It's the Supersound

A really nice upcoming tune here from Pat Lok, who you may know as one of the two that won the Rapture remix competition. Coming across on a tropical house note with a sort of analog-meets-digital vibe, this is a very relaxing tune. This will be out on On the Fruit records. However, if it reaches 5000 plays, you’ll be able to download a full WAV for free! So, get hittin on that play button.

An amateur Wolverhampton DJ has scammed iTunes and Amazon by using stolen credit cards to purchase his own music, eventually selling more tracks than Madonna!

Denver White aka DJ Denver and up to 11 friends allegedly used 24 laptops with anti-tracking software and thousands of stolen credit cards to make the purchases between January 2008 and March 2009.

The prosecutor for the case, Helen Malcolm QC told the court: “It was fraud on both iTunes and Amazon and, between them, these companies have lost between £750,000 and £1million”.

White’s music had been uploaded to iTunes and Amazon through third-party services such as Tunecore, CD Baby and Tunecast. When the fraud was spotted Denvers music was pulled from the site and up to £113,000 in royalty payments withheld.

The courts prosecutor Miss Malcolm continued: “Shortly after they were stopped, Tunecore started to get a number of calls and emails from a man calling himself Daniel Thompson demanded outstanding royalties. What he did not know was that Tunecore knew there was a fraud and they were in touch with US law enforcement. Tunecore hoped to persuade him to identify himself, by persuading him to come to New York to collect his royalties and offered him free air tickets.”

She added: “At that stage Thompson said that the tickets would have to be sent in the name of Denver White. He gave Denver White’s real address for the tickets to be posted to and (this) led authorities to uncover all 11 defendants.”

Jurors have heard guilt plea’s from the 11 others involved while Mr White still pleads not-guilty on one count of conspiracy to defraud.

Some people just don’t get it do they…

via NME

Fellow Sweat It Out-ers Airwolf have got an official remix release of Melbourne, Australia based duos Parachute Youth that can best described as a unique!

‘Awake Now’ comes out as Parachute Youth’s second single following the success around the world of their debut ‘Can’t Get Better Than This‘! The Airwolf remix presents an Australian Nu Disco/ Indie feel that is infectious through choice of synth. Sink your teeth in!

Awake Now (Airwolf Remix) – Parachute Youth by AIRWOLF 

Bonus!
Parachute Youth – Can’t Get Better Than This (Ferrari Campari Remix) by Sweat It Out! Music

What is there to say about Dragonette that hasn’t been said before? The trio from Toronto has been in my musical repertoire since their first album, Galore, released in 2007 and are a group that continues to shape my personal musical tastes. Five years and two albums later, Dragonette has proved that they are no longer up and coming but that they’ve officially arrived. The band’s music can best be described as delightful electropop with retro tendencies with sassy lyrics to match. Their music’s mean dirty synth driven sound oozes sex appeal and has gotten the remix treatment from almost any DJ/producer you can think of – Midnight Juggernauts, Villains, Fabian, Van She, etc. It also helps that Martina has a standout voice (and style to match) that can be either sticky sweet as in “Easy” or gritty and raw as in the track “The Boys.” Now Martina, Dan and Joel have wrapped up putting the finishing touches on their third album and if their first two releases are any indication of how this album will sound, it too will be filled with anthems for the dance floor. So do a few lunges and limber up because you’ll be throwing your hands up and shaking your hips.

I had the opportunity to sit down with all three band members to talk about the new album, their creative process, and Paul Simon. There were a lot of laughs, and jokes and playful banter weren’t in short supply.

What do you guys like to talk about and share with fans on Twitter?
Dan: Well we’ve talked with each other about how it’s kind of hard to figure out what to share. Tweeting is like jumping into a cold pool – it’s easier once you get in there. But like, what the hell do you tweet about? “Look what I had for lunch” or “this is what I look like in the morning.”

You guys are originally from Toronto but where are you based out of now?
Martina: Toronto and London.
Dan: Joel runs the Toronto office and we live in London, England, as opposed to London, Ontario, which is a real place. We’re playing there next week.

