Escape from Electric Mountain is a brilliant bit of departure from Feed Me’s earlier electro-house driven EPs. You’ll still get that trademark glitch-meets-dubstep sound, but you shouldn’t be surprised to hear a fair amount of progressive house tracks mixed in with the bunch which are, frankly, a breath of fresh air.

I really wish the intro swing of One Click Headshot continued throughout the song; it’s a delicious bit of stomping that gives the entire track a much-needed groove. Comparisons will be drawn to Skrillex’s ‘Reptile’ — some vocals sound directly sampled –  and I guarantee a good amount of mixes and mashups of the two tracks. I’m a bit more excited by the crazy bit of headshot rant sampling that gamers may recognize from the Toronto-based webseries Pure Pwnage. It’s probably the most cheerful track on the EP.

Trapdoor and Whiskers are great examples of what an effective music collaboration /should/ be; there aren’t any distinct ‘you take this part, I take that part’ sections. Feed Me melds his own sound with that of Hadouken! and Gemini seamlessly.

If you’re going to take any one track as evidence of Feed Me’s progression as a producer it’s got to be Relocation. The prog-house chords are a nice Deadmau5-influenced bit of the album. Watch out for the Blood Red easter egg.

Trichitillomania (despite sounding alarmingly like his previous track Chain Smoker) is probably the most recognizably ‘Feed Me’ track off of the EP, and features some great crunchy synths. Embers is a personal favourite. Originally, I felt that this bastard child of prog and electro jumped genres a little too often without warning. It took me a few listens to really think of it as a cohesive track, but after a few dedicated sessions I warmed up to it.

If you’re coming to this album expecting another straight-out ‘trademark’ track from this album (see also: Cloudburn, Pink Lady, Strange Behaviour) you probably won’t find it. There are plenty of high-energy quality tracks (Whiskers, Trapdoor) and fun bits of crunchy electro (Trichitillomania, One Click Headshot) but the whole album definitely takes on an exploratory tone. I find that a lot of albums written on tour such as this one lack a certain depth, or perhaps something differs in the mastering. The bass could have been a little more intense, the highs just a little more soaring. But these are minor grievances; the EP is a great listening experience from beginning to end and what it may lack in any capacity is made up for in sheer originality. An Escape from Electric Mountain, indeed.

Feed Me’s Escape From Electric Mountain is available now on Beatport.

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In advance of his first full-length effort I interviewed Alex Syse, aka Basic Physics, so that you guys might get a taste of the man behind some of 2011′s biggest and baddest blogosphere bootlegs. That’s often a dirty word – bootleg – in this industry. It usually connotes a lack of originality, and almost invariably a lack of production quality.

But Alex is breaking that mould, and constantly pushing the talent behind his very popular work forward. In just a year, he’s come from receiving over a hundred thousand plays on his Ghost on a G6 mashup to releasing a 16-track album loaded with both originals – a big step – and the quality bootlegs we’ve grown used to. I’m taking my first listen now, and I’m impressed. There was obviously a ton of care and attention to detail that went in to this album.

Download the full album for free at the bottom of the interview, and support Basic Physics on Facebook.

Cal: A/S/L?

Alex: Alex Syse, The Northwoods aka Minneapolis, Minnesota

Cal: What is your background in music? How were you trained?

Alex: From an early age, I was interested in how music was made. I had a brief stint with the piano, guitar, and drums in middle school but the simplicity of being limited to one instrument was always a turnoff to me. However, this helped lay a foundation to know what was in key, how to play certain notes, and how composition worked. After middle school, music took me on a journey from hip hop to jam bands (I saw Umphrey’s Mcgee nearly 100 times) to indie rock and finally electro. As college began in 2007, MSTRKRFT, Daft Punk, Justice, and Pretty Lights were in constant rotation on my iPod. After listening to countless electronic artists, it gave me the itch to dive into creating my own music. After acquiring Ableton Live, I began sifting through the manual and the whole trial and error process. It was during this time that Girl Talk was blowing up. I had the opportunity to see him at Summercamp in 2008 and that sparked my interest to not only listen to more mashup music, but create music of my own.

Cal: How would you describe the genre of music you make/perform?

