Arnold put out this remix over a month ago but it’s taken me that long to realize just how much I genuinely like this song. Taking on The-Dream’s club crooner “I Luv Your Girl”, Arnold transforms the song into a properly danceable track with an increased speed, renovated beat and his “aaaaaaaarnold” tag. True story, I showed this to a friend of mine and she hasn’t stopped playing it on a consistent loop for two weeks. I haven’t even seen her. She just locked herself into her room so that she wouldn’t have to do anything else but listen to this song. Devotion.
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.
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.
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.
The M|O|D boys are back with the 4th installment in their booty clapping, neck breaking series of LP/EP/Tape things. On M|O|D IV they all continue to evolve each of their styles, and work towards a more common goal than on M|O|D or M|O|D II. Each of the five artists are continuing to clean up their sounds even more and the production value of the project sounds better than ever. On M|O|D IV they all sound completely comfortable and confident within their style and sound like they are completely aware that they are consistently making the best music in their vein of high energy electronic music. Their drums are hitting harder than ever, and their experimentation with the idea of fusing rap influences and electronic music has not slowed down at all. Yung Satan is taking on a new heavily reverbed and spacious style, while Arnold is using retro-sounding synths in amazing ways they were never meant to be used. Stream two of my favorite songs from the project below and hit the jump to stream it in its entirety and purchase from their bandcamp page.
Last night Boston’s unstoppable beat crew M|O|D played a show opening for Rustie at The Middle East in Cambridge, and I was fortunate enough to be in attendance. They went on at 10, just as the venue was starting to fill up … Continue reading →