-your-face. Fincher has also asked the pair’s band How To Destroy Angels (the band completed by Reznor’s wife, Mariqueen Maandig) to cover a tune by Bryan Ferry (of Roxy Music fame) – Is Your Love Strong Enough? – but that cover is yet to be revealed.
Back to the point at hand – most importantly, I urge you to listen to the Led Zep cover, and download the soundtrack sampler. I don’t know what the film will be like – my personal favourite Fincher films being Zodiac and Se7en – but it will be grisly, that’s for sure. And beautifully shot and edited, naturally. Listen to the music too though.
Enter your email address to download the 6-track sample for The Girl With The Dragon Tattoo soundtrack below. To preview/purchase the download of the Led Zeppelin cover now, click <a href="https://itunes.apple.com/gb/album/immigrant-song-single/id480394071" target="_blank">here</a>. To pre-order physical forms, and other digital forms, click <a href="https://www.nullco.com/GDT/" target="_blank">here</a>.
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New & MPfree: Trent Reznor & Atticus Ross – The Girl With The Dragon Tattoo OST

Everyones favourite psych-folk weirdos Woods have decided to cover one of the truly best Christmas songs of all time (in my humble opinion). The original by the Vince Guaraldi Trio was part of the album A Charlie Brown Christmas – everybody must remember Charlie Brown and Snoopy, right?
Anyway, Woods have done a perfectly fitting cover in time for the holiday season. And never have I heard such a grateful Christmas-themed cover in respect for the original(s) since…Weezer‘s Christmas with Weezer? Admittedly, Mayer Hawthorne did cover this same track last Christmas (using the original instrumental), but this new one really does take the (Christmas) biscuit…
Okay I’ll stop. It’s the end of the article anyway.
Listen to and download Woods’ cover of Christmas Time Is Here below. If you don’t like it, you’re a real Scrooge.
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MPfree: Woods – Christmas Time Is Here (Vince Guaraldi Cover)

Been sitting on this one for a day or two, letting the rad soak through – Italian Beach Babes are onto a winner with these guys, and they’ve been right before (Mazes, Eagulls, Dirty Beaches, Sealings). These dudes from Brighton did release a tape with the label before, but this new demo removes the jaw from the skull (pardon the metaphor).
Short but sweet, this is the kind of violence that could give a girl a boner. Starting off sounding equal parts garage reverb and thrashing guitars, you could be forgiven for not expecting much from the first 20 seconds. Remember what your mammy said though: don’t judge a book and all that. Let this ruckus into your earholes and set fire to your firstborn thought. That’s all I gotta say. It’s some bloody promising stuff from one of the greatest DIY’s labels out there. If you hadn’t realised by now, these are Boneyards.
You can stream Passed Out below. Then you can download it, and listen to it again. Then show it to your nan.
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New: Boneyards – Passed Out

You might have heard of these dudes before. Spawned around the San Francisco Bay, Low Limit from Portland, Oregon (who has since been a Brainfeeder favourite) and Lando Kal (who moved to New York, now Berlin) formed as one under the name Lazer Sword. They’ve released a split 12″ on Glasgow’s Numbers label, and an album on Innovative Leisure. Seperately, Lando has released stuff on Numbers, Amsterdam’s Rush Hour and London’s Hotflush, whilst Low Limit has put out on Manchester’s Fat City. So these guys are hardly new to the scene.
However, this new release is via Modeselektor‘s Monkeytown Records, and is some absolutely vital dance music. It seems they’ve been working towards a particular aesthetic, and they’ve nailed it. Both sides are examples of the perfect medley of house, robotic vocals, garage, funky and techno – an electronic fruit salad. The synths in Sounds Sane hit me almost as hard as in Joy Orbison‘s first outings. The 808 cowbell on the B-side, Klock is staggeringly catchy amongst the shuffling drums. Both tracks are very very adaptive, and are going to go down a treat on our shores, that’s for sure. By the way, not only are Monkeytown releasing this, but an album is following in late April. After hearing this, I for one can’t wait that long.
Stream both tracks below. Sounds Sane b/w Klock is out now via download/10″ on Monkeytown Records.
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New: Lazer Sword – Sounds Sane / Klock

Hell yes! Some of you may remember that last month, Mos Def (now calling himself Yasiin Bey) and Talib Kweli came back with new Black Star material with production from the purest of geniuses Madlib, debuting it live on US late-night chat show The Colbert Report (with help from J Rocc).
Well now that tune, which went down well with fans, has been studio recorded for your pleasure – Dizzee Rascal would be chuffed (I assume they were quoting him here). You can stream it below, soulful backing track included – it should tease what the new album will sound like. I’m thinking the vocals might need to be mixed into the track a little, but for now this is looking great; this is the raw deal. Anybody else psyched for their comeback? I know I bloody am.
You can stream Fix Up below, and purchase it via iTunes <a href="https://itunes.apple.com/gb/album/fix-up-single-single/id483271718" target="_blank">here</a>.
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New: Black Star – Fix Up (Prod. by Madlib)

