Hanz may finally be starting to gain the attention and fan base he deserves but that doesn’t mean his music is going to become any more accessible or traditional. His newest single, “Count” is easily one of the most minimal tracks he’s put out in a while. Similarly to his last release “War Fiction”, there is a militaristic quality to the strict and forward driving rhythm of “Count”. Emerging from a dissonant and dreamy first minute, the driving loop of “Count” marches forward at a soft, quiet and gorgeous pace. Repeat listens allow the small gems of lush sound emerge from the seemingly barren landscape of “Count”. It’s amazing how good Hanz has become at his singular yet constantly surprising sound. Watch out for Hanz’s upcoming Reducer.
We know, it’s been a while. Hopefully you were all enjoying the sun too much to be on your computers anyway. Lol jk, I hate the sun because it makes it so that I have to come up with excuses to spend all day inside on my computer instead of getting tan or whatever with the cool bros. Anyway, it’s been a while so we’re just gonna give you a jumbo sized beaties volume to make it up to you all. Yup. This volume is 8 beaties deep. #rare. Enjoy the vibes from Lil Netzero, Drip-133, ghostwerk, sabata, F. King Taisho, cight, wu-lu and andrew michael.
It’s beaties, bitch. For those of us too hip for the new Schoolboy Q album, too into the internet for Real Estate and generally uninterested in anything the hooligans over at p4k are listening to, we got a crop of music that we can promise will never be played at a party. Just how we like it. This volume of beaties is brought to you in part by Yung Crock and his fish tank, bine with his chemical drugs, Wopak with a jam that could theoretically one day maaaybe be played in a club, Richie Quake with some casual vibes and BWWWOYS with that post-internet wave shit. Enjoy.
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.
If you’ve been following Color Plus, you’re probably familiar with his distinctive production style; delicately arranging acoustic noises and electronic noises next to each other seamlessly. For Diagonals Vol. 1 Color Plus just applied this production style to a number of different songs for his first remix EP. If you’ve ever wondered what Lil’ Wayne, Soulja Boy, or Gucci Mane would sound like backed by delicate and airy soundscapes, here is your chance. Favorites from the EP include the “Honest” remix, which definitely stands out among the hundreds of other remixes that have been made of it with huge pulsing ambience, and “Bed” which makes “Turn My Swag On” actually sound like waking up. Stream “Honestly” below and the rest of the EP after the jump.
AceMo has never been predictable. Whether he’s making music from recordings of hurricane sandy or beats for rappers like Sidewalk Kal, AceMo has basically done whatever he’s wanted and been consistently great at it. On Boarders, AceMo finally settles into one sound long enough to sustain an entire tape and the result is gorgeous and probably unlike anything you’ll hear on the internet. As the album art hints at, Boarders is an album that steps away from AceMo’s hip-hop leanings and embraces (yes, sorry, I gotta say it) world music influences. Let’s ignore the fact that world music is a term used by lazy bloggers like me to try and describe anything that sounds like it could have grown in a jungle and talk more about the fact that Boarders literally sounds like it could have been grown in a fucking jungle. Highlight “vss” has AceMo pulling together ambient bird chatter with tribal grooves and twinkling synths to stunning effect. Even when he takes more jazz-routed detours like on “momas’ cookin”, AceMo keeps the production sounding like it’s covered in a thin layer of moss or dew. Boarders has AceMo moving away from his status as a master of the art of beaties and stepping into a role as one of the most exciting artists to watch out for.