Gabber Modus Operandi - Hey Nafsu

Several weeks back, a grainy cellphone video of a staged fight that seemed like it had come straight out of a martial arts film appeared on my Instagram timeline. After watching the exaggerated and comic stunts for a few seconds, I checked if there was any sound only to be greeted by the screams and dissonant feedback of a punk show. This was my first exposure to Gabber Modus Operandi, an Indonesian duo from Bali who, in addition to making fantastic dance music, also catalog media from various Indonesian subcultures on their Instagram. 

Their own music is unique and eclectic. It draws on each member’s roots in local punk/noise scenes, their love for Chicago footwork, and their investigations into traditional Indonesian styles of music, like dangdut. I loved their track on the SVBKVLT compilation Cache 01, and I’m very excited for their soon-to-be released album, HOXXXYA, but today I wanted to share an older piece: “Hey Nafsu” off 2018’s Puxxximaxxx. The vocal chant of children is met with thundering drums, but what really gets me is the sub-bass. It’s rhythmically offset in a way that feels like an stray shot of adrenaline straight to the heart. Take a listen.

Contributed by K. M. 

Antwood - Club Dread

The second track of Antwood’s fourth release on UK-based label Planet Mu begins with a vocal sample that stutters along over top of deep kicks and trappy stabs. On the higher end of the frequency spectrum, rollicking clicks and hits sprinkle themselves in among the atmosphere. Yet before long, a dark wave of noise collapses the beat in a slow and resigned exhale. When the track eventually regenerates, we move deeper into the club with harder kicks and a more driving rhythm, but as soon as we find our groove, we’re pulled back into ambient desolation as muffled booms anticipate silence. As we near the three minute mark, dread gives way once more to the clubby maximalism at the heart of the track. 

It’s this narrative movement that underlies the musical pleasure in “Club Dread.” And it’s this focus on story that sets Antwood (Tristan Douglas) apart from computer musicians who pursue sonic complexity to the point of gratuity. Quotes from Douglas that relate the conceptual underpinnings of his latest album abound online, but each track doesn’t need that foundation to stand. Give “Club Dread” a listen and be prepared to dive further into the world of Delphi.

- Contributed by K. M.

Rey Sapienz - Mushoro

Rey Sapienz is a Congolese producer, releasing music on the Kampala label Hakuna Kulala. If you haven't heard his debut EP from 2018 - check it out. In three short tracks, Ray Sapienz takes you on a riveting journey into his mind. There are eclectic voices - voices chanting, singing, panting -, there are diverse samples - whistles, motor-noises (I think) -, there is a diversity of instrumentation - disparate synths, percussion, guitars.

His new single is from his upcoming EP, Mushoro, to be released August 22nd. The upbeat track offers yet another spin on the Soukous genre. It is club music like I've never heard.

Ross from Friends - Revolution

Felix Clary Weatherall is the London-based producer who goes by the highly memorable, whimsical stage name “Ross from Friends”. With his debut album Family Portraits, released last year, his popularity in the dance/club scene exploded. He plans to release his upcoming album on August 16th. Sticking with the family theme, his album will be called ‘Epiphany’, after his sister. Now we have a single from the album, “Revolution”. Weatherall tells us the titles are related:

“I was watching a bunch of these films like The Thirteenth Floor, The Matrix (happy 20th anniversary) or Fifth Element, and I wanted the release to play on the idea of a desolate physical and social landscape becoming a utopia from a communal epiphany – or revolution”

The up-tempo, somewhat industrial dance track sounds ready for immediate transplantation into a club set.

Park Hye Jin - If U Want It

“Shoutout to the YouTube algorithm one time,” reads scallrow’s comment – the top comment –beneath Park Hye Jin’s “I Don’t Care”, which has been played on Youtube 844,600 times at the time of writing. The accompanying ‘video’ is a static, black and white image of the 24 -year-old: the same image that identifies her on various social media outlets, and that covers the sleeve of the limited 12’’ vinyl (now sold out) of her debut ‘micro album’ If U Want It (released via clip.art), which features the track “I Don’t Care”.

I confess to being ignorant about k-pop and Korean electronic music. Even I, ignoramus that I am, have increasingly noticed Korean lyrics popping up over dance beats on western European and American outlets, from Peggy Gou, the Korean DJ who has now played Berghain and has been featured on BBC Radio, to Yaeji, the wildly popular Korean-American artist who blends elements of house, hip-hop, and techno to extraordinary effect.

I hate to give the impression of crudely or superficially connecting two of the only Korean electronic artists that I know… but it’s hard to miss the connections between Park Hye Jin and Yaeji: the techno/ house/hip-hop influences; the (for lack of better descriptors and imagination) ‘dreamy’ synths and production; the gentle singing that sometimes reaches a whisper; and, of course, the tendency to sing, sometimes in layered duet, in both Korean and English. The connection is more evident with Yaeji’s more ‘house-y’ 4/4 tracks, like “Guap”.