Do you feel like your environment, the city you’re in, influences or inspires you musically?
Dan: I guess so, though it’s kind of hard to tell cause you’re never out of your environment to have the perspective of knowing what your environment is doing to you.
Martina: Our musical process I think is in a bit of a vacuum compared to how I imagine some people’s creative process is. We’re not really part of a music scene anywhere.

So what music are you listening to currently?
Dan: Martina listened to one record the entire period we were making our album. It was a Phoebe Snow record and it has nothing to do with anything that came out of us. Literally it was like “let’s turn on the turntable and listen to the vinyl on the stereo.”
Martina: I find that when we’re writing I think I’m more inspired by hearing something that’s really different from our sound and then thinking about how that would work in conjunction with what we do. Like hearing an old 70s smooth music track and thinking, “what would happen if we tried incorporating this into an electropop track?” But really there’s not a clear line to what we do.

Besides Phoebe Snow, are there any other records you’ve guys been playing on heavy rotation?
Dan: In the last couple of months I couldn’t get enough of the Drive soundtrack, the Kavinsky track in particular, and I think a lot of people probably feel the same way. It actually worked out really cause when we were mixing our record in France, the guys we worked with also worshipped the sound of that record and I think it had an influence on how we finished it. That was kind of the most direct cause and effect of listening to something. But beyond that, there was nothing really on heavy rotation. Joel’s actually the guy that listens to new music and knows to say, “oh these are the four bands we’re listening to right now.”

Did you guys check out anyone in particular while you were here?
Joel: No we’ve really just been playing shows and trying to find parking.
Dan: We have checked out a lot of restaurants though so if you’d like to know what they are listening to in there, we can tell you about it!

So you guys have been together since 2005 and have released two (really awesome) albums, Galore and Fixin to Thrill, and just finished your third one. The first single on the third album, “The Right Woman,” just dropped recently on International Women’s Day. Can you tell us any more about the album and what to expect?
Martina: Yeah that release worked out well didn’t it!
Dan: Yeah it was so cool to get the reaction to that cause it was a very fast, organic thing that happened. We didn’t write the track for that specific thing, it was one of the very last tracks we did for the record, and kind of an odd woman out (pun intended). But it got a really cool response from people, which was encouraging cause we worked a really long time on this record since we were touring a lot at the same time. So it was good to see that people like the teasers and that song, which is encouraging cause there are a lot of other good songs on the record. It’s very much a Dragonette record-there’s a lot of variety, especially since it took 18 months to write. We changed our whole body style a couple times during that whole period.

How did you know when the record was finished?
Dan: Got twelve songs, the record’s done.
Martina: Well apparently it’s not quite finished yet.
Dan: Yeah we need lucky thirteen. According to ourselves we need to write another song. We struggled really hard to figure out what we were doing with this album and I think finally, Martina in particular figured out ok this is what I want to do and write about and we were off from there.

Would you say there’s an overall theme to the album?
Martina: Haha no, there never is though. If Dragonette has a sound or if there’s anything consistent about us, it’s that we’re consistently inconsistent.

Martina, what comes first for you – the melody or the lyrics?
Sometimes the lyrics but mostly the melody. Like when I’m writing a song it starts out sounding like this ::starts singing a tune:: I’m just singing random, it sounds like zulu. Sometimes I finds words within that like, “oh that sounds like ‘Gallagher!’ I like that.” There’s a lot of lyrics that just happen, that’s how “Let It Go” was written. Melodies to me are always easier than lyrics, but I think they’re both important. As far as when I’m listening to music that’s not ours, I think a boring lyric doesn’t help a good melody and a boring melody doesn’t help a good lyric. I think they both want to be exciting.

Is there anyone that you admire as a lyricist?
Martina: I like Santigold a lot.
Dan: …and you like Paul Simon.
Martina: Paul Simon is the best.
Dan: That’s something Tina listened to a lot of and is actually a big influence on the lyrics and the melody of the album. Paul Simon’s great with the kind of non-traditional format that’s not so obviously verse-chorus-verse-chorus and his play on words that happen just once and are never repeated.
Martina: He’s the king.