For a man like Dâm-Funk, funk comes naturally, and music comes after. In these days of people using the word ‘swag’ incessantly, it’s nice to know there are still cool cats about who don’t rely purely on rap music. This kind of West Coast funk is scarce these days, and it does seem Dâm-Funk is pulling most of the weight. Drum machine loops and all, the guy could single handedly blow Snoop out of the water whenever he liked. And he made this track just earlier today. Check this out, it’ll go down smooth.
Listen to I Don’t Run Wit’ No Cliques below.
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New: Dâm-Funk – I Don’t Run Wit’ No Cliques

Everyone seems to be pushing the Chicago juke/footwork thing these days. Ever since Addison Groove (aka Headhunter) and Pearson Sound (aka Ramadanman) were on it, producers all over have been championing the sound – also with great thanks to labels like Planet Mu. It’s become a worldwide and genre-spanning interest, and some producers like Philip D Kick (more often known as Om Unit) and Machinedrum have decided to re-work jungle classics into footwork anthems.
Well now experimental toe-dipper Daedelus is trying his hand at it, and the results are brilliant. Reworking the 1998 original, leaving in the organs and jazz angles, and even some of the face-melting bass synth, but lifting the tune from its jungle drumming roots and chopping it up juke style instead. The sampled female rap vocals top things off nicely – a nod to the Chicago producers who helm the movement. I can see an interesting convergence of old jungle heads and new-school footwork enthusiasts making a big thing of this stuff. It’s spreading like wildfire – and not a bad way. This is an interesting (brief?) change of pace for Daedelus, and I’m wondering where he’ll turn to next.
Listen to Daedelus’ remix of Reaction Time below. Daedelus’ album Bespoke is out now on Ninja Tune, featuring guests such as Baths and Busdriver.
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New: Calyx – Reaction Time (Daedelus’ Pacific Juke Remix)

As if Machinedrum couldn’t kill it any more this year. The Brooklyn producer released Many Faces last year on LuckyMe, announcing his comeback and cementing him as a significant face on the bass scene. Then he only comes and releases a terrifyingly top-marks album on Planet Mu, called Room(s), a recent critical hit with his mate Braille as their Seplacure project on Hotflush, and a not-ready-for-this underhyped single on LuckyMe (that was Alarma). Not only has he done this, but he produced the hot-as-shit Azealia Banks track <a href="https://api.crackintheroad.com/music/12569-new-azealia-banks-grand-scam-lyrical-exercise/" target="_blank">we covered just a week ago</a>.
This run he’s got going doesn’t look to be letting down, as shown from clips of his new release on LuckyMe, due next week (29th). Ignoring the brash “LUCKY ME!” promo shouts/whispers, you can preview the EP below. And it looks to be another hip-bopping housy affair. Let’s hope this guy doesn’t have a heart attack soon: electronic music today would have a massive void to fill.
Listen to clips from SXLND below.
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New: Machinedrum – SXLND

So I’ve <a href="https://admin.crackintheroad.com/music/12065-new-hot-sugar-da-paperboy/" target="_blank">mentioned before</a> our boy Hot Sugar, and that he was working on the new album from The Roots. Well they’ve been posting tracks one by one in video form for a while, but it was the album opener I was waiting for – Sleep. Hot Sugar has masterfully produced this track to classy effect. It’s moody, dark, and lo-fi – not particularly things you’d usually associate with The Roots, but they’ve really been trying hard to top the bar they set for themselves in ’02 with Phrenology.
Aaron Livingston – one half of Young Vipers with Hot Sugar, and also half of Icebird with RJD2 – follows his <a href="https://soundcloud.com/aaronearll/alright-then-4" target="_blank">Occupy Wall Street anthem</a> with a spot on this track. Both ghostly and soulful, the tension is beautiful. I haven’t heard every track from the new album, but from this opener it could be a return to form for The Roots. The video is as unglamorous and contemporary as you can get, and brilliantly edited. Let’s hope Jimmy Fallon’s house band will someday be a cherished household name – they do deserve it.
Watch the video for Sleep below. The Roots’ new album Undun is due December 5th via Def Jam Records.
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Video: The Roots – Sleep (ft. Aaron Livingston)

Numbers just dropped the new single from Redinho. This man really has heaps loads of talent. His first two EP’s for the label, Bare Blips and Edge Off, were two of the best from the entire label, in my opinion. He can make the most mindfucking noises that sound out of this world. What I also love is the odd track has great Dâm-Funk-esque vocoded vocals – as is apparent in this one. He’s playing Boiler Room once again tonight, as part of the Numbers showcase, alongside Randomer, Mosca, Deadboy and hosts Jackmaster & Spencer (tune in at 8pm).
This single’s out at the beginning of December, and it really does hit the right spots – as with the addictiveness of Rustie‘s recent release, Redinho‘s track sours to greater heights at every break. The electronic voraciousness escalates and disappears into glee. I hate to type that last word but this guy really does make brilliant, and fun, electronic funk. One truly worthy for Christmas number one.
Listen to Stay Together below. The single is out December 5th via Numbers, and will be part of his debut album, out ‘sometime 2012’.
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New: Redinho – Stay Together