Alex: The genre of music I create would be categorized as Electro / Hip Hop / Pop Mashup, but I don’t want people to be afraid of that word (“mashup”). Like all genres, the mashup game is saturated with lots of artists and various styles. When I’m producing a mashup, I want it to be big, memorable, worthy to be considered one of the best, and in most cases, should make you want to dance your ass off. Some people like to do it for fun. I want to do it for more than that.

Cal: In your opinion, which is the manliest instrument? (physical/virtual/corporeal)

Alex: The “Magic Pipe” that That 1 Guy uses during his live sets. (If you don’t know, get familiar!)

Cal: I noticed that there is a bunch of rocketship / space / blastoff type imagery and language surrounding the album launch – any particular reason?

Alex: The first album I released was “Nightlife in the Northwoods” in April of 2011. The goal with that project was to get my name out there. With the album titled “Lift Off”, I’m hoping it will do just that, lift off my career. I would like to think I’m one of the best in this genre and I hope that this album gets the attention of many. Besides taking my career up to different level, I thought it would be fun to run with the “Lift Off” concept. Apollo 13 was one of my favorite movies as a kid and once I found soundclips from the film, I had to use them! The album art, created by the great Joshua Bull, was his interpretation of “Lift Off” and I thought he did a phenomenal job.

Cal: How many tracks have you made which haven’t made their way on to the internet?

Alex: Roughly 20, including 3 original productions. Patience is critical when transitioning from mashups to originals.

Cal: So your name is Basic Physics – which of Newton’s laws is the best? Why?

Alex: Newton’s Third Law: To every action there is an equal and opposite reaction. I think this one is the easiest to understand so it is my favorite. Anything with an equation (Newton’s Second Law) is in a league of it’s own.

Cal: The genre-space you are making music in is competitive, wouldn’t you say? What do you think Basic Physics brings to the table that gives you a leg up on the competition?

Alex: Absolutely. The amount of mashup / DJs that have sprung up in the past year to year and a half is staggering. The emergence of a DJ being a “rockstar” has turned a lot of people on to EDM and producing in general. Since I started in the Spring of 2010, I have learned so much from a musical standpoint and a marketing standpoint (graduated with a Marketing degree this past December). At the end of the day though, my drive and passion to succeed in music will be my greatest attribute. I have so much more planned then just mashups and I can’t wait to release it to everyone.

Cal: Any goals for your production career that you’ve set? (short or long-term)

Alex: Transitioning to more remixes and originals is in the short term goals. I’m ready. As far as longer term goals, I would love to collaborate with some of my favorite producers down the road, get official support from some of those artists, climb the Beatport charts, meet Pete Tong, play at the likes of EDC, Ultra.

You’ve got to have a dream. If you don’t have a dream, how are you going to make it come true.

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An awesome new artist has crashed on the electronic scene. Going by the name Wick-It The Instigator, the Nashville native has just come out with an album comparable to the likes of Pretty Lights (consensus.)

This ingenius ensemble of mixes features music spanning genres and samples from notable Tarantino films, two of which lend their name to the album.

Featured hip-hop artists include the emerging Yelawolf and a veteran to the game Busta Rhymes, and many more!

Pulling from his roots in hip-hop/turntable music, Wick-It has fused some music from the recent developing electronic scene. He demonstrates his mixing skill in a remix of the the Motley Crue classic “Shout at The Devil”.

Wick-It The Instigator is definitely one to watch in the new year.

If you would like to download this album and anymore of his music check out his soundcloud.

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It’s only been one year since the birth of Edinburgh, UK-based netlabel Cut Records but their ninth release and first of 2012 is a rightful indication of Cut’s maturity. Founded by DJ/Producer/Designer DFRNT in January 2011, Cut plays host to an assemblage of upstart UK producers. Suave, chilled-out dub-techno with elements of UK garage is the predominant style found on the majority of Cut’s releases.

As I said above, Existance’s ‘Miles Apart EP’ is a strong indicator of how far Cut has progressed in the past year. ‘Miles Apart’ is one of Cut’s strongest releases thus far and the 3 tracks play like a cumulative statement of Cut’s catalogue. Leadoff track ”Miles Apart (Concepts)” is a gorgeous melange of deep-dubstep-influenced rhythms and downtempo ambience. “Uninhabited” and “Pelennor Fields” are rife with piano flourishes, reverberating synths, and breakbeat rhythms that owe more to Garage than Dubstep.