Yeah there was an article in Rolling Stone that profiled Paul Simon’s writing process. It was a sheet of notebook paper with verses crossed out and words written over where you could see his thought process. It was quite cool.
Joel: Yeah I saw him talk about his writing process on one of those VH1 classic albums. He still hates one verse or line in “Graceland” that drives him nuts every time he hears it but to anyone else it’s genius.
Dan: Hateful Grammy award winning genius.
Martina: Yeah it’s funny, sometimes there’s a lot of lyrics of ours off Fixin to Thrill and I’m sure on this album where I think “I’m not sure if I like this lyric but I need to just let it slide.” And as the album lives in the world for a while or I post-rationalize them they can become my favorite lyrics, But they do morph.

What has your career highlight been?
Joel: This interview! <– good answer
Dan: When we played Lollapalooza we thought, “Oh now we can play shows in America,” and that was really cool. It’s the sum of a few things when you think about all the crazy places we’ve got to go and play shows at; when you feel like you have purpose to be somewhere.
Martina: For me it’s hard to pinpoint a specific thing but I’m constantly thinking, “is this a real job or am I a hobbyist?” And then all of a sudden you’re like, “oh this is my job and I’m a musician and people come to see us play.” And I think feeling that transition and that security in what we do has been the highlight of the last few years.
Dan: Yes the creeping realization that this is what we actually do for a living.
Martina: And it might not be what we always do! It might not last.
Joel: See that scares me.
Martina: Yeah cause I have no back up plan!
Dan: Joel’s back up plan is a lounge pianist, he said he’s already working on it.
Joel: On my downtime I learn a new standard a week, basically. So yeah I’m working toward it.
Martina: You’re fired.

Martina you could be a fashion model or stylist!
Martina: Haha except I’m not on the up and up of style really.

…But of course you all look great.
Dan: Yeah just so you get that in the interview just hold the mic over my t-shirt for a minute…did everybody catch that?

Jack White “Love Interruption”

The verses of “Love Interruption” are all about wanting a love that rattles you out of dull routine and forces you out of your comfort zone. Jack White chews on those thoughts in these lines, and spits it all out in the chorus, which disavows this sort of love as a corrupting influence that derails his life. Both sides of the song seem a bit irrational, but what else could it be? This is about yearning for passion and intensity, and reckoning with the reality that being reckless with your emotions is just as likely to bring transcendental thrills or heart-rending disaster. The unspoken point in this song: It’s always worth the risk.

Buy it from Amazon.

Your Dirty Habit are back with ‘Odyssey’, mastered by Jan Driver and released off Tommie Sunshine’s label Brooklyn Fire. If you are unfamiliar with these guys, YDH have always been about big bass and fat drums washed over with subtle industrial ambience and this track is no different. It further pushes the confines of electro music by not adhering to formulaic structure, crescendos and drops that are common place in the genre.  So if you are cruising around for something a bit different, with a good punch of bass to drop at 1:00am, this maybe it.

Remember Mehdi.

Take a listen to Star Slinger, aka Darren Williams, and you will immediately notice soul and hip hop influences. But don’t back Darren into a hip hop corner. Though J Dilla vibes come through on a lot his material, Darren’s dance hall remix of Toro Y Moi’s “New Beat,” proves that his tastes and sound are truly eclectic. Darren first came into mainstream consciousness in 2010 with his 11 track LP, Volume I, a testament to Darren’s record collection, knowledge of music, and skill as a producer. The heavily sampled LP spans all decades and genres from 80s hip hop to 90s soul. As the title of the LP Volume I suggests, it is only the beginning and Darren is paving a new an exciting path with the record of straight original material he’s currently working on. I had the opportunity to talk to Darren before his set at the Green Label Sound Showcase at SXSW and here’s what he had to say.