This beast is fresh outta the bag. I must say, I fucking hate trumpet or saxophone solos sometimes (unless they’re used by Guido), but the horn here works so undeniably well. The catchy garage rhythm balances out the smoky jazz bar cheese, brought together by an ominously deep synth line. This is as cool as you can get. Up-and-comer Drop/Dead is pulling a lot of stops out of the bag – his recent remix of Brooklynite Kuhn was one of the best remixes I’ve heard in recent months. This guy is really one to watch. Let’s hope someone picks some of his stuff up, it’s gagging to be put out there.
Listen to Never Runs Out below.
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New: Drop/Dead – Never Runs Out

Slugabed is one of those loud, erratic producers who you could imagine never blinking and just living off ear-piercing noises (ironic considering his sloth-like moniker), so I was surprised when he released a couple of surprisingly tame EP’s on Ninja Tune recently. What I remember of him is intense, head-crushing 8-bit noises – the kinda stuff that’d drive your parents Jack Torrance-insane. Luckily, according to a recent announcement, Slugabed‘s gonna give us all a weekly advent calendar treat of an old unreleased track of his. And this is the first – another track about kittens by another hip-hop-head. Suck this, keyboard cat.
Stream and download Kittens below. Moonbeam Rider EP and Sun Too Bright Turn It Off EP are available on 12″ and download now via Ninja Tune.
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MPfree: Slugabed – Kittens

So it seems Oneman‘s signing is somewhat in love with his surroundings, considering he’s entitled his new track Room 502 (after his label 502 Recordings). It’s great to see smaller labels popping up under these economic conditions, especially good dance labels. Fis-T is probably best known for his minor club hit Night Hunter, which was a BS-free shock to the system for angsty dubsteppers, constructed with a gargling of bassline at its core to produce something no-frills and purely atmospheric.
This new track seems African-vibed, UK Funky rider, but with the great industrial sounds everyone from Jam City to Becoming Real seem to be championing. If this is the direction 502 is going – hoping Fis-T is still with them, and following some great tunes from Finland’s Teeth and France’s Jay Weed – then I’m loving it. A consistent but very minimalist banger is on our hands…
Listen to Room 502 below.
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New: Fis-T – Room 502

The Oxford don’s fast proving he can do what Hot Chip and David E Sugar were doing in the past with so much ease. He probably doesn’t even use both his arms. Decent electronic music and T.E.E.D. seem to go hand-in-hand these days. Silly name for a project, but he’s much more accessible for it.
This new track is very straightforward, and you’ll know what you’re in for if you’ve heard his stuff before. It’s good, honest electro-pop. Thought the Congo would do something for him, but maybe it hasn’t sunk in yet. Saying that, he does seem to be getting progressively more focused with his music, to the point of outshining Gary Numan and Grace Jones in the synth ‘n’ style areas. I don’t know what I’m saying anymore, so just cop this one below. You should.
Stream and download Dream On below.
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MPfree: Totally Enormous Extinct Dinosaurs – Dream On

As soon as Lee Perry is even mentioned, you know this shit’s gonna be all-over-the-place crazy. I would’ve thought the sensible stylings of Bullion would pull it all together, but judging by the loopy track name, this remix was always going to be very much in the same vein as Mr. Perry’s original.
Bullion plays around with textures and patterning – tribal rhythms and foreign synths clambering about clashing vocal samples and the kinds of twists a producer like him wouldn’t usually take. This is great stuff – most beat-makers go a jazzy route with experimentation, here it’s very much African, with tinges of reggae…and yodelling? What I love most about this is that it’s not going anywhere. I shouldn’t say too much, else I’d ruin the surprise…
Listen to Bullion’s remix of Straight Jacketed below. You can buy it as part of the Lee Scratch Perry remix compilation ‘Nu Sound & Version’ on On-U Sound, also featuring remixes by Kode9, DMZ, Roots Manuva and Horsepower Productions.
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New: Lee Scratch Perry – Straight Jacketed (Bullion Remix)

We all know how European house music can be – all noise and no substance. Labels like Sound Pellegrino and Club Cheval and producers like Brodinski and Tensnake show some hope in terms of taste, and they can also be great DJ’s, mind. Some of them are able to rustle up some great house edits of ‘indie’ stuff. And in a similar vein to Erol Alkan, one of my favourite tracks of the year has had a very nice and very ‘club-friendly’ edit by Swiss duo Round Table Knights.
I don’t know what it is about these edits, but it does make them stand out a bit more as a track alone – as a single, rather than part of an album. In my opinion, again comparing with the aforementioned Alkan, some edits are maybe done of the wrong track – thinking back to Alkan’s last few edits, that electro-bravado Tame Impala version (Why Won’t You Make Up Your Mind) kinda worked, but the Metronomy one (The Bay) was a tad unnecessary, don’t you think?
I suggest these tracks just need small tweaks, a mild disco re-tune just to settle the track on uneasy dancefloors – DFA are usually the masters of handling this, now I think about it. Of course, some may argue edits and remixes are futile, and dilute the resonance of the tune at hand, but in this case I’m fairly confident in putting before you a respectable effort. Chris Taylor‘s masterful piece can’t really be improved upon, but in this particular case it’s interesting to say the least. Give this one a try.
Stream and download Round Table Knights’ edit of Cant’s Answer below.
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MPfree: Cant – Answer (Round Table Knights Edit)