Aside from their fantastic music, something truly mature and admirable about Cut is their mission statement:

    “Cut is a netlabel providing free music with an emphasis on quality. Our aim is to                                                                                

show you that free music can be as valued and highly regarded as any other.” (via Bandcamp)

On the heels of the SOPA/PIPA shenanigans, this goal seems especially profound.

The Miles Apart EP is available as a ‘pay-what-you-want’ download on Cut’s Bandcamp:

Visit www.cutmusic.org for more brilliant Cut releases

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Still riding the success of last year’s magnificent LP ‘No Plans‘, Halifax native and progressive hip-hop producer Ryan Hemsworth has generously released upon us a brand new EP entitled ‘Kitsch Genius‘.

2011 was a big year for Mr. Hemsworth to say the least. He produced several tracks for the up-and-coming Green Ova rapper Shady Blaze, remixed the legendary ‘BasedGod’, and his instrumental LP ‘No Plans‘ even earned him a spot on Spin Magazine’s 20 Best R&B Albums of 2011 Feature (It’s described as electro-soul with an 8-bit Castlevania twist).

With the release of this new EP, 2012 is shaping up to be an extraordinary year for Hemsworth, quite possibly even more so than 2011. ‘Kitsch Genius‘ is a remarkable step forward for Hemsworth and his distinguished avant-hip hop production.

“Gucci Anthem” enters into some new territory with its house-like piano loop and stuttering beat centred around a Gucci Mane vocal sample. Similarly, “Faith In Something” lays a wash of gauzy synths overtop a Rick Ross vocal sample. It all makes for an intriguing listen and an oddly fascinating contrast between delicate kitsch and hip-hop swagger. As far as I’m concerned, Ryan Hemsworth is making some of the most innovative hip-hop this side of Clams Casino.

‘Kitsch Genius’ is available on Bandcamp as a ‘pay what you want’ download:

Bonus: if you haven’t heard these Shady Blaze tracks, they’re killer…

Shady Blaze – Dreamin’ (prod. by Ryan Hemsworth) by Ryan Hemsworth

Shady Blaze – No Fear (prod. Ryan Hemsworth) by Ryan Hemsworth

Shady Blaze – Celebration (prod. Ryan Hemsworth) by Ryan Hemsworth

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Bassnectar has been a staple in the North American dubstep scene for a few years now. Coming off of his 2011 album Divergent Spectrum comes the Divergent Spectrum Remix EP, featuring remixes by Steve Aoki, The Glitch Mob, Terravita, Beats Antique and Ill.Gates, plus an official release of Colour Storm. It’s up for free download from the Bassnectar website.

Even if it’s not the best remix on the EP, I think the Aoki remix on this release is one of the most important. It turns a bass-y track into an electro-house banger that you don’t often hear coming from a direction anywhere remotely close to Bassnectar. Otherwise, my personal favourite is the Glitch Mob remix of Heads Up; it’s got a great chiptune opening and an awesomely unique bass sound.

The entire album is available for download here.

Bassnectar – Heads Up (The Glitch Mob Remix) – Free DL by The Glitch Mob

[FREE DL] – Voodoo (ill.Gates + Bassnectar Remix) by ill.Gates

Bassnectar – Upside Down (Terravita and Bassnectar Remix) – FREE 320 DOWNLOAD! by TERRAVITA

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Skrillex is back with his third EP (I don’t count More Monsters and Sprites, it was just remixes ), and without a doubt, he brought his A game. It’s a seven track EP, each stuffed to the gills with pure Skrillex amazingness. Sonny Moore’s production is utterly unique; a totally distinctive style that occasionally avoids transitions altogether, preferring to just smack you in the face with his instantly recognizable distorted wobble bass.

Even though we all know exactly what to expect from Skrillex he still manages to be innovative. The first track on the EP is proof of that. “Right In” is quintessential Skrillex. His bass sounds just like we expect it to, and the drops happen right where we know they will. It’s fantastic.

The second track carries the title of the EP, “Bangarang”. It’s a strong showing, and demonstrates Skrillex’s more glitchy side, a-la-Scary Monsters. With plenty of sirens and scary hamster voices, it’s a fun time.

The third song on the EP is entitled “Breakn’ a Sweat”. With a slower beat and time signature, it demonstrates a new side to Skrillex. Gone are the fast tempos and wild progressions, but he manages to retain