This is your first SXSW appearance – how are you liking it so far?
I played one show here in November and it was mental, really good fun. I played three encores or something like that so I’m really amped to be back in Austin. I’ve played a few shows already and they’ve been amazing and the people seem lovely.

Is there a particular city/venue you’ve played that’s stood out?
A lot man, I really love San Fran, New York, Miami. I’m back in Miami after this for WMC/Ultra actually. But also places like New Orleans, the dirty south, Atlanta. I love everywhere in the states cause it’s just so different from the UK. People here seem more amped on my music and my sound.

How would you say the music and music scene differ between the US and the UK?
I think the US is more ahead when it comes to pop music and that the US and UK are pretty on par with dance music, though the UK might be a little behind. We have a thing called UK bass music, a term created by journalists I’m sure. It’s because a lot of this UK garage sound has been resurfacing but not just in the UK. People like Jacques Greene from Montreal are  playing it in their sets and Diplo is playing it a little in his sets as well. And there’s people like Pearson Sound in the UK who’s messing around with juke stuff. 

Do you change up your set depending on the city you’re playing in?
I’ve started doing that. I’ve decided to scrap using MPDs so I’m actually just DJing now. I use decks and Serato which gives me the flexibility to play what I like. I’ll generally play 60% my stuff and 40% whatever I want.

What is that 40%?
It can be anything from Bone Thugs-n-Harmony, LOL Boys, Flosstradamus who are also playing tonight, Diplo, Sound Pellegrino Thermal Team-just really exciting club music. Stuff that makes people want to dance rather than just standing around.

So how did you get your start? I’ve read that you’re a big record collector.
I would say I’m not so much a record collector as an acquirer. I don’t really look for specific things I just go out and buy what I feel like buying on the day. It used to be cause I sample quite a lot but now it’s more like if I’m inspired by a certain sound I’ll study it or I’ll just play it so I have something to listen to when I’m at home that isn’t just the newest release. I love buying records and it’s good to do it since a lot of shops are closing now.

What do you think of the rise in boutique record labels pressing limited quantities of 7″?
It’s got negatives and positive sides. I guess the negative, well it’s not so much a negative, is that it’s hard for the labels because they’re doing it a lot of the time for little or no profit. But it’s definitely cool to keep it alive.

What is your favorite record that you own?
I picked up Kenny “Dope” Presents the Bucketheads and the song’s called “The Bomb!” and it has an Armand Van Helden remix on there. It’s one of my favorite club tunes and I bought it just the other day. If I ever play a house party with just vinyl I want to start recollecting all that old house music.

You put out your first release, the Volume I LP, completely free. Is there a reason for that?
More than anything when I first started putting out music I didn’t think it would be that interesting to people. I wanted as many people as possible to listen to it and I thought that if I put it out for free I’d get more plays.

Right now you’re working on an album with more original material and moving away from sampling. Can you tell me more about the album, the direction you’re looking to go with it, and artists you are collaborating with?
I basically made a hit list of people I wanted to work with and some of them were really ambitious, like the Flaming Lips, but they’re already doing a lot of collaborations. I’m definitely working with people who inspire me rather than people who will just get me noticed, though the exception is probably Juicy J. It just so happens that he’s getting more popular now, which is great. Apart from that I’d say Buraka Som Sistema from Portugal, Teki Latex from France, and also Paris Grey from Inner City who did a song called “Good Life,” which was a huge club tune in the 80s. It was my goal to get someone classic on the record to really make a statement about the 90s and where I’m from cause I grew up in the 90s.

Lastly, what’s you’re guilty pleasure track or album?
Definitely the new Rihanna track “We Found Love.”

Just a few days ago we wrote about the upcoming Midi Fighter 3D controller. If you can’t wait to get your hands on it and also happen to be a great performer on controllers, then this contest by DJTechTools could be for you.

So what’s the contest about? Basically you will have to record your live performance, which can be done on any controller by the way (including your laptop keyboard), based on an Ableton rack which they give as a starting point.