I often find at the end of the year everybody sits back and reflects on the musical seasons the year’s been through, and I also find that a lot of the most interesting and promising music trickles down to this latter part of the year. Bands and producers alike have been sitting on things they’ve been cooking for a while, and decide it’s the right time to tease us with what’s ahead.
Dam Mantle recently put out this fantastically executed electronic pastiche, and I find myself really intrigued with where 2012 will bring us. He really shows progress from his focused but somewhat hyperactive earlier productions, and his very comfortable recent output. This singular tune shows the most promise from this guy.
Spirit blends the two together with confidence and maturity, and seems to hold some kind of middle ground in terms of atmospheric electronic music. In a similar vein to previous Four Tet stuff, but with a bit more of a free-jazz nature to it. The piano is handsome and Eno-like, the track nearly dipping into Plaid-influenced abstraction. It’s really tender, and I suggest you book this into your listening schedule.
Listen to Spirit below.
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New: Dam Mantle – Spirit

There’s not much out about this guy. No-one even knows if it’s a guy! That’s some of the beauty in the name Vanilla – not chocolate or strawberry, but vanilla. Anonymity is a self-marketing plus for many musicians, especially in these internet-induced days, but I guess the only downer for this stuff is that it hasn’t really got out there enough. All I know about this is it’s coming from Oxford, which is encouraging, but still doesn’t give anything away. This could’ve been from anywhere in the world.
Anyway, I’m posting this ’cause Vanilla recently graced us with this beatific new production, simply entitled Else, with an intensely nostalgic R’n’B sound to it. Unlike the soulful beats of their previous High Life release, this one sounds almost Com Truise-like, bordering on chillwave, if you can still call it that. It has a very different texture to it, almost fizzy – but the light, steady beat thankfully grounds it.
The usual Dilla comparisons are there, when analysing the aforementioned High Life album, but I’d sooner compare it to someone like J Rocc, given the soul samples, or more recent players like Knxwledge and Star Slinger. I guess the Dilla comparisons come from how optimistic (as well as clean-cut) this stuff sounds, which must only be a good thing. I hope either of these keep you going over the next couple of months – they’ll definitely do me nicely.
Listen to Else and High Life below.
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Introducing: Vanilla

This particular Bavarian beat tailor has used some great samples in the past (including one great bit of dialogue from the Pulp Fiction character Mr Wolf) but this time around has chosen the voluptuous tones of beautiful Beyoncé. He utilises R’n’B carefully and conservatively, and constructs pure blissful brilliance with those elements. I first heard this guy collaborate with TOKiMONSTA and Lunice (with a little help from HudMo) for Red Bull Music Academy last summer on the track Alpenglow, which despite being a one-off, was certainly an addictive track.
In this new one, he characteristically puts the vocals in the intro, but then uses the melody throughout, and uses quiet moments to great effect. The synths become ghostly, the sampling popping up as if Swede:art is merely scanning through talk radio channels. The haunting sitar appears mid-way and adds to the mysteriousness of it all. Can’t wait to hear more from this guy – his debut last year, Emotional Colours, is not something I’ve yet sunk my teeth into, but I think I might just treat myself. And so should you.
Listen to I Don’t Really Wanna Please U below.
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New: Swede:art – I Don’t Really Wanna Please U

Okay, it took me a couple of weeks to clock this, but the new EP from Samoyed is as stark as it is beautiful. Like a lost, grizzled, almost Matthew Dear-like tune, the course, uncomfortable electronics flash wildly and unpredictably, as if listening too intently could make you seasick.
Samoyed‘s an interesting one. He doesn’t seem to peak his head over the hill often enough, but when he does it’s damn pleasing. He’s apparently been <a href="https://soundcloud.com/lukid/untitled-song-made-by-samoyed" target="_blank">messing around</a> with Lukid and Tapes recently, which sounds like an exciting proposition in itself. This particular track struck me though – the kind of track that captures melancholic desolation with enough naïvety to not stray too moody (think early Mount Kimbie). It’s whistful. When the vocals come in the tone is set perfectly, and from there it’ll be stuck in your head for hours. At least, it was for me…
Listen to Spit below. Spit EP is out now on 10″/download via Astro:Dynamics.
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New: Samoyed – Spit

