It’s been a minute since we last featured London-based techno producer Joe Ashworth, and since then he’s released a series of killer EPs, a collaboration with Citizen, and a killer remix of Ghostpoet’s “Meltdown.” Last week he caught our ear again with a twist on a classic Nina Simone track “See Line Woman.” The track is fairly scarce, accompanying Simone’s voice with a relentless drum groove and deep sub bass twists, until it fades into a light melodic outro, filtering the vocals in and out over a soft piano progression. It has deep primal groove to it that makes it hard not to shake to. For now, it’s just up for stream, but hopefully it will see release of some sort soon. Check it out below:
Planet E’s founder Carl Craig works as the architect for the restructuring of Audiofly’s ‘Excuse my Wildness’, debuted last week on Mixmag, Craig, a strict machine, assembles a moody sequence of ominous tautness, decentered atmospherics, and a progressive build. The track opens with icy synth stabs, and around the 2:50 mark, minimal kit percussion joins the 4 on the floor kick drum. Shakers and claps round off the rhythmic layers at 5 minutes.
The only narrative comes in at 6:30: “Hey, you. What’s your plan for tonight?” Forward and to the point, there’s enough information for intentions to be known. It lacks romance but remains nonetheless libidinously charged, and I would know as part of my review was conducted with a bottle and a half of pinot noir, seriously negotiating the logistics of visiting another country to ask someone what her ‘plans’ were for the rest of the evening after hearing a DJ we’re both into. Yes, the wildness, please excuse it.
DC-based techno producer Pentamon has released a new track entitled “Virgil.” The Pentamon ethos, summed up as “the weirder and darker the better,” is taken pretty seriously with “Virgil,” which was inspired by Virgil’s perspective in Dante’s Inferno. Using the nine circles of hell as its theme, the track descends through multiple layers, each one more twisted than the last. From start to finish, “Virgil” straddles the best attributes of techno and acid: While building with the pummeling pulse of techno, “Virgil” shifts through the figurative cries of tormented souls, and tapers off with buzzing and infectious acid sequences.
Grab a free download of “Virgil” below:
Saturday, January 25, we give BLISS a proper introduction to 2014 with Blisspop Crew Night. Featuring the diverse tastes of residents Will Eastman, Baronhawk, Ozker, Harry Ransom, Caleb L’Etoile and Brian Billion, the party kicks off what is sure to be an expertly curated year of BLISS.
Blisspop Crew Night is free before midnight for 21+. Ages 18-20 by advance ticket only. Tickets: http://ticketf.ly/1fuzQjl
Shanghai-based producer and DJ Henry Krinkle was kind enough to answer a few questions for us on the heels of his recent gig at U Street Music Hall. Read on to learn what has shaped the immensely talented young artist’s distinctive sound.
Can you tell us a bit about your background and growing up in Florida? What formative experiences encouraged you to become a producer?
I was born in Estonia. I spent my childhood in the back country of North Dakota. Music was always around me as a kid but I was more interested in playing video games or running around the woods. I spent my high school years in south Florida. I appreciate the experiences I’ve had.
I started playing bass guitar with a kid who played guitar. I made friends with him shortly after moving to Florida and we used to learn songs together and just muck about. It was from then on that I started to take music more seriously. A couple years later I found myself wanting to write my own songs but couldn’t really get a band together to do what I wanted. It was at this time I started to learn how to produce songs on a computer.
Did you approach production with the intention to create a “post-dubstep” sound or did you find that it came naturally when materializing your ideas?
At the time it came naturally because that’s what excited and interested me. I’ve made plenty of songs that no one will ever hear in many different styles.
Your moniker originally comes from the film Taxi Driver with Robert DeNiro. How did you come about choosing that name? How do you relate to the fictional Henry Krinkle (or Travis Bickle)?
I like the idea of using a fictional character’s alias. I happened to be watching the film around the time I was looking for a new musical identity. I heard the name and it stuck in my mind. I had just recently wiped the internet of a previous project I had been working on since high school. After a few months the name was still rolling around my head so I decided to make it something real. I have other projects/aliases but I don’t share them actively.
What prompted you to move to Shanghai? Was there anything you knew about Shanghai before moving that attracted you to the city?
Love. I didn’t know anything about the city.
Now that you’ve been living there for a bit, what are your thoughts on Shanghai and its music community?
Shanghai is an amazing city and I love it to death. The music community is very passionate and welcoming. I miss it.
How has living outside of the popular hubs for electronic music (such as London, Berlin, NYC etc.) influenced your experience as a producer?
I don’t know how my life would be different had I been living in one of the hubs. What I do know is that where I’ve grown up, there isn’t much of a community of or for electronic musicians. I probably should have been producing hip-hop or playing indie rock.
What’s coming up next for you in 2014? Any New Year’s resolutions?
I will be touring, making remixes, writing and releasing originals, relocating and building my first home studio. In short, a lot of hard work. I don’t do New Year’s resolutions.