When Youtube’s algorithm decided I would like this, it was not mistaken; so, yes, reluctantly, ‘shout out one time’.

Cash Cash - Overtime

New Jersey EDM trio Cash Cash has just released a single titled "Overtime", and it is cool. Extremely cool. If you're anything like me you will find it irresistible to tap your foot and nod your head along, as Cash Cash blast you through a pumping Madeon-esque House beat, well placed synth jabs reminiscent of Skrillex, a soul vocal that you might expect to find sampled by Pretty Lights, and a children's choir! To state the obvious, this track is completely packed. It's fun and upbeat. And best of all (maybe) it's free! So, check it out.






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Les Sins

If I told you that Les Sins just released a couple new tracks, I would probably get blank stares in return. If I said that Les Sins was the new moniker of Chaz Bundick, a few heads would turn. After pointing out that Bundick is the mastermind behind Toro Y Moi, the lo-fi producer who contributed massively to, and practically defined, the Chillwave trend, that should spur unanimous elation and excitement.

For me, Chaz is one of the most fresh, interesting, composers on the planet. It's hard to believe, considering the enormous support and respect that he has already amassed, that he only released his first full length album, Causers of This, in 2010. Even in these past two years, he has prolifically created music which has restlessly changed and evolved stylistically with each release. A month ago, NoiseDart posted a collaboration between Toro Y Moi and Tyler The Creator. He has also found the time to quietly further his side project, Les Sins.

As Les Sins, Chaz strays from his well known Chillwave persona into new territory to produce funky, dance-inspired tracks. A new split single will be released later this month through Dan Snaith's (Caribou) Jiaolong label. The A side is "Fetch" and B is "Taken". Both are available now on soundcloud so check 'em out below!




Les Sins by ToroyMoi

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World's End Press- Second Day Uptown (Slow Hands Remix)

Way back in April a band called World’s End Press released a catchy, funky, dancey  (it’s a word now) Synth-Pop gem called “Second Day Uptown”. The quartet from Melbourne have been steadily gaining popularity since the release of their debut EP Faithful, released a year ago."'Second Day Uptown" was produced by Tony Hoffer who, to give a few out of MANY examples, has mixed The Kooks, Foster the People, The Temper Trap…and now World’s Press End! It seems the young group is bound for success.

Believe it or not, the main focus of this post is not World’s Press End, although be sure to check it out if you haven't yet. Their work has resulted in a love affair with bloggers and remix artists alike. These two crowds have become thoroughly obsessed with World’s End Press, which is why I, a blogger, am here promoting a new remix of this wonderful track. The remix was created by Slow Hands, aka Ryan Cavanagh.  His style is truly, as his Facebook page states, “rich yet languid”.  He posseses a unique ability to create flexible and multi-faceted remixes, pinpointing the spot where chill, flowing synths meet dance, and flickering seamlessly between those barriers in a bold display of creative finesse. You could easily bring this song strait to the dancefloor, or just as easily chill to it whilst lying on a beach. Enjoy!!!

Bear Mountain- Congo

 I've found a band powerful enough to wake me from my slothful posting slumber, (a huge feat in itself),  and inspire me to inform you guys that this is something which must be checked out.

The duo is formed of Vancouver residents Ian Bevis and Kyle Statham, who together have chosen the imaginative I-wish-I-thought-of-it-first moniker, Bear Mountain. The bands latest album, XO, was released last week. My only vexation with this album, and it's a very minor one, is that they called it  an album and not an EP. 7 songs... Come on. Still if you can just cope with this questionable classification (I think you'll manage) and listen to this song, you might just fall in love with the duo.

The album as a whole is an achievement, but I will focus in on the song "Congo", as it is my personal favourite. "Congo" is a  truly compelling 3 minutes and 17 seconds of music. The kind of 3 minutes and 17 seconds of music that can get a group widespread recognition. Much of the uniqueness of the song emerges from the spectacular samples of what sounds to be an African choir, and the drum beat, which I'm pretty sure is being played on a Conga drum (go figure!) The electronic and dance elements of track, after all they are traditionally an electronic dance duo, are weighed so delicately against the more organic samples, that every element simply belongs. For an unconventional idea, they have succeeded in making this track sound completely natural. The synths gush into view and shrink precisely as the choir repeats their unforgettable motif.  Ian's vocals, which their bandcamp describes as being "reminiscent of Ray Lamontagne" soar over the track, contributing a vital presence.

I could easily see this track in the soundtrack of a movie. An inspirational movie. About life and philosophy and overcoming obstacles and horses and stuff. I'm excited for their future. The duo, not my fictitious movie characters.




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