EDM boy wonder, Whethan, is at again. The 19-year-old is capping off a rich season of releases and touring with one last memento: “Radar,” featuring like-minded British duo, HONNE.
The genre-irreverent track is comprised of Whethan’s edifying nature and unfettered light in high supply. As the vocals tell a story of a lofty, enduring love, the production complements the sentiment, with whimsical piano and funked-out bass guitar plucks. A mass of flutters, stutters, and chirps permeate throughout the shimmery track, adding that categorical nuance which puts Whethan so resolutely in a league all his own.
At 19, Whethan has achieved success most producers spend lifetimes lusting after. His sound is deeply inspired by the rippling, feel-good accents of Louis The Child, who also happen to double as his best friends.
They’ve got hardcore in Singapore. That stands to reason, right? They’ve got hardcore everywhere. But it’s one thing to know, on some nebulous level, that hardcore exists in all these different corners of the globe. It’s another thing entirely to hear someone spewing righteous rancor in a language that you don’t even recognize. More »
The Melbourne band Constant Mongrel has been around for nearly a decade, starting off as a duo before expanding its ranks to four. They play urgent, sharp, slashing post-punk. Their sound is raw and immediate like punk rock, but it’s got a sense of needling dynamics and spartan aesthetics that calls back to the late-’70s … More »
Biological rebirth isn’t officially in the technological cards just yet for humanity, but in lieu everyone becoming their own veritable Jesus Christ with terminator arms, some people are satisfying their desire for renewal through more practical means.
Vessel — a.k.a. Sebastian Gainsborough — remarked in a 2015 interview about his impulse to “start again from square one” following an accomplishment, and the evidence was clear even before the Bristol-born musician announced his new album Queen of Golden Dogs, out on Tri Angle this November. His previous album Punish, Honey was a gritty and dissonant departure from the relatively straightforward danceableness of his debut; and, like a person who refuses the same seat due to the variability in butt cushioning out there, Gainsborough is taking things in a noticeably different direction with this new one, both for the sake of his own education and in order to push the boundaries of his capabilities. “What justice am I doing to my butt if I resign myself to the same worn-down computer chair every evening?”
Queen of Golden Dogs has a notable and previously nonexistent hint of chamber music to it. The album was conceived and recorded in isolation over an 18-month span in rural Wales, and it contains a couple of guest features: Vessel’s as-yet-unnamed “violinist lover” and singer Olivia Chaney, who we assume contributes vocals on a track or two. Listen to the track “Argo (For Maggie)” below to get a sense of how this classical infusion works with Vessel’s seemingly trademark habit of roughing the edges (the edges at least).
The album’s out digitally on November 9 and on limited edition vinyl November 23. Pre-order here.
Queen of Golden Dogs tracklisting:
01. Fantasma (For Jasmine)
02. Good Animal (For Hannah)
03. Argo (For Maggie)
04. Zahir (For Eleanor)
05. Arcanum (For Christalla)
06. Glory Glory (For Tippi)
07. Torno-me eles e nau-eu (For Remedios)
08. Paplu Love That Moves The Sun
09. Sand Tar Man Star (For Auriellia)
One of Anjunadeep‘s newest breadwinners, Ben Böhmer, has proved himself an austere presence within the Anjunabeats sub-label, melding his visceral, atmospheric sound to its most intimate foundations. His latest remix of Lane 8‘s “Hold On” further solidifies his vocation to that lofty, singularly Anjunadeepian deep house.
Though now running his own rapidly sprouting label, Lane 8 spent years nurturing his heavenly emblem on Anjunadeep soil, still regularly mixing for the imprint and even performing at their first-ever Open Air festival in London this year. Naturally, Böhmer adopted the particularly tranquilizing track as part of Lane 8’s official remix album for Little By Little.
Böhmer leaves the polished patriarch’s creation still starkly recognizable, slightly pitching up and restructuring the lead synth line, and leaving Fracture’s exploratory vocals ringing true through the chorus. The remix, like the Lane 8 original, is the ideal soundtrack for flying over a sea of snowy mountain peaks, or a long rest atop a vapory mass of clouds.
The young German made his Anjunadeep debut last year with his miraculously mellow “Flug & Fall,” which appeared on the label’s fourth Explorations album installment. He soon followed up therein with the warming tones of his stirring Morning FallsEP.
The dance music world has been fixated on the mysterious Deathpact from the moment the mysterious producer’s name — and a series of coded, cryptic messages — began circulating all over social media. Speculation ensued as more odd clues like dial-in numbers and lockboxes began surfacing; many posited the new act was Madeon, and others questioned his relationship to REZZ, who seemed to be in on the surprise. Now, its debut EP, Cipher 1, is finally out, along with the final piece of the puzzle that will help pinpoint his identity.
