malleus&incus

Make an Example

Posted in Dubstep, Electronic, Hip Hop by jurbanik on August 29, 2010

One track that has been getting a lot of play from me recently is Bar9’s remix of Example’s Kickstarts. The original track is one of the singles on Example’s new album, ‘Won’t Go Quietly’ – an album that goes in a much different direction than the London rapper’s previous material. It is a lot more electro and poppy than the older, more garage style hip-hop.

To be honest, I’m not sure if I like the song more for the video or the actual song itself. While Example’s original version has its own merits, it is Bar9’s remix that really shines. The heavy dubstep lends a more serious air to the song and just makes me want to move (I just wish I knew how to pop properly). At the same time, the video is really impressive. It is somehow cute and romantic despite being almost entirely fight scenes. It is bad ass, despite the fact that it is completely unrealistic. Basically, I wish I was as kickass as the dude in the video, but that I never had to deal with what he has to deal with in the video. Whatever, just watch it (after the jump). (more…)

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Bite Size

Posted in Dubstep, Electronic, IDM by jawillisetc on July 25, 2010

Alright, this one is gonna be really short because I just posted one already, but I just got this album and can’t help myself.


Lorn-Nothing Else
Lorn is signed to Flying Lotus’s Brainfeeder label, but he sounds less like Flying Lotus and more like Nosaj Thing, which is fine by me. Basically what he makes is a heavier, darker, more industrial influenced version of Nosaj Thing’s music, and because I love Nosaj Thing, I also love this.
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Music to listen to while you are stuck in Vermont

Posted in Dubstep, Hip Hop, IDM by jawillisetc on July 1, 2010

My name is John Alan and I hate Vermont. Seriously. Sorry to any readers that happen to live in or have some special affinity for our great nation’s most prodigious producer of maple syrup, but that’s just how I feel. Besides, odds are we don’t have any readers from Vermont because as far as I can tell NO ONE FUCKING LIVES HERE.

I should probably explain my vitriolic outburst, because for one thing it’s sorta bad form to hate on an entire state in your introductory post, and because this is the part where I actually tie my tangential intro into something vaguely music related. Anyway, I hate Vermont because I am stuck here for the summer and it is aggressively, relentlessly verdant and gorgeous. For Realz Yo. Vermont has the kind of scenic views that don’t just make you want to go outside, they get up in your face about it. The blue sky and leaves gently rustling in the wind make me feel guilty every time I’m not hiking or something, and I resent it.

As the scion of a long line of contrarian assholes, I have spent the past several weeks expressing my contempt for my beautiful prison by listening to only the most alien and unnatural music on my hard drive. Being just nerdy as all hell I have plenty, and expect more posts in this vein, but the three artists that I’ve kept coming back to lately are Chris Clark, Burial, and Orphans of Cush.

First off, Chris Clark. Signed to Warp, and if you’re anything like me that’s all you need to know. But just in case you aren’t, listen to this.

Clark
http://viewmorepics.myspace.com/index.cfm?fuseaction=viewImage&friendID=95890983&albumID=413554&imageID=15645414

Herzog//Body Riddle

Matthew Unburdened//Body Riddle

Now, the occasional familiar chime or stringed instrument may trick you into feeling comfortable with Clark, but don’t be fooled. This stuff is alien; even the samples that haven’t been filtered and sped up beyond recognition have a distant and unsettling quality. These tracks come from Body Riddle, from 2006, have a great subtle electric buzz all over them, like the hum of a power supply or something, that puts an extra layer between the listener and the music itself. It’s the sort of buzz that if you heard it while walking around outside, you would hunt down the source, but then be afraid to touch it.  Everything about this album is processed and unnatural, from the drum sequencing the orchestral samples, but it has a paradoxically inviting quality. This music, while unsettling and unpredictable, by virtue of existing suggests that the bizarre and synthetic can be beautiful.

Speaking of fuzziness, how about Burial?

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