Every once in a while, there’s a track credited to someone with a killer name. In this case it was Harvey Kartel, who’s been previously featured in mixes by Rustie. I don’t know much about the young producer but I do know he’s Glaswegian, he <a title="Harvey Kartel - Bandcamp" href="https://harveykartel.bandcamp.com/" target="_blank">seems to like dinosaurs</a> (my kinda guy), and he’s called Deaglán Duffy. When he’s creating melodic synth melodies adorning hip-hop-oriented beats, you can’t help compare him to fellow Scot Hudson Mohawke.
There’s something a bit different going on here though. I can say that here is a new producer with a lot of promise and potential in terms of sonic diversity – there are a few routes this guy could go. For instance, with the snippet of Astounding Weird, there’s a lot of high-pitched, oscillating squelch, which harks back to the schizophrenic highs-and-lows of producers like dÉbruit and Slugabed – yet listen to another clip, such as Matinee, and you have something completely different. Shuffling rave drums, hollow knocks of percussion to shifting time patterns, tied neatly together with choppy synth and vocals, reminiscent of recent European producers like Teeth and BNJMN.
The track that caught my attention, though, was his most recently posted. It’s also the most ambitious and grandiose I’ve come across, and I hope it projects him forward. Numbers or LuckyMe, if you’re listening – pick this boy up now:
Listen to Trillicious below, and check out his <a title="Harvey Kartel - SoundCloud" href="https://soundcloud.com/harveykartel" target="_blank">SoundCloud</a> for more.
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Introducing: Harvey Kartel

Machinedrum delivered one of the most surprisingly mature outputs of his career earlier this year, and when I heard he was releasing a new record (read: debut album) with his mate Braille, together known as Sepalcure, I was thirsty for more. As I’m sure everyone else was.
Sepalcure, together with guys like FaltyDL, Egyptrixx, and XI, show how the some guys in North America are lightly tugging at our thunder and making even catchier house/light dubstep hybrid than a lot of the stuff we spit out over here. ‘Anything you can do’ kind of approach I guess.
This is the duo’s third and best release so far on Scuba‘s Hotflush Recordings, and they’re certainly proud of this one, as you can see by this fanciful vid. Don’t ask me what the heck is going on though, narrative-wise – to me it seems like Von Trier was asked to direct an M&S advert but forgot to put some food in it. Either that or a post apocalyptic Wimbledon…see what you think though:
Watch the video for Pencil Pimp below. Pencil Pimp is out now on 12″/download via Hotflush, and their self titled debut is due November 21st on CD/LP/download.
 
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Video: Sepalcure – Pencil Pimp

So Factory Floor just casually blew my tiny mind. Their new video looks like a PBS spot on Bill Cosby’s soul through the eyes of Kenneth Anger, but still riffing on that Neu!-via-New Order disco tip. These guys present themselves as ‘post-industrial’, which is an awfully glum way to go, but there’s more deadpan techno playfulness ahead by the looks of things. Knees crossed they keep the tempo at a set pace.
Heck, I’m not gonna say much else cause the vid pretty much sums itself up. I must say though, dude is bustin’ some intense Carlton moves (braving seductive and serious?). Which ever so slightly puts <a href="https://api.crackintheroad.com/music/12341-video-stray-kites-the-ghoster/" target="_blank">these lil legs</a> to shame…
Watch the video for Two Different Ways below.
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Video: Factory Floor – Two Different Ways

It’s news to me, but Swiss producer of all things strange, known to Planet Earth as Dimlite, has been working hard on a third effort, and it sounds like it will be his most complete to date. From this new stuff you can already hear a strong Krautrock style, and the forecast reads strong squelchy synths with a touch of Beefheart love.
Once again, we’ll never know what he’s going on about, but that’s what makes him so brilliant. I worry about this new Stones Throw signing Jonti taking all the light, being a ‘fresh’ solo producer, but when I see out-of-your-mind videos like this being made, my conscience is clear. The guy’s a nutter, and I’m very much looking forward to Grimm Reality, out on CD, download and 3×10″ (with astounding artwork) on November 21st via Now-Again Records.
Watch the video for Fridge Note below.
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Video: Dimlite – Fridge Note

The Sydney producer is back on our shores, and he’s refined his sound acutely. There’s some grime styling to this seemingly choppy R’n’B deal. Something about the bass/kickdrum combination that makes me want to scream “instant classic”. But it’s still weird enough for those not familiar with Dro Carey to scream “what the fuck is this?”
The truth is, his music can’t be pigeonholed whatsoever. There’s so much going on, it’s not even about genres anymore. You can often dissect these recent producers’ output by the structures and sounds used, but Dro Carey is a jammy one, wriggling out of genre confinements and spreading his mongrel seed. Makes sense that he’s previously teamed up with everyone from Will Bankhead to Trim. And his music just keeps growing and growing. The new Dro Carey release is on RAMP Recordings and is called Journey With The Heavy, out on 5th December on 2×12″ and download.
Listen to Promothug below.
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New: Dro Carey – Promothug

What’s this? Jonwayne doing vocals on somebody else’s production? And not rapping about Super Mario?
Young Montana? is the culprit here. The young Coventry composer has been dabbling in this-and-that since releasing his debut, Limerence, earlier this year. And Jonwayne has only just released a new EP – on the same label, Alpha Pup Records – called The Death Of Andrew. I haven’t heard all of that yet, but I have heard this new one recently upped on SoundCloud.
Once again utilising 80’s pop samples as the basic frame, it’s indisputably Montana?, and Jonwayne‘s fat white boy blabbering doesn’t give up, in an Aesop Rock kind of way. The vocoded monologue creeps its way into obscurity towards the end, and by that time the track warps about and ends abruptly. Tight.
Listen to Mythology below.
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New: Young Montana? – Mythology (ft. Jonwayne)

