Let The Machines Do The Work should still be basking in the success of their much-blogged-about debut single, “Let Me Be The One,” however, the four-piece production crew from Brighton are already on to the next one, and have given MTV IGGY the first play of their chilled-out follow-up, “My Heart.” The slow-building house cut’s warped vocals carry enough soul to soften the blow of bass, making it the perfect summer-ender. Check it out below.
New York City’s premiere electronic music festival, Electric Zoo, got some negative publicity this past weekend thanks to the deaths of two young ravers who raved a little too hard, leading to the cancellation of the festival’s final day on Sunday.
Luckily for EDM fans in the New York area, the preceding days were packed with the genre’s top performers, including Avicii, Tiesto, David Guetta and Bassnectar. Inevitably, one of the biggest draws was Alesso, the 22-year old Swedish DJ (and protege of Swedish House Mafia’s Sebastian Ingrosso) behind progressive house bangers such as this year’s “Under Control,” featuring Calvin Harris.
Alesso has released his entire Electric Zoo set on Soundcloud (stream below), and it’s full of some pretty epic moments, including the thousands-strong crowd singing Calvin Harris and Florence Welch’s summer hit “Sweet Nothing” back at the DJ booth. At the same time, Alesso is using his website to tease his upcoming North American tour, code-named “Uprising,” with a mysterious black and white video of participating American cities.
The best part of the week has arrived! That’s right. It the Artist of the Week poll. We round up five utterly indispensable artists from across a spectrum of genres and all over the world, and then you vote for a winner. You have until next Friday morning at 11 a.m. EST. Ready? Go!
Differentiating them from the artsy car crash that is Die Antwoord and the beer-guzzling image of Parow, P.H.fat rappers Smooth Mike, Disco Izrael and producer Narch are more interested in making frat rap in the style of a post-dubstep era Deltron 3030. It’s not surprising that they’ve credited the Dr. Octagon song “Blue Flowers” as inspiring them to join the rap game. They share the character’s ghoulish cadence and transparent desire to panty snatch.
Led by singer Brooks Nielsen, The Growlers’ sound heavily owes to the psychedelic 1960s freak-out scene centered along LA’s Sunset Strip mixed with Beach Blanket Bingo surf rock, ’50s Chicano rock à la “La Bamba,” and a dash of “Monster Mash” macabre. The low-fi ditties of The Growlers, like “One Million Lovers,” from their Hung at Heart LP, released earlier this year, combine vintage camp with lackadaisical garage cool.
After a stint as part of the Gilles Peterson-approved duo Octover (alongside producer Jason Tan) Vandetta turned her attention to solo work. Her debut EP under her own moniker could be called R&B—on the surface anyway. But while it contains the genre’s trademark slick swagger, each song packs a world of wonderful weird: backbeats made from vocals, swift changes in tone and direction, and spacey coos a’plenty.
Before she even opens her mouth to sing, you can tell something interesting is going to come out of Calma Carmona. The laid-back demeanor, piercing gaze and massive tangle of dreads perched on her head combine to project a sense of effortless poise and power. Then she opens her mouth and doesn’t disappoint, letting loose a smoky and soulful voice that is at times velvety smooth, at other times punctuated by feisty growls and chirps. It’s a voice that slinks in the mold of great neo-soul singers like Jill Scott and Erykah Badu. Except for one pretty big distinction: Calma Carmona is from Puerto Rico, and sings in Spanish (at least most of the time).
Born Livingston E. Satekla, Stonebwoy began his rapping in high school, winning rap battles and local competitions at a young age. He went to high school with tongue-twisting rapper Sarkodie and after school gravitated to the sounds of Jamaica, saying, “dancehall chose me, I didn’t choose it.” Stonebwoy linked up with Samini in 2008 and under his wing, began refining his sound and establishing himself in the Ghanaian Afro-dancehall. He released his first album Grade #1 in 2012.
Who remembers Floetry? Well, for those of you who don’t, let east London’s producer-of-the-moment, Spooky, refresh your memory. The beat-maker has paid homage to British rap-soul duo by reworking their massive early-00s hit, “Say Yes,” into a slow grind cut for the grime generation. Check it out below.
Congrats to football-fiend pub punks Giuda. The Roman quintet just won our Artist of the Week poll by a solid margin. We virtually hoist them on our shoulders in salute! Though they were the underdogs, their fans and online cheering section turned out in force. Listen to their super catchy jam “Number 10″ and you’ll be rooting for them too.
