It’s been a little while since we’ve heard a new release from Slam Skillet but his new EP Ecotone gives us plenty for the wait. For me, Slam Skillet has always been an expert at crafting amazing sounds and Ecotone is no exception. Opener “Sable” may be one of the prettiest non-ambient pieces of electronic music you’ve ever heard. Even when he moves into darker alleys on “Rusine”, his tracks never veer away from sounding clean and incredibly well constructed. Although Slam Skillet keeps his tracks sounding mechanical instead of organic, that doesn’t mean he drains his productions of fun. While not straightforwardly danceable, tracks like “Sambar” and “Auroch” demonstrate that he knows a lot more about how to make people grove than he may initially let on. The later half of “Sambar” especially sounds like the soundtrack to some ultra hip rooftop party (which will probably be thrown by The Up-Turn) ten years from now.
Yung Lean is obviously a very polarizing artist who a lot of people are talking about right now, but regardless of what they think of Yung Lean I always see a lot of people saying something along the lines of “his beats are crazy though”. I know BabaStiltz makes a lot of music separate from Yung Lean and has been for a while, but I first really became interested in his music through the incredible beat he did for Yung Lean’s “Nekobasu” so its kind of a reference point for me. Anyways, I’ve been following BabaStiltz’s experimental exploits on his soundcloud page for a while, but this one song he released today just completely blew me away. ”Say” is a track filled throughout with beautiful subtleties, a trait which has been kind of crowded out of a large portion of Soundcloud by loud masters and 808′s lately, and it’s incredibly refreshing. Its the type of track that you can easily space out to and keep finding new things to love about it even after a hundred listens; so I had to share it. Stream below.
Aside from putting out a few remixes and guest mixes, house princess Avalon Emerson has made us wait quite a few months for some new material. While her earlier material found Avalon Emerson working with more experimental and less danceable sides of house, “Caroline” is a groove heavy track that was made to be danced to. Aside from the vocal sample commanding “people, come on and groove!”, Avalon Emerson constructs a shaker laced, bass thumping instrumental that manages to sound appropriate for any dance environment while also staying true to her more experimental roots. If you hadn’t heard, TRAP is the next big thing so it looks like house really is going to be the next next big thing.
And so arrives the bittersweet ending to M|O|D’s PENG series. Fortunately, I think PENG 003 is the best of the trilogy. On the first and second installments of the series, we saw each of the five producers begin to pick up new styles after moving beyond their trap roots, and on the third, we see them begin to perfect them. Arnold’s new melodic club-influenced style is bigger and brighter than ever, Rewrote’s ridiculously fresh and eclectic new distortion-heavy sound is more impressive than ever, Yung Satan cleans up his early ’70s rock influenced sound, LiL’ TExAS crafts what is maybe the first futuristic strip club anthem, and C.Z. continues to come into his own as a U.K. garage producer. For anyone who thought M|O|D would never successfully be able to escape the bastardized trap label, this should change your mind pretty quickly. Stream my favorite tracks below, and the whole thing after the jump.