The leader of the Odd Future Wolf Gang collective is at it again. Tyler The Creator's second album, the follow up to his acclaimed raw debut 'Bastard', is titled 'Goblin' and will be released through XL Recordings on the 10th May. Dark punishing beats, haunting melodies, intelligent rhymes. Tyler's refining a strong sound, one which isn't going unnoticed. His 2009 debut studio album made quite an impact, with Tyler controlling production as he will be for 'Goblin'. 'VCR', 'Inglorious' and 'AssMilk' are all essentials from 'Bastard'. The first single from 'Goblin' is titled 'Yonkers', and both the video and the track itself have indicated a great development in the 20 year olds work. His strongest work to date? I would suggest so, and if it's a sign of things to come on 'Goblin', then we could be in for one of the albums of 2011. The album will see release on vinyl, CD as well as digital. The tracklist is below. 10th May 2011.
Goblin Tracklist:01 Goblin 02 Yonkers 03 Radicals 04 She 05 Transylvania 06 Nightmare 07 Tron Cat 08 Her 09 Sandwitches 10 Fish 11 Analog 12 BSD 13 Window 14 AU79 15 Golden
New Addison Groove material forthcoming on Martyn's 3024 recordings. A year between his first and second 12" releases, it seems as if Tony Williams has been refining the 'Addison Groove sound' over the past 12 months, and this is something which will be evidenced in a prolific run of releases over the next couple of weeks. 'Work It/Sexual' (Swamp009) asserted the development of the Chicago juke-infused UK bass sound that Addison has been slowly but surely perfecting, with frenetic drum programming, pounding 808 hits, constantly shifting synth tones, infectious vocal samples as well as beautiful introverted breakdowns that delight upon every listen. 'Sexual' demonstrated Addison's strongest work to date, but this may just be outdone by two forthcoming releases.
Addison's next release is for Pinch's Tectonic imprint, with the 12" due for release on the 18th April. Two tracks feature on this single, titled 'This Is It/Make Um Bounce'. Previews of the tracks are currently unavailable, although both tracks are filtering beneath the surface in select mixes. I've only had the opportunity to experience a brief clip of 'This Is It', and it undoubtedly rivals 'Sexual' in terms of quality, Addison providing a wonderful balance between blissful and the bastard.
Addison's following 12" will be released through 3024, with release date set for 2nd May. This will be another two track single, featuring 'It's Got Me/Minutes Of Funk', forming yet another killer release. These are two tracks which Addison has been sitting on for a good while now, with 'It's Got Me' featuring in his mix for Mary Anne Hobbs back in April 2010, and 'Minutes Of Funk' included in Jackmaster's URB mix in October.
The A-side ('It's Got Me') is the stepper, with intricate drum programming that forever builds and progresses, with each snare initiating varying synth chimes. A repetitive vocal soon accompanies, leading up to the brilliant breakdown, in which repetitive cowbells sit comfortably alongside a soft synth melody. These elements are soon joined by pounding 808s, handclaps and a hypnotic vocal that forces movement. The B-side is an equally brilliant effort, a smoother track more along the lines of 'Sexual'. 'Minutes Of Funk' situated around a rolling 808 rhythm, with flickered hi-hats filling the gaps in between. Looped vocals samples feature throughout, and resonate in the mind along with a lovely synth melody which emerges from beneath the breakdown. Listen the the track preview's in the bar below.
Undoubtedly two of the finest track's you'll hear this year, with Addison further cementing his reputation for creating what 3024 themselves have termed a 'one man genre'. 'It's Got Me/Minutes Of Funk' are evidence of Addison's strongest work yet, challenging the quality of his previous release which itself has made a huge impact. And this is without full exposure to his next release, 'This Is It/Make Um Bounce', which promises to please likewise. Three killer releases within the space of three months. 2011 is the year of Addison Groove.
'3024's West Country themed takeover climaxes with the 2 previously unheard tracks from one man genre Addison Groove. Marrying hyper kinetic drum programming and dusty-crate dwelling loops to gauzy electronic textures and introspective breakdowns has marked the artist formerly known as Headhunter out as exactly the kind of resolutely unclassifiable Producer 3024 set out to support, and the below tracks are the strongest evidence yet of the increasing refinement of the Addison Groove sound.
Wrapped around the physical version is probably Erosie's most elaborate sleeve design yet, with the chromatic splicing a perfect partner for the contents it flamboyantly protects.'
Introducing Visionist (Mr.67). The 21 year old producer is one of the most promising artists around at the minute, with his unique take on UK bass music making quite an impact. Visionist is part of the ‘We Are Dubist’ crew, a collective of MCs, DJs and producers who run a series of dubstep nights. Visionist isn’t a dubstep producer though. ‘Mr.67’, the track which featured in Oneman’s set at the Boiler Room #45 (Standard Place), demonstrates the young producer’s unique sound, one which I can only draw comparisons to in relation to Addison Groove (especially ‘Footcrab’), and still there are notable contrasts.
‘Mr.67’ is infectious. The tracks intricate percussive arrangements, distant synth, recurring cowbells and repetitive vox’d vocal sample combine to form a track which will soon dominate sets, in a similar fashion to ‘Footcrab’ and ‘Work Them’. The track has been receiving a great deal of support, with plays on Rinse FM from Blackdown and Oneman, as well as backing from the likes of French Fries and Dark Sky. It has also been recently announced that Visionist has signed to Oneman’s 502 Recordings, and he will also be working on releases for another couple of releases which should hopefully be surfacing soon.