This guy is a bit of a wizard when it comes to electronics. Watch any of <a href="https://www.youtube.com/hotsugarcoated" target="_blank">his stuff on YouTube</a> and you’ll get the idea how this guy shouldn’t just be dismissed as just another bedroom producer. In fact, he must be good – The Roots have hired him to co-produce for a track on their new album with RJD2‘s new partner in crime, Aaron Livingston. I’ve heard really really good bedroom producers before but this guy takes the piss a little.
Da Paperboy is 90’s Sega music all the way, but updated for a current mindset. This guy can make it more than that too – he takes it past just your average 16-bit odyssey and into headbobbing beat territory. I’d happily listen to this whilst at breakfast eating my cereal just as much as I’d love to hear this forced through the speakers at a house party. He seems to make some of the most badass kids music, temptations of pretension pushed aside. And there’s not one bit I don’t like about that. Keep both ears on this.
Listen to Da Paperboy below.
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New: Hot Sugar – Da Paperboy

Safehouses was an incredible acheivement for a first EP. Debut single on R&S was also astounding – Detroit Falls is possibly one of the best debut singles I’ve heard by a producer. These days, Pariah has been keeping a bit quiet though, on the solo side of things. But that’s fair enough, seeing as he’s been buddying up with fellow fresher Blawan both collaboratively, under the moniker Karenn, and through setting up a record label together, Works The Long Nights (listen to previews of their first release <a title="Rubadub" href="https://www.rubadub.co.uk/music/techno/sheworks-001" target="_blank">here</a>).
But enough about that – he’s back, that’s what’s important. When I saw him DJ at a rawkus night at The Cellar in Oxford, he showed up fellow basshead Gemmy, who you could argue has been on the map for a lot longer. So why is this guy headlining? Probably because he’s one of the brightest sparks on the electronic music scene at the moment. I can see why he associates himself with Blawan, who I saw as the new Untold at the time – they both have their ears very close to the ground, Blawan taking a very matter-of-fact approach and developing his own aesthetic, whilst Pariah branches out, delivering a diverse range of productions that, at second glance, are incredibly well composed. They sound sculpted, the attention to detail near impeccable, and they’re alright in the club too. Not bad?
Left Unsaid has Pariah converging with the aforementioned Untold style. Drops and pauses, rapid, and very percussive. He’s put some nice chopped up vocals in there too. The lovely thing about this one though is the intense lift it creates – when that disorientating bass comes in after the second drop, you’ve gotta admit, you’re hooked. And there’s no resolve, it just keeps going – no letting down with this lad. I can even see him competing with Ramadanman once the track starts coming to close. According to R&S, this is going to part of a new compilation released on the 31st, entitled IOTDXI (In Order To Dance ’11 I suppose) of which the second disc is full of fresh new tunes from Lone, Bullion, and a few other producers already mentioned in this article. Fuckin’ sweeeeet.
Listen to Left Unsaid below.
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New: Pariah – Left Unsaid

More new Thundercat with Flying Lotus, from yet another Japanese bonus disc exclusive. Are these the new Blues Brothers or something? You can half-imagine these guys sat in outside a jazz café in the sun sipping on something strong and smoking something illegal, then just moseying on down to the back room and jamming out something laid-back and honest just like this.
The subtlety of this track is blissful – all players riffing off each other, FlyLo‘s often bravado studio stylings held back for a very backseat affair. I can just imagine him reclining with that wide grin of his, letting Thundercat drive the track and Austin Peralta sitting shotgun. A lot of love coming from this track. Short but sweet. Looking forward to some more improv sessions stuff from the Brainfeeder camp.
Listen to $200 TB below.
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New: Thundercat ft. Flying Lotus – $200 TB

<a href="https://admin.crackintheroad.com/music/11878-new-zomby-labyrinth/attachment/layout-1-2/" rel="attachment wp-att-11881"><img class="aligncenter size-homepage wp-image-11881" src="https://api.crackintheroad.com/uploads/2011/10/nothing_zomby-660x660.jpg" alt="" width="660" height="660" /></a>Zomby‘s move to 4AD is starting to look fruitful after all – his album was okay, by Zomby‘s standards, just not consistant enough to be called an album, in my opinion. I found it to be weaker than a lot of his past stuff on Hyperdub, Ramp Recordings and Werk Discs. So what he’s cheekily done now is get a Japanese bonus disc that came with Dedication, and put it on wax over here in the West. The bastard.
But I’m not gonna complain after hearing this taster. The usual rave elements are there, but this time with a devilish portion of hardcore chime powering melodically through the track, like a slowed down jungle classic. The formula may be familiar but take a step back and it’s one of his most nostalgic productions yet. If this is what we’re gonna get from this new EP, entitled Nothing, then I think I’ll expect more than just nothing.
Listen to Labyrinth below. Nothing is out on November 28th via 4AD on 12″/download.
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New: Zomby – Labyrinth