The contest page details the do’s and don’ts in the competition and we recommend you to check them out before actually planning your set. Remember to keep it short, they don’t want anything over two minutes long!

The price of this contest is, as implied, the very first copy of Midi Fighter 3D. Yes, before they even hit the market. Head to this page for more details about the contest.

Good luck!

My buddy Jon and I are seeing Grimes this Saturday at Glasslands Gallery in Williamsburg. Grimes is awesome. Real name Clair Boucher from Canada, Grimes is getting noted for her third and most recent album, Visions. “Oblivion” is a great track with a digital base and expansive atmospherics, all mixed nicely with some gloom and pop for a dreamy sound.  Grimes’ soft singing falsetto voice is pretty cool too.

Grimes – Oblivion

 

Some exciting news has just surfaced about German wunderkind Siriusmo releasing a whole album of new material at the end of the year. Siriusmo’s Mosiak was one of the most critically acclaimed releases last year, and Modelselektor’s Monkeytown label will also be releasing his next, as yet untitled masterpiece.

In the meantime, Siriusmo is releasing some new material on April 6th, in the form of new EP ‘Doctor Beak’s Rantanplant‘, which, according to Monkeytown, is meant to ‘shorten the waiting time with some pleasurable Siriusmo entertainment’. Hard to argue with that!

Much love for Rantanplant, two step beats are long overdue for a comeback!

Deep house monster Maceo Plex has hit us this month with one hell of a track titled ‘Dezz Nutz’.

Serving as one of four tracks on an EP titled ‘Sleeze Riders Collection’ this makes for deep and sensual listening.

‘Deez Nutz’ is all about the subtle builds with an element of mystery. This song would ultimately be ideal for grinding on a significant other drunk on the dance floor at 1am in the morning #fact

Download Maceo Plex – Deez Nuts 192

Überproductive Lithuanian moombahton producer/dj Boyfriend hands us a free collaboration track with Krinjah. This is taken from the “Winter Of Moombahton 2012″ compilation which is out now through DJ Mag. Moombahton mixed up with what sounds like dancehall makes for an exciting ride straight to the dancefloor.

Download the whole “Winter Of Moombahton 2012″ compilation over at DJ Mag!

Some new material from our friend Max over in San Diego… enjoy the single “Take Pills (Instructed Bliss)” released about a week ago.

Take Pills (Instructed Bliss) by Inspired & the Sleep

Posted by John

Half of the genius that brought you “Mat Bira Kvinnor Weed” (a personal favorite) is back with another release for Discobelle Records. Marcus Price‘s Continental Skank EP comes with four original tunes, one of which getting the remix treatment from Belgian based, Pelican Fly member Richelle. I’m going with “Commercial Break” for its comfortably weird “Storm on Lake St. Claire” meets Drexciya meets Squarepusher vibe and ”Continental Skank” for horn use that reminds me of Mister Tweeks’ “Late Night” (another favorite) as my favorites and that is all.

Marcus Price – Commercial Break (buy)

Marcus Price – Continental Skank (buy)

Just ran into this on my iPod and realized I never posted this track to audiodrums! Well, guess I can check that off my list.

Fun summer house vibe with Swedish flair by Jinder!

Jinder – Youth Blood

Nicolas Jaar‘s latest album will not be available on CD, nor vinyl or even cassette. Nope! It will be available in the form of an aluminium cube that can sit on the palm of your hand. But there is more to it!

Designed by Jaar, this interactive Prism format release is meant to retain a physicality in music and promote connectivity, with two headphone jacks on either side of the rechargeable cube. Four dedicated buttons allow listeners to start, pause, and skip through tracks, much like the Playbutton format.

The album will be consisting of mostly unreleased tracks that can seen below and is set to be released on Clown & Sunset records. Is this music as a true art form?

