What do ya know, This Ain’t Bristol is still pumping out fire. The UK’s Aaron Snapes is next up for the label/collective, providing us with a three track EP titled “Sausages.” The title track is a bouncy, energy-filled house track making good use of a goofy vocal sample. The second track “Like That” contains a whirring bass with an LFO slapped on it, and fits well on this EP in the sense that it doesn’t take itself too seriously. Finally, Brooklyn duo Walker & Royce end the EP with their own take on “Sausages” with a heavy sub bass line and get slightly deeper with it. This comes out on February 15th exclusively on Beatport, and will be avalable everywhere on the 29th.
With vocal house permeating pop music in the biggest way since the early 1990s, New York’s CID is looking necessarily to reinvent the wheel, but rather improve upon it. With releases on renowned labels like Size and Spinnin’, CID is making his mark with uptempo and vibrant tunes that elevate the heart and the soul.
His newest release “Love Is Blind,” out on Big Beat Records, feels like a crazy mash-up of Duke Dumont’s vintage-classic vibe combined with the epic soundscapes of artists like Jonas Rathsman or Ten Walls. The video for “Love Is Blind,” on the other hand, leans in a more contemporary direction. Directed by fresh talent, and first time music video director, Alexandra Gavillet, the video for CID’s new single is a labyrinthine display of color and design overlaid with colorful and precise collage. What could only be described as the heterosexual male’s gaze and the fragility of its construct, especially within the realm of something as historically irreverent as music videos, the video’s blend of promiscuous club culture tropes with collage earns its credibility by discovering new avenues to explore visually (much like Hercules & Love Affair’s video for “Do You Feel the Same” rediscovered vogueing for a new generation of ravers and gay youth).
However, while the angst and frustration of the male ego throughout the video makes for a solid twist on the “guy chasing girl” concept, it’s unfortunate that the roles weren’t further elaborated on to make a clearer statement. That said, this is not the first time story is largely left alone in favor of a feast for the eyes. The crafty execution is what makes Gavillet’s debut as a director work in this instance delivering a product that’s tight, concise, and beautifully complements CID’s source material.
Watch the video below and be sure to catch CID tonight at Echostage in D.C. as support for Galantis!
The NeedlExchange, a collective who has grown incredibly popular in the gay, underground disco and house circles both in the District and abroad, continuously reminds our local scene of where dance music came from, where it is now, and where it’s going. TNX mainstays Baronhawk and Bil Todd (under the alias ‘AnA’) consistently present their truth to us every time they get behind the decks: choosing positivity over narrow-mindedness, wise curation over playing out heat-seeking records, and paying mind to showing beauty in an ordinary moment like spending a night in a club. This focus on the purity of dance music and its very colorful history is what gives their edit series, Bag Fries, such a refreshing sensibility.
“Mvula,” the latest in the Bag Fries series, is a declaration of being at peace with your inner self on the dancefloor. Baronhawk’s cut of “Mvula,” going tribal with layered kicks and chopped vocals, is crafted and packaged as a more sinister type of heat compared to the AnA cut. The AnA version, on the other hand, is a loungier edit that finds itself filling up headspace like water inside a ballon through the use of celestial pads and softer percussion choices. Both make phenomenal use of atmosphere to invite listeners into their soundscapes and they each play to some sort a genre from dance music’s past; Baronhawk’s version feels like aggressive club play while Todd’s goes the route of early 2000′s atmospheric electronica.
Both cuts are free on SoundCloud. You can catch both Bil Todd and Baronhawk, along with Tommy Cornelis, opening for Martyn and Honey Soundsystem this week at U Street Music Hall.
Hiding within the nooks and crannies of SoundCloud is Australian producer and DJ Samuel Meier. Going by the name Sunbather, Meier is experimenting with ambient, floating soundscapes and dreamlike techno and house.
His most recent fixation, an original which samples Isaac Hayes’ “By the Time I Get to Phoenix,” is a lush, melodic river to wistfully – and lazily – drift upon. With a slow building and uplifting groove that soothes the senses as it convinces you to ease into a comfortable level of existential bliss, the track, “Leaving My Heart Right Here,” is a constantly shifting, heart-string pulling synthwave landscape. It’s moving, lovely, atmospheric, and feels like the soundtrack to someone’s painful longing for intimacy. It’s supremely gorgeous in its embrace of melancholy.
Listen to Sunbather’s “Leaving My Heart Right Here” below.
Milanese duo Hunter/Game’s new album on Kompakt, Adaptation, is the hype of this week and my favorite LP of 2016 so far. Emmanuele Nicosia and Martino Bartola, the men behind Hunter/Game, have created an ethereal techno masterpiece laden with well designed sounds, complex percussion rhythms, and beautiful meandering melodies. Adaptation is another example of the Italo-German ethereal techno that we’ve seen a great deal of lately (Hunter/Game are Italians and Kompakt is based in Cologne, Germany). If any readers have insights as to why there is so much electronic music – especially ethereal techno – coming out of Germany and Italy, Blisspop would love to hear your thoughts.
I couldn’t pick one favorite from Adaptation, so here are my top three: “Declino,” “Adaptation,” and “Hexagon.” That said, every track on the album is worth listening to. Stream Adaptation here for a limited time: