Fusing lo-fi textures and a plethora of downbeat genres, Hip Chimp channels lucid compositions and smooth, cerebral beats. As a multifaceted instrumentalist and producer, he has dug his hands through a wide variety of musical styles, and the Hip Chimp catalog reflects an appreciation for numerous attitudes and atmospheres.
The veteran Swedish producer Max I Million returns with a diverse collection of hip-hop gems called We Own the Night, his second LP on the NINETOFIVE Worldwide Beatmakers imprint. Every song on this album is great, straight up, although we’ve come to expect nothing less from Max I Million, one of the best representatives of Sweden’s potent beatmaking culture.
There’s a thriving beats culture in Germany. We’ve covered several German producers in this column and for more, check out Millenium Jazz Music’s On The Radar Vol 2 - Made in Germany. But we haven’t found a German producer who captures the “golden era” boom-bap sound of hip-hop so well until stumbling across beatmaschine, who represents labels called Krupplyn and Papier & Bliestift from Dortmund.
In June of 2018, Reso unveiled his dusty alter ego, Maru, switch-hitting between his usual low-end driven music and a foray into faded beats and lo-fi chord progressions. One year on, he’s released a sophomore Maru LP of dewey bumps and aqueous frequencies, affectionately entitled Small Sips.
Reaching back to the harmony-centric compositions that first put one of bass music’s most venerable arthropods on the map, Jade Cicada channels vivacious moods and melodies in Little Creatures. Taking a step back from his intense, low-end saturated music, Little Creatures is a vibrant and refreshing expansion on the compositional richness of Jade’s catalog.
Bringing a warm, soulful spin on traditional lo-fi and hip-hop flavors, S-ilo is a production powerhouse from Malmö, Sweden. His music has an unmistakable connection to R&B, utilizing smooth harmonies and groovy bass lines in abundance.
As the owner and operator of the Saeiound music label, K-dnt’s first and foremost priority is the propagation of high-fidelity music. With an evidently potent ear for melody and harmony, this Rusted Rhythm is presented with buttery smooth mixing and resolution, exploring far-out musical modes between 80 and 98 bpm.
Born from his passion for turntablism and the art of DJing, Kodiak Kid’s sophisticated mixing skills and bold track selection are impossible to miss for the discerning listener. He tosses any style of music into his mixes, from reggae and hip-hop to mid-tempo, glitch, drum and bass and downtempo. On Rusted Rhythms Vol. 31, he mostly favors hip-hop, halftime bass, and the hard-hitting intersection between these two styles. It’s full of raw and highly relatable bars from a number of international emcees which then segue into alien bass frequencies.
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