01 Brandon Wolcott & Emil Abramyan: “YouAndTheSpace Between”
02 Pavla & Noura: “Siblings Music”
03 Nikita Quasim: “GHOST”
04 Nicolas Jaar: “Why Didn’t You Save Me”
05 Pavla & Noura: “Don’t Owe Me A Thing”
06 Just Friends: “Avalanche”
07 Acid Pauli: “Palomitastep”
08 Nicolas Jaar & Will Epstein: “Never Have I Ever”
09 Vtgnike: “Untitled Juke”
10 Nicolas Jaar, Will Epstein, Dave Harrington, Ian Sims: “Ishmael”
11 Valentin Stip: “Hiathaikm”
12 Nicolas Jaar: “Don’t Break My Love”

To pre order one of these bad boys, check here

Source: Pitchfork

Eric Prydz is set to release a 2012 compilation on Virgin Records of his key productions under the Pryda guise titled ‘Eric Prydz presents Pryda’ due out May 21st.

Disc1 features a number of unreleased tracks and edits including the much sought after “Agag” while the two accompanying discs are mixed ‘retrospectives’ with a number of classics!

The Lodon producer is also said to be holed up in the studio working on a stand alone debut artist record.

Watch the in-depth teaser (ha) and tracklisting below;

Eric Prydz presents PrydaTracklisting

Disc 1:

1. Shadows
2. Agag
3. Beyond 8
4. Javlar
5. Sunburst
6. Hardrock Lausanne
7. You
8. SW4
9. Leja
10. Mighty Love
11. Allein
12. You Interlude
13. Pjanoo (Eric’s Intro Edit)

Disc 2 – Retrospective Mix Part 1:

1. Lesson One
2. Miami To Atlanta
3. Genesis
4. Rakfunk
5. Europa
6. Aftermath (Eric Prydz Edit)
7. Frankfurt
8. Armed
9. Reeperbahn
10. Muranyi
11. Paolo Mojo – 1983 (Eric Prydz Remix)
12. The Gift

Disc 3
 – Retrospective Mix Part 2:

1. The End
2. Rymd
3. Waves
4. Emos
5. VIRO (Eric Prydz Intro Edit)
6. Glimma
7. Juletider
8. With Me
9. 2Night
10. Melo (Eric Prydz Special Edit)
11. M.S.B.O.Y
12. Mirage

A war of words has broken out online with Los Angeles based producer/radio host DJ MAKJ taking to the the twittesphere to try nail Deadmau5 only to have it all get slammed back in his face!

DJ MAKJ had accused Deadmau5 latest project track titled ‘The Veldt’ for sounding ‘too like’ a Glenn Morrison track. This however was met with the truth of the matter. Deadmau5 solely produced 3 of Glen Morrison’s ‘Hits’.

It didn’t take long before DJ MAKJ popped his head back up on Facebook to admit what you would have to call defeat!

 Moral of the story? Do your homework!

Deadmau5 and Glen Morrison – 1
DJ MAJK – 0

The Vans Warped Tour Documentary: No Room For Rockstars at Toronto Underground Cinema. 18+. 7PM.

The Postelles at Lee’s Palace. 19+. 9PM.

San Sebastian at Lee’s Palace. 19+. 10PM.

I got a chance to check out The Postelles when they opened for The Kooks back in November. The show was sold out and the line up was down the street and around the block. By the time I got into the venue, the place was packed and I only got to watch The Postelles perform the last two songs of their set. Thus, I must see them perform again since I missed the entire experience of it last time they were here. If you have yet to listen to their self-titled debut album, I highly recommend it to anyone that likes indie rock with a 60s throwback sound.

The Postelles – 123 Stop

San Sebastian is one of the several indie bands that appeared on MuchMusic’s disBAND back in 2008/2009. The band released their debut LP, Relations, October 4, 2011. The excerpts from their album have really got me intrigued with what this Hamilton-based indie rock band has to offer.
San Sebastian – Baby by Last Gang Entertainment

Benjamin Francis Leftwich at Cameron House-Backroom. 19+. 11PM.

Donovan Woods at Cameron House-Backroom. 19+. 12AM.