Uncle Riko, as he’s known to many in the grime scene, just released his new mixtape, Rise Of The Farda, which he says is “a direct, hard-hitting, no-nonsense assault from The London City Warlord.” The revered bar-slinger, who rose to underground fame as a member of the Roll Deep collective, hasn’t put out much material since his last compilation, 2010’s Sleeping Giant, so, with no promo leading up the drop, this 13-track package comes as a nice surprise. Subject matter on the tape ranges from living life in the urban jungle to fatherhood, and with features from fellow yardie-man-flow MCs Flowdan, God’s Gift, and Trigga, as well as the likes of Wiley, Terror Danjah, and Hatcha on the buttons, Riko Dan done good.
Stream Rise Of The Farda below, and cop it on iTunes.
TS7 put Bradford on the big bass map a few years back, but now there’s a new kid from the British town ready to take his crown. Introducing Deckstar, whose speed garage remix of Naughty Boy and Sam Smith’s recent chart smash, “La La La,” notched up countless plays on BBC Radio 1, BBC Radio 1Xtra, and online, received major love in clubland from Paul Oakenfold, DJ Q, and DJ EZ, and earned him a cushy deal with Unknown To The Unknown’s Hot Haus Records. The producer’s official new single, “Make It Through,” features Todd Edwards-style chop-ups, spacey bass, and skippy hi-hats, and is bound to unite UKG oldies and “future garage” ravers on the floor.
Ay dios mio. Just when you thought you were safe, global bass remix king Uproot Andy is back and melting your face/causing you involuntary dance spasms/informing you about interesting music around the world with Worldwide Ting Vol. 2. The collection of six tracks draws on source material ranging from vintage Ethiopian pop to Mexican cumbias and French Caribbean dance hits, all transformed bombastically with Andy’s signature style of heavy percussion, crunchy bass synths and fat samples.
Worldwide Ting Vol. 2 is the second release from Que Bajo Records, the young imprint born out of New York’s popular Que Bajo party run by resident DJs Uproot Andy and Geko Jones, and serving as a platform for the pair’s musical productions. Andy has amassed quite a back catalog of unreleased dancefloor slammers, so hopefully the flow of fire tracks won’t stop anytime soon.
Stream Worldwide Ting Vol. 2 below, download it for free here, and scroll down to read a track by track by Uproot Andy himself. Then proceed to play at loud volumes and shake what your madre gave you.
Track By Track:
1. America (Uproot Andy RMX) – Mulatu Astatke vs. K’naan ft. Mos Def
“This started out as a cumbia remix. The swing of the ethio-jazz sample in the K’naan tune went really nicely with the swing of more traditional, folkloric cumbia drums. But when I went back to listen to the Ethiopian song that the sample came from, ‘Mulatu Astatke’s Lanchi Biye’, I couldn’t resist bringing in the whole song. The chord progression of the original, that the hip-hop version lacked, also opened up more possibilities for melodic development in the synths and even though it was a bit tough to work with the low-quality, old recording, it actually ends up providing the biggest moment of the tune.”
2. El Forastero (Uproot Andy RMX) – Galileo y Su Banda
“This is a classic Colombian salsa tune and I remember I had it on repeat on this one road trip I took from New York to Canada in the dead of winter to play in Quebec City and Montreal a few years ago. There was snow everywhere but the horns on this tune are so fire, we were turning up the volume and putting down the windows. A couple years later I finally I decided to fix it up for the club.”
3. Bassoue (Uproot Andy RMX) - Les Rapaces
“This is a calypso tune from Guadeloupe but I was introduced to it through the champeta scene in Colombia. Champeta is now its own genre but it grew out of DJ parties in the ’70s where the DJs would play music from all over the world, Africa, Latin America, the Caribbean and even the US. The original Global Bass parties. On the coast in Colombia this song is known only as ‘El Sastre’ and it took me a long time to find out the real name and who played it, and even longer to get my hands on a real copy so I could do the remix. I finally tracked it down through a Haitian distribution company in France. It’s a feel good song and I like to play it at the end of the party to induce that late night euphoria.”
4. Raba Raba (Uproot Andy RMX) – Khaled
“This is a Raï song by the King of Raï, Algeria’s Khaled. I primarily made this for my nights at Mehanata (Ed: a bar in New York where Andy DJs every week) which, although it’s a Bulgarian bar, is really a New York immigrant hangout and the music, as well as the clientele, comes and goes between the Balkans, South America, India, Africa and the Middle East.”
5. Camino a Colombia (Uproot Andy RMX) – Estrellas de la Kumbia
“This cumbia, despite the name (ed: meaning ‘Path to Colombia”), is deeply Mexican. This version remixes the Estrellas de la Kumbia who are from right here in New York, they played our Que Bajo party a few years ago, but fully represent the Mexican sonidero cumbia style.”
6. Bonina (Uproot Andy RMX) – Siba
I first heard Siba with his previous group Mestre Ambrosio and he always brings a creative and progressive approach to the traditional music of Northeastern Brazil. With this remix, I put Siba’s Ciranda tune in a downtempo house framework and tried to bring out the horn melodies in the synths and just let it breath.