We’ve been a bit busy recently. We may or may not be planning a totally awesome concert that will be in the hipster mecca this upcoming weekend… nah we totally are. We still got time for beaties though. This batch is brought to you by Voduz channelling some Majora’s Mask-type guru music, Mattron who may or may not be at the totally awesome concert that we’re hosting in the hipster mecca this upcoming weekend, Lanzo bringing viiiiiibes, uXi bringing that dance floor head-shaking music and Ice Underlord with some reaaaaal icy shiiiit. Brr. Hit that jump.
Over the past year C.Z. (of M|O|D)’s sound has gone in a number of different directions. He started buzzing with a sound that could be pretty easily classified as trap with songs like “Doin’ What I Do” and over the past few months has moved towards a heavy UK Garage influence with songs like “wana do”. Now, with bathtub, C.Z, is releasing his first solo EP in a while and is finding a way to make all of these sounds work together. On this EP he weaves influences from a huge number of genres of electronic music together into a cohesive project, maintaining a consistent well-produced but quirky sound throughout. This is a weird time for a lot of artists who have been labeled as “trap” in the past despite creating lots of different types of music, but it looks like C.Z. is doing a really good job of keeping things interesting. Stream my favorite track from the EP below and the whole thing after the jump.
L.A.-based record label/artist collective thing The Melt just put out this compilation completely stacked with amazing artists. Alongside the five resident producers at The Melt including Djemba Djemba and Gossamer, the compilation also has tracks from 14 other producers including Color Plus, C.Z., and RAJA among others. If you’re looking for new producers who are leading the way in pushing electronic music to new exciting places and will probably have taken over the scene in a year or two, this is where to look. Sub-genres on this compilation range from ambient to footwork to U.K. Garage without ever sounding out of place. You can stream two of my favorite tracks off of it below, and stream and download the whole compilation after the jump.
Out of all of the changing styles in M|O|D over the past year, one of the most exciting to watch in progress has been Yung Satan. In the early stages of M|O|D’s work together Yung Satan stuck with a fairly distinct style of rapidly chopping samples to make melodic lines, but eventually started experimenting and moving away from it. Over the course of late 2012 we saw Yung Satan mess around with a lot of different sounds, and now he is beginning to settle into one. On PENG 003 Yung Satan contributed maybe his best track yet and is now releasing his first solo project in the form of an EP. Maserati sees Yung Satan becoming comfortable among swelling, colorful, and melodic synths and vocal sample chops that recall his earlier style. You can stream my favorite track off of the EP below and the whole thing after the jump.
We’ve made a lot of big changes through the last year. We switched over to self-hosting, designed a custom layout, interviewed a lot of cool people, listened to a lot of good music, and, most importantly, ate a lot of beaties. Inspired by the exploding beat scene that developed on soundcloud over the past year, we started putting out a collection of some of the best damn beaties out there regardless of the blood, sweat, and tears spilled to find them. We started the feature when we realized that it would take us longer to write about the tracks than it would take for someone to listen to them, however, we still managed to accumulate a collection of some especially noteworthy beaties. So we’ve decided to honor those special beaties with our first ever Eat Your Beaties Awards. Put on something nice and enjoy the ceremonies after the jump.
Boston’s finest are back with the second installment in their PENG trill-ogy (hahahhah get it? im the man) and its more bangier than ever. PENG 001 saw the five producers basically abandoning the cliché’s of their former trap aesthetic for more house and garage-influenced styles, and PENG 002 finds them polishing those sounds even more. The EP opens with a track from C.Z. that represents the most clean and refined point his production style has reached yet, Arnold continues his experimentation with bass drum-driven music merging his quirky style with a cleaner house aesthetic, Yung Satan continues to build on the experimental and melodic sound he’s been building up, Lil TExAS finds the perfect medium between trap and house with probably the biggest banger on the EP, and Rewrote closes out with another indescribable and wonderfully experimental 8-bit track. I can already see the improvement between PENG 001 and this, and its been less than a month so I’m excited to see where these guys take their sound in 2013. Stream Lil TExAS and C.Z.’s tracks below and the whole thing after the jump.
With some of M|O|D’s earlier work, they were easily put into the increasingly claustrophobic box of trap music. Trap music’s future is looking increasingly uncertain, so M|O|D are wisely moving away from the genre that many thought was all they knew how to do. For PENG001 M|O|D kept it simple and down to only 1 track from each of them, which seems to be a really good format for highlighting each artists individual talents. REWROTE’s track shows his sound to be just as indefinable as ever, LiL TExAS still maintains his southern flair along with some experimental sample choices that work really well, Arnold and C.Z. both are beginning to show the heavier influences of Boston’s burgeoning house and U.K. Garage scene on their music without ever resorting to straight four-on-the-floor bass drums, and Yung Satan continues his exciting experimentation with heavy reverb and synth work. After appearing on the boiler room a couple of weeks ago M|O|D are sure to be getting an influx of attention recently, and this short EP is definitely a good move. Stream my favorite track from the EP below and stream the whole thing after the jump.