I’ve had Benjamin Francis Leftwich‘s album, Last Smoke Before the Snowstorm, on rotation for quite some time now. I was so excited when I came across his name as I was browsing the CMF schedule and knew I had to catch his set. Hailing from London, UK, Leftwich’s hypnotic and breathy voice exposes his soul through his lyrics. If you can’t make his set at the Cameron House on Thursday night, he is also playing The Agency Group Showcase on Friday March 23 at 9:10PM at Supermarket.

Benjamin Francis Leftwich – Box of Stones

Donovan Woods is a Toronto-based indie folk singer-songwriter. His sound is similar to that of Damien Rice, Wilco and Iron & Wine. To be honest, I haven’t heard much about Donovan Woods, but when I clicked on his profile and gave his music a listen, I was immediately entranced.
Donovan Woods – Let Go Lightly

Monster Truck at Horseshoe Tavern. 19+. 12:50AM.

Monster Truck = Rock music and beards. That’s all you need to know.

Monster Truck – Seven Seas Blues

More Info…
CMF Schedule: http://canadianmusicfest.com/schedule/

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ON SATURDAY CREAM TEAM TURNED FIVE.-

That’s a long, long time in blog years. I never expected Cream Team to last this long, but at the same time, I never expected it wouldn’t. The blog has been many things in its lifetime, mostly though it has been an experiment. People often ask, “Do you want to have more contributors?”, “Will you write longer features?”, “When will you do regular events?”, “How come you don’t post 27 times a day?”, “You’ve never redesigned, have you?”,  ”Why don’t you run ads?”, “Want some help with SEO?”, “Can you at least fix your broken comments?”. I answer all of the above with a shrug, not because I’m unmotivated or lack love for the blog, but because I like what it is. It’s imperfect, a little outdated, occasional and unpredictable; an open-door and an amorphous backdrop. In the grand scheme of what music blogs have become, we’re quite happy to not fit in. And that’s why you read this site, isn’t it?

I couldn’t have dreamed up a more special way for the blog to celebrate this anniversary than the opportunity to co-host one of The Hype Machine’s SXSW showcases at the Hype Hotel. The effort that went into their combined events was astounding. The venue was immaculate; lighting, sound, filming and organization were top-notch professional. As the saying goes, if you build it, they will come, and every showcase was packed. Huge thanks to our co-host blog No Modest Bear and everyone at The Hype Machine. It was an unforgettable anniversary present for the little blog that’s overstayed its welcome.

Check out videos of the bands live from the showcase and more photos here.

Wow, and I mean WOW. Brace yourselves for a huge upcoming EP from Christian Strobe. With some great remixes under his belt, Strobe’s next EP is set to be a real stormer. Below, we present a cut from the EP with the intense, dancy, and atmospheric “Nighthawk”. Get absorbed in this journey, then check out the whole “Love Without Love EP” and his other work over on Soundcloud.

Just copped one of these, easily the best or worst purchase I’ll make today: a self-contained aluminum “prism” of music — “a collection of lost memories” — from Nico Jaar’s own Clown & Sunset label, featuring a few unreleased Jaar tracks (including one with his Darkside collaborator Dave Harrington). Here’s one of the songs from the Prism that you’ve probably heard, and it happens to be the title track:

_________

previously:

mp3:
Nicolas Jaar :: WIth Just One Glance (And I Say) (feat. Scout LaRue)

Grab the new Wiz Khalifa mixtape “Taylor Allderdice” via the link below.

Wiz Khalifa – Taylor Allderdice (Download link via Datpiff)

Florence + The Machine’s powerful, gorgeous and perhaps Kazuo Ishiguro-inspired “Never Let Me Go” has been remixed by trailblazing hip hop producer Clams Casino. The song will accompany the version found on Ceremonials, in a limited edition, hand-numbered 180-gram white vinyl single, art directed by Karl Lagerfeld.

Continue reading: Florence + The Machine x Clams Casino – “Never Let Me Go”

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Tags: Clams Casino, Florence + the Machine