Visionist (Mr.67) has kindly put together an exclusive mix of his own productions for us, demonstrating his promise as an artist. The mix contains some excellent material, with highlights including the ever growing ‘Mr.67’, 'A.E.O.M', 'Can’t Handle This', and ‘Come In’. If this is an indication of what’s to come from Visionist, he will undoubtedly emerge as one of 2011’s most promising producers. You can check out Visionist’s sounds by clicking here, and the mix is available for download below (follow the link to download).
24th September 2009 was the first time I heard Joy Orbison's 'Gr Etiquette', the second track in his guest mix for Mary Anne Hobbs. It has always since remained my favourite Joy O track; it even outdoes 'Ellipsis' for me. On the surface it is a seemingly simple track, but I think this is also the factor that lends such quality to its production. As in line with earlier material from O'Grady, a strong garage influence can be heard in 'GR Etiquette', with a smooth syncopated percussive pattern structuring the track. The two note organ melody and the beautiful Jamie Foxx vocal sample ("do you like I want to. Kiss you like I want to" - taken from 'Can I Take U Home') provide the heart of the track, and it's most certainly these elements which have resonated in my mind. It is simply excellent.
David Kennedy (aka Pearson Sound/Ramadanman) has refixed the track under his Pearson Sound moniker, with the track featuring on his forthcoming Fabriclive 56 Mix (released on Monday). Kennedy's impact on the track is well conceived, staying true to the track's original mix. The track's tempo is decreased, and the overall feel sound is understated, with the melodic organ arrangement gaining real prominence alongside Foxx's exquisite vocal samples. He strips back the tracks percussive elements, reducing it to the outlined skipping garage beat which progressively comes to the fore. Kennedy handles the remix duties superbly here, giving a new take on the track whilst retaining its key original markers.
Questions of a release will inevitably arise once again after the symphonic mix surfaces in Pearson's Fabriclive Mix. Whether or not we will see a 12" featuring both tracks is impossible to tell. All we can hope is that Doldrums may just be preparing this for their next limited 12" run.
David Kennedy's first release of 2011 has arrived, and unsurprisingly the young man has produced an absolute killer. The release will come on the Night Slugs white label, an offshoot of the main label which specialises in upfront remixes, most notably the outstanding Jam City 'Refixes' EP. The release, now available form various online stores now, comprises of two Pearson Sound edits, the first his take on Rod Lee's Baltimore house track 'Let Me See What U Workin With', the second Hardrive's 1993 classic house effort 'Deep Inside'.
Both tracks are recognisably Pearson Sound refixes from the off. 'Working With' carefully weaves an intricate juke-infused percussive arrangement, soon accompanied by devastating bass kicks, a simple acid synth melody and the infectious vocal sample from Rod Lee's original. 'Deep Inside' thrives off a wonderfully constructed percussive arrangement that nods to 90s hardcore and chicago juke, with cowbells resonating in the spaces in between and the Hardrive vocal sample hypnotising in its endless repetition. These refixes are undoubtedly closer to 'Blanked/Blue Eyes' in relation to Kennedy's past material. Brilliant as per usual. Vinyl only, so act fast.
'Working With/Deep Inside' also coincides this week with the release of Pearson Sound/Ramadanman's Fabriclive 56 Mix. You can preview the first 30 minutes of the mix below, it doesn't disappoint (the inclusion of Pearson's 'GR Etiquette' symphonic mix most certainly helps). Be sure to purchase both, they're absolute essentials.
If I could convey my sense of joy at receiving this 12" through the post last Friday morning I would, but I'm afraid words just wouldn't give the feeling justice. Originally due for release on the 28th February, the date was pushed back, but thankfully only two weeks. It's been 8 long months since I first heard and fell in love with the wonderful b-side 'Sexual', which surfaced at the end of Ramadanman's mix for Mary Anne Hobbs back in August. Ever since, endless repeats of a short two minute clip have been endured much to my dissatisfaction, however, such a prolonged wait has made ownership of the 12" all the more satisfying.
'Sexual' sounds beautiful in its full duration on wax. 808 beats drive the track along at 144bpm, with the sensuous subs, infectiously looped sample and Detroit house pads creating an effortlessly smooth rolling vibe. For me it's the track of 2011 so far. 'Work It' is another excellent production from Addison, more inclined to fusing elements of juke and straight electro, with pounding 808s, rousing acid basslines and a killer vox'd vocal sample. Two killers from Addison, and you'd expect no less. The quality of the 12" and the artwork is second to none also, a mark of Swamp81's work recently. Fine 180g vinyl delivered in the sleeves and artwork by the brilliant Ashes57. I couldn't ask for more.
Swamp81 and Addison provide the best to date in 2011.
The leader of the Odd Future Wolf Gang collective is at it again. Tyler The Creator's second album, the follow up to his acclaimed raw debut 'Bastard', is titled 'Goblin' and will be released through XL Recordings on the 10th May. Dark punishing beats, haunting melodies, intelligent rhymes. Tyler's refining a strong sound, one which isn't going unnoticed. His 2009 debut studio album made quite an impact, with Tyler controlling production as he will be for 'Goblin'. 'VCR', 'Inglorious' and 'AssMilk' are all essentials from 'Bastard'. The first single from 'Goblin' is titled 'Yonkers', and both the video and the track itself have indicated a great development in the 20 year olds work. His strongest work to date? I would suggest so, and if it's a sign of things to come on 'Goblin', then we could be in for one of the albums of 2011. The album will see release on vinyl, CD as well as digital. The tracklist is below. 10th May 2011.
