Latin Bitman, one of the most progressive DJs in the Latin Alternative scene, returns with a new album, Airplane, out November 11 via Nacional Records.
The former one-man punk artist, who is strongly rooted in old school hip-hop, has an extensive collaborative record that adds to his eclectic style. Besides officially remixing Beastie Boys, Diplo, Manu Chao, and Tom Tom Club, he’s adventurous when it comes to experimenting with diverse projects. Earlier this year, he released a minimal-tech album as one half of the DJ duo RVSB, with DJ Raff. In 2012, he teamed up with Eric Bobo (Cypress Hill drummer) to start the percussion-heavy, electro-punk group, Ritmo Machine.
Now back he’s back at his solo venture, and we’re stoked reveal Latin Bitman’s new reggae-infused, global bass track, “Airplane,” featuring Panama’s urban vocalist, OSO 507. For those who can’t wait for the album to drop, listen to the teaser here.
Though best known for their epic, orchestral productions, Japanese post-rock quartet MONO take a more delicate, yet equally powerful approach in their latest single, “Where We Begin.” Directed by the Los Angeles-based, award-winning filmmaker Mitsuyo Miyazaki, this brand new video features pastoral scenes from her narrative dance film of the same title, which includes original songs by MONO. Filmed in Cedar City, Utah, the film follows a woman who looks back on the great love of her life, as she inches towards her death. Still in its production stage, the film is set for release in 2015.
Fryars (AKA Benjamin Garrett) has released a mixtape called The Boy in the Hood. The 20-track mix, which is presented as one continuous stream, features beats, vocoder vocals, and “LDN” singer Lily Allen, who appears on “King Many Layers.” (Forward to the 40:45 mark to hear her contribution.)
“It’s not a bunch of off cuts but a different beast,” Garrett says of the mix. “This record exists in the night time. It’s a night out. From being home alone to upping sticks and going out on the town. Power exists in the daytime, for the most part.”
Download the mixtape via the handy widget below. Fryars’ album Power streets November 18 on Fiction. —Words by Laura Studarus
Susanne Sundfør’s new track “Fade Away” is a pop ode to love of the highest order. “This is the kind of love that never goes out of style,” she sings against a bed of bubbly synths, splitting the difference between hope and despair. “Because baby I know that I’ll always be waiting and you’ll always want to come back,” she sings.
For the Norwegian singer-songwriter, the recording of her forthcoming fifth album Ten Love Songs came with a series of discoveries about the emotion.
“To me, love isn’t always what it seems,” she writes on her Facebook. “When I first started to work on the album, I wanted to make an album about violence, and then, as I was writing the songs, there were violent aspects, but they were usually about love or relationships, how you connect with other people. And in the end, that turned out to be 10 love songs.”
Listen to the emotive new single below. Ten Love Songs is due out February 16 on EMI. —Words by Laura Studarus
Twee devotees rejoice: continuing Britain’s legacy of featherweight jangle pop is London’s latest export, Flowers. They have supported acts like The Pains of Being Pure at Heart and Young Marble Giants on tour, and made their maiden voyage to the States for NYC’s 2013 Popfest. In their 2014 debut album, Do What You Want To, It’s What You Should Do, they rise from the noisy, muffled depths of the fuzz pop tradition and come out with a crystal clarity, allowing Rachel Kenedy’s creamy soprano to fully stand out against a no-frills, three-piece setup.
Moreno Veloso’s first album since his Music Typewriter debut thirteen years ago captures the whimsy of an informal gathering of friends who love to make music together and chill — the only difference is that the sonic hangout sessions were recorded in nine studios across Brazil, New York, and Japan and assembled an orbital cast of about 30 musicians.Coisa Boa’s air of familial warmth is so palpable it seems only natural that some of the rehearsals took place while Veloso’s children slumbered peacefully into the night, infusing an ambience of hushed respite in the recording process.
Santiago native Yael Meyer also lives up to her hype as a brilliant pop composer. But unlike some of her Chilean comrades whose primary selling points are vintage synth hooks and disco-infused beats, this LA-based singer-songwriter also draws heavily on her folkloric roots. Growing up on Andean folk from her father’s Nueva Canción collection, the quirky musician understands the value of storytelling, and the splendor of nylon guitar strings.
Proviant Audio starts with digital creations by Tønsberg, Norway-based producer Mathias Stubø. Even if it stopped there, Drift Days & Disco Nights would still be more fun than just about most nu-disco records. But the party is taken to the next level by Stubø’s eight-piece band, who flesh out cut-and-paste glam tunes with horns, keys, and the funkiest bass riffs of the 1970s. (Who needs robot helmets, right?)
Hailing from Leeds, Hookworms are a band of multiple personalities that compete for attention within every song. The immediate effect comes from experimenting with textures that will make you doubt your senses, and question whether or not you actually heard the catchy track you were just bopping along to. Honestly, it’s a bit puzzling how a catchy hook like the guitar riff in the single “On Leaving” bounces back and forth in the chorus that curiously feeds into long, droning but barely shaped moments.
Christmas for Brian Eno fans will come early this year. On December 2, the British musician is re-releasing four classic albums: Nerve Net, The Shutov Assembly, Neroli, and The Drop. Recorded between 1992-1997, each release will come packaged as a 2CD set—one featuring the album as it was originally presented, and the second will have completely unreleased material recorded during the same time frame. Nerve Net, Eno’s 1992 album, will be accompanied by My Squelchy Life, which fans refer to as Eno’s “lost record.” Neroli’s bonus material features New Space Music, Eno’s hour-long, ambient drone piece.
Click here to check out the extensive track lists! —Words by Laura Studarus
Since Stylo G dropped his insanely infectious, dancehall track “Soundbwoy” last year, we had a feeling this Jamaica-born, UK-based artist would reach groundbreaking heights. Heck, “Soundbwoy” wasn’t just his breakthrough track, it changed the face of Jamaican music. This is why it’s no surprise he’s been dubbed the Best Reggae Act at this year’s MOBO Awards, which happened yesterday. He competed against other brilliant reggae newcomers like Tarrus Riley, Popcaan,Chronixx, and Alkaline.
Stylo G’s newest single “Call Mi A Leader” will be out on November 9th via 3Beat. It honors the legacy of Bob Marley and his legendary song “Could You Be Loved.”
Drive came out three years ago. It’s impressive that in that short time, likening something to the film’s soundtrack (featuring Johnny Jewel, College, Chromatic, and Electric Youth) has become shorthand for all things dark, electronic, and decidedly moody. (Think: music you’d listen to leaving the club on the long dark road home.)
BBC radio host Zane Lowe has undertaken the strange and wonderful task of tying more bands to that aesthetic with his new project, Radio One Rescores: Drive – Curated By Zane Lowe. The compilation album features new tracks from the likes of Foals, SBTRKT, Baauer, Jon Hopkins, BANKS, and CHVRCHES, who contributed a new track called “Get Away.” The song wouldn’t sound out of place on the Scottish trio’s darkly, ethereal debut album The Bones of What You Believe. So it’s not a stretch to believe that an unnamed stuntman might dig it as well.
For those in the UK, be sure to catch BBC Three’s special screening of Drive on Oct 30. You’ll be able to switch between the classic and revamped scores. —Words by Laura Studarus