<a href="https://admin.crackintheroad.com/music/11846-review-davis-self-titled/attachment/davis001/" rel="attachment wp-att-11850"><img class="aligncenter size-homepage wp-image-11850" src="https://api.crackintheroad.com/uploads/2011/10/davis001-660x660.jpg" alt="" width="660" height="660" /></a>Must admit, I usually get impatient with something calling itself an album when it clearly is not. But despite Leaving Records releasing this new collaboration as just that – an album – I immediately forgive the short length of material. With this, quality overcomes quantity, as it should always do, and when I mention the name Matthewdavid, or mention the word Brainfeeder, you know what you’re looking at in terms of quality, right?
Right. Matthewdavid (full name Matthew David McQueen) gave us his tense, hazy love letter to Los Angeles earlier this year with Outmind, and since then (and before), has been messing around on little-known record label (now cassette label), Leaving Records. I found out about Leaving much earlier in the year when they released the EP by ultimate weirdo beatmaker and insane <a href="https://twitter.com/WANDAGROUP" target="_blank">Twitter terrorist</a> Dem Hunger, which was as incredible as it was surreal. Since then I’ve kept a loose eye on their movements – stuff from Ras G, Johnwayne, and even Anticon head, Odd Nosdam. Their releases on Leaving seem to all be quite chilled out, experimental and atmospheric, which is strange when it comes to this new combination: LA-based Matthewdavid and Chicago’s Serengeti.
Serengeti is someone I’ve seen somewhere else before but can’t put my finger on him – looking into it I’ve noticed he’s done some stuff with pretty much all underground beatmakers and rappers, including Buck65, DJ Crucial, Tobacco and MF Grimm. But if anything, this EP (I’m gonna call it an EP really) shows he’s a confident, conscientious, and down-to-earth voice in underground rap. Apparently, these tracks are merely little flavours put together over the last summer…but Matthewdavid‘s talent is used to full potantial, his haunting production pushed to extra-catchy heights to accommodate the vocals, with just enough kick to keep Serengeti‘s voice rolling consistently.
When I said down-to-earth, I meant it – this guy can drop cringey contemporary mentions of Google and Facebook and hide them tastefully in the lyrical spread. Puns on Jay-Z lyrics, and a short ballad on ‘sexting’ (aptly titled Sexting) may put some off when they read this sentence, but somehow they’re fresher and more unique than I make them sound. I really hope these two do more than just this EP – this EP having a total running time of 18 minutes. These two together are like a solved Rubick’s cube. With Serengeti, McQueen’s beats aren’t distracted by the temptations and potential pitfalls before him – melancholy, abstraction, chillwave. And Serengeti has the perfect platform on which to lay his rhymes across with the sparsity and carefulness of McQueen’s productions. I really look forward to another release from these two, hopefully again on Leaving, who really are an important label for our generation. Cassette tapes are enjoying a renaissance, and creators of experimental hip-hop – including the recent Death Grips – are the perfect bedfellows.
Listen to a few tunes from Davis‘ self titled mini-album below. Out now on cassette and download on Leaving Records.
Better When You Flow
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Stepson
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#Nope
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Review: Davis – Davis

A far as “massive” mixes go, these days you can either go two ways: a selfish mix for your own vanity and gain, or one for the people. There have been a few high-profile mixes this year, some all Pete Tong-laden (Buraka Som Sistema, Kode9, Julio Bashmore) or the brilliant FACT mix series (too good many to mention). Others have been sold: FabricLive mixes (Ramadanman, Jackmaster, Four Tet) or DJ-Kicks for !K7 (Apparat, Scuba, forthcoming Gold Panda). What’s interesting about the Rinse mix series is that they’re a pirate radio station pushing a commercial, purchasable mix on people. I suppose they have to get their profit from somewhere, but you can’t help thinking most of their mixes are just released for the sake of it.
The difference with Ben UFO’s latest is he is not a producer, therefore this is likely not to be a vanity project. He’s the co-founder of the mighty Hessle Audio alongside Pangaea and Pearson Sound, yet all he can do is spin. Then again, that’s all he should be doing, because he is one talented individual. He’s often compared against contemporaries Oneman and Jackmaster, all three championed as the DJ’s of our generation.
Not since Alexander Nut’s effort in ’09 has a Rinse mix been so impressively diverse. Starting things off with beautiful techno/house cuts from Aaron Carl and Kassem Mosse, things are set to be casual. It soon becomes apparent we’re going to be thrown around quite a bit by the time Dro Carey’s weird and wonderful aural highs pop up. More familiar territory grounds the mix, with turns from Dutch genius 2562, Jam City, and Objekt. This is also about working together – collaborative tracks from Pariah and Blawan, Boddika and Joy Orbison – and contrasts – Champion back-to-back with Actress? General Levy in the same tracklist as How To Dress Well? Only here.
The diversity of the mix is astonishing, and it’s interesting how there is no hierarchy to the maturity on show – here, Carl Craig is just as relevant as Bok Bok. It’s evident this mix is full as heavy hitters, and is probably as good as you can get in terms of mix of the year. Huge club tunes up against lesser-knowns and garage rarities make this an exciting listen. This somehow manages to seem child’s play to Ben UFO, but it caters perfectly to the current club climate – a great mix, and possibly one worth the price tag. Not going to be put in a time capsule I’m sure, but good enough for the time being.
<object height="81" width="100%"><param name="movie" value="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F23992033"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F23992033" type="application/x-shockwave-flash" width="100%"></embed></object> <a href="https://soundcloud.com/i-d-6/ben-ufo-for-i-d-online">Ben UFO for i-D online</a> by <a href="https://soundcloud.com/i-d-6">i-D</a>

