In case you haven’t noticed, the world hasn’t melted like the Mayans said it would and unfortunately Terence and I still have the obligation of fulfilling our duties as professional beatie explorers. Yadda yadda yadda, you get the point these beaties are dope. Kicking off the new year we have “Soul Queen” from the so called Cream of the Beats, weird-funk musings from rbe, 80s-future-dectective-step from Suicideyear (one of the more promising producers we’ve stumbled upon lately), good old cop harassment from Kommerz Klaus and a slow burner from rulesrulesrules. Eat ‘em after the jump.
If you haven’t seen already, soundcloud went through a massive update earlier this week and while most people were pouting about it on twitter and stumbling to get a grasp of the new layout we were taking advantage of the new features to dive deeper into the beatie underground. Although at times we were disoriented and felt that we may have dived too deep, the newest volume is certified fresh, top-notch, hip and pretty damn good (if I say so myself). This volume includes a Daft Punk-esque banger from Two Moons, a jazzy guitar piece from sw◊n, blissfully distorted boom-bap from Koffee, an analog bumper from Jonwayne and a crystalline stunner from eyeofzion. Hit ‘em after the jump.
With an increasing amount of talent to show, Dublin is quickly becoming a haven for forward thinking electronic music producers and artists. The newest producer to catch out attention is Simon Bird who just released his Sport LP for a “name your price” on bandcamp. The album is an ambitious collection of 7 tracks ranging from over 4 minutes all the way to 12 minutes of unpredictable electronic grooves, progressions and noise. Bird admits that he favors drone and ambient music and that preference comes through in an completely unique and unexpectedly bright way on “Baltimore Drowning”. Opening up with some abrasive noise, “Baltimore Drowning” quickly develops into a colorful collage of instrumental loops, boom-bap drums and oddball synths. It’s hard to guess where the song is going to end up throughout its eight minutes and Bird rarely lets a dull moment find its way into the mix. As a first impression, “Baltimore Drowning” left me wanting more and luckily with Sport we have 50 more minutes of blissfully bizarre material.
Today we have a new track from Chicago rapper Sidewalk Kal and New York/Connecticut producer AceMo. The last time we heard from them was their track “COMFORT/CONTROL” which was a pretty experimental track. This time both producer and rapper move a little closer to the tried and true formulas of 90′s rap while staying experimental enough to keep things interesting. For the beat AceMo shows his versatility (the last we heard from him was a droner in Eat Your Beaties Vol. 10) by contorting a jazzy piano sample with chops and filters into a monstrous boom-bap beat while Kal lays down one of his best classic flows touching on some of the nostalgic themes of his hip-hop forefathers. There’s a right way and a very wrong way to do boom bap, and this is the best way I’ve heard in a while.
In one of my recent trances where I black out for an extended period of time and end up finding many awesome tracks by awesome artists on my favorites list on Soundcloud with no recollection of how they got there, I stumbled across Chicago rapper Sidewalk Kal and his work with New York producer Mattron and had to share. Although, it’s a huge party foul in the hip-hop community, I’m going to compare their work to Illmatic because to me the comparison came to mind right away. Sidewalk Kal has a smooth, gimmick-less flow with wise beyond his years lyrics that remind me of Nas, and Mattron’s boom-bap beats remind me of the beats Nas collected for Illmatic (especially DJ Premier and Pete Rock’s) with an added hint of the modern abstract element of hip-hop popularized by beat makers like Madlib. I don’t know too much about either Sidewalk Kal or Mattron, but I think their music speaks for itself, so listen below and link to their individual Soundcloud pages below that.