When Gaddy, pride of Houston, stepped to the decks for a Rusted Rhythm, he did something different; a one-hour all vinyl, all hip-hop mix featuring rare selections of wax from his personal collection. One could call this a refined historical tour, an ‘influences mix” for Gaddy. These rhythms and much of this drum work is foundational for his own bass-infused compositions.
Jazz-infused 140 bpm system music has been monopolizing our attention for some time now. Philadelphia-based producer/DJ backpack is obsessed with the music, too, and for the 28th installment of Rusted Rhythms he’s strung together a one-hour mix full of this emerging left field sound.
Withoutside, the musical alias of Brooklynite Carey Clayton, is a fairly new project with an aptitude for ambient, phosphorescent music that now finds a home with Outtallectuals. His most recent endeavor, Istanbul, is an absolute gem of an EP, built from the ground up via a hardcore, back-to-the-roots methodology. Istanbul is composed mostly through the sampling of foley sounds from its namesake city, creating a culturally-fused vibrance that is its fundamental attraction.
Of the sounds echoing out of Colorado, none bear the banner of “weird” quite as dynamically as Resonant Language. While concepts like IDM or Bass Music might have some sticking power, the gravitation towards under-explored or novel areas of magnetic manipulation constantly defy expectation and often totally stymie any effort to describe him. The new single, “Laminar Flow”, available now on Addictech and next week on Bandcamp, is no exception.
Bending frequencies with blistering aggression, Dystopik reaches maximum energy levels with his latest single “Squat Juice”. This one comes of vicious label Wonk#Ay Records where Dystopik is a mainstay. He’s spent the last year and change producing all manner of bass tasters ranging across the rhythmic spectrum in both full and half-time interpretations. Within this steady string on destructive wave-bending, “Squat Juice” is another notch up on his own boisterous scale.
Grainy, wavering, echoing notes are a hallmark of the ascendant lo-fi hip hop sound. Mora., a producer based in Buenos Aires, Argentina who’s been at it for approximately three years, hits these notes effortlessly. His sound surrounds the listener. The lead melodies in his music are set against a backdrop of pads which sound like a music box that’s been dropped into a bucket of water; shimmering echoes carried on crisp drums.
The same ingredients that construct music also construct linguistics in everyday speech; pitch, rhythm, and tempo. The column Universal Language was first inspired by a deep appreciation of music that speaks on emotional levels. The concept blossomed into a practice of collecting thoughts from musicians about how the music culture and scene in their country may impact their sound and artist persona. For the first installment, we spoke to French producer duo ANKO.
Mononome draws inspiration from the crate digging forefathers and lends a vision that is all his own. This native of Greece has spent years digging for the right records to mold his sound. The approach is one that’s familiar, but it’s accomplished using an entire body of music from Greece that’s gone largely unheard this side of the world. All of his tracks are entirely produced, mixed & arranged with an AKAI MPC 2500. The music is without digital influence, a nod to all of the pioneers who have brought us to where we are now.