Review: Rinse 16: Ben UFO

I want to start out by saying you can’t really go wrong if you’re Warp Records. This year alone they’ve peddled some incredible records cherry-picked from the perfect roster: Battles, Africa Hitech, Hudson Mohawke, Babe Rainbow, Prefuse 73, Brian Eno, Plaid, Grizzly Bear’s Chris Taylor, and the exciting upcoming project from Damon Albarn (and his new buddies…Actress, Kwes, Dr Who Dat?) – DRC Music.
But after their release of last years Sunburst EP, there’s been an aftertaste left in our mouths for something more substantial from the Glaswegian producer. You know which one I’m talking about of course. HudMo seems to be loved for his campy indulgence in the current commercial US sound, but it’s Rustie who will come out on top this time around. He’s remixed almost everyone he admires, from Zomby to PVT, and he may have released a tune a while ago called Inside Pikachu’s Cunt, but this time he’s brought a dragon to a cockfight.
From the crackling chimes on the album opener there’s immediate contrast with a hair-guitar solo – from here the pace picks up, but the ambience doesn’t let down. If there’s one thing to say about Glass Swords, it’s that it will continue to surprise you – it’s a retarded pastiche of genres. I can hear Phil Collins drums, synthesized sax, ‘Seinfeld’-like slap-bass…all set within a crystal pyramid of bass; an outstanding trifecta of hip-hop, dubstep and grime. Add to that equally subtle amounts of prog-rock, trance and funk, thrown in for good measure, and you’ve got yourself one of the most impressive electronic albums in recent years.
I’ve got to say: the first few bars of some tracks here can throw you off – the trance set-up of Death Mountain quickly mutates into a crunchy hip-hop rhythm. Similarly, After Light dashes across rising synth chords into a bottomless chasm of trumpet-bass…and back again. Here, Rustie is a composer as much as producer, except this orchestra is from ‘Tron’.
Just to set things straight though: this isn’t a sugary affair. The immediacy and aggressiveness of City Star shows the producer’s audacity to produce the perfect grime beat with no need for proper vocals – something Bristol’s Joker has haphazardly done with his debut (The Vision, 4AD). This album is a romantic testiment to the current British bass culture – Glasgow? London? Does it matter? – and a kick in the face of the ‘Pimp My Ride’ generation. At the same time it’s insular – Rustie’s treading ground that has only been breached previously by a handful of acts such as Lone, Com Truise and Harmonic 313, but with none of these with such focus and intensity.
Of course there’s still always going to be comparisons to HudMo with this output, and others too (Lunice, Dam-Funk), but in my opinion Rustie goes further into the light. It’s an elevating experience to hear something with this amount of nostalgia for the eighties/nineties aesthetic without being too sickly sweet. There’s seems to be a weight to this sound that is hypnotic, almost. It may be the Sega 8-bit attack, or the 80’s prog allusions, but overall it doesn’t particularly matter. It’s fresh. If his previous yield was a bull-run, then Glass Swords is the china shop at the end of the street.

Crack in the Road

Death GripsI’ve Seen Footage

New & MPfree: Monster RallyJaguar

SinkaneRunnin’

Juk JukFall

LoneCrystal Caverns 1991

Jack WhiteLove Interruption

Lil JabbaDetektor

New & MPfree: Time WharpBLK EP

MPfree & Video: SantigoldBig Mouth

Daniel RossenSaint Nothing

Albums of the Year 2011: Benny’s Top 40

Neon JungDelirium Tremens (Nathan Fake Remix)

MF DOOMHoe Cakes (Monster Rally Remix)

Azealia BanksLiquorice

MachinedrumU Don’t Survive (SBTRKT Edit)

Matthew DearHeadcage

Shabazz PalacesBlack Up

Gang Gang DanceChinese High (NGUZUNGUZU Remix)

New & MPfree: Trent Reznor & Atticus RossThe Girl With The Dragon Tattoo OST

WoodsChristmas Time Is Here (Vince Guaraldi Cover)

BoneyardsPassed Out

Lazer SwordSounds Sane / Klock

Black StarFix Up (Prod. by Madlib)

Dâm-FunkI Don’t Run Wit’ No Cliques

CalyxReaction Time (Daedelus’ Pacific Juke Remix)

MachinedrumSXLND

The RootsSleep (ft. Aaron Livingston)

RedinhoStay Together

Drop/DeadNever Runs Out

SlugabedKittens

Fis-TRoom 502

Totally Enormous Extinct DinosaursDream On

Lee Scratch PerryStraight Jacketed (Bullion Remix)

CantAnswer (Round Table Knights Edit)

Dam MantleSpirit