Akin to previous snippets from the enigma, Cipher 1 is an intense, futuristic listen that fashions a dystopian landscape within the mind and shakes one to their core with its robotic synth accents. It wades through the darkness, driven by chunky basslines and percussion, until the final track is reached: “Circadian.” It is here that Deathpact followers can unlock a final clue as to who this new musician really is — if they’re strong enough to make it to the end of the record, that is.
“Wow! That is some big news.”
– The Tiny Mix Tapes staff when we got this big news
New York-based sound artist Fielded has announced that she’ll be releasing a new album, titled Drip Drip, on October 12 via Deathbomb Arc. Moreso, we’ve paired up with the artist to premiere the beachy music video for, “Light it Up,” the first single from the record, exclusively here on TMT.
“Wow! I love Fielded and Deathbomb Arc. I bet this is going to be some good music! Big music fan right here.”
– A big music fan right there
Drip Drip, is the fourth full-length from Fielded. “[She] finds empowerment in the vulnerability of her lyrics and the intensity of her production,” the label said in the record’s press materials. “The cutting-edge sense of rhythm, electronic arrangement, and hip-hop influenced vocal phrasing exudes a power and freshness that compliment the message of finding one’s courage and intuition.”
“Wow! This keeps getting better. I like all of those adjectives! I want support this artist and label when the record comes out. I hope that there’s a pre-order link available. I love supporting hard-working musicians and labels.”
– A person who wants to support hard-working musicians and labels
Drip Drip will be available as a special limited cassette with tincture made by the artist, a regular cassette, and digitally; you can pre-order it digitally here and grab the cassette over here.
Drip Drip tracklisting:
01. Persephone (Intro)
02. Baby Boys
03. Fix Ya
04. Set in Stone
05. Light it Up
06. Am I All
07. Drip Drip
08. Higher Love
09. Married to the Body
10. The Vow
11. Heart of Darkness
12. Too Much Fire
13. Loving a Man You Can’t Touch
South Korea’s 공중도둑, or Mid-Air Thief, specializes in the kind of autumn vibes that all of us in the northern hemisphere are craving hard. So it may be a good thing that 무너지기 (Crumbling) took a little while to make its way out of Seoul. It’s hard to tell exactly where the buzz came from, but at some point in late August, this broke into the top 25 rankings for 2018 on RYM, whose lists are always full of left-field gems.
Outside of progressive metal and a certain subset of experimental rap, there isn’t much that holds the community’s taste together, so when an album as tough to pin down as Crumbling unites the site’s users, it’s a testament to the strength of the music, its translatability across borders. And that’s an apt way to talk about Crumbling, which takes everything rustic you loved about Grizzly Bear’s Yellow House and peppers it with arpeggiating synths and childlike melodies (with help from vocalist Summer Soul). It is, much like its spiritual predecessor, alternately chillaxed and maximalist, calming and rousing.
Much as the music, everything about Mid-Air Thief oozes humility and privacy. There seems to have been no press push for this stuff outside of Korea. The artist has, consciously or not, resisted posting any photos. Most endearingly, the liner notes on Bandcamp include a passage that Google translates as: “I can master it with a cassette, and it sounds a bit strange, but it sounds good to my ears. Sidie is going to sell it at [Gimbab Records]. Have a nice day!”
Thankfully, this nice music made by this nice person (/nice people) has made it far beyond Gimbab Records. Stream Crumbling below, and click through to buy it on Bandcamp if you dig it.
The Maine-based rapper, producer, and record store owner Milo is a truly singular figure. As a rapper, he’s a vivid and sharp writer, but he doesn’t operate the way many other rappers do. Instead, he follows his own music, chasing arcane and complicated punchlines or finding poetically expansive ways to dig into black identity. He’s … More »
Disco never died, and while some naysayers aim to disavow the longevity of four-on-the-floor beat arrangements and the soulful funk of coalescing synthesizers, horns, and syncopated bass lines, MERCER‘s latest single vibrant evidence that disco stylistics are alive and well in 2018. The Parisian producer inflects house aesthetics with a hybrid of vintage jazz and disco sounds in “Alright” — a feel-good dance floor filler with a soulful groove.
“Alright” is an edit of Jamiroquai’s 1996 house heater of the same name. The original sampled Eddie Harris’ “It’s All Right Now,” and Idris Muhammed’s “Could Heaven Ever Be Like This,” but MERCER lends his own distinctive flair to the edit in his implementation of a swifter tempo that renders this new version more danceable by comparison. MERCER cuts straight to the lyrical hook of the original, salvaging only the hook in his edit, which loops in a disco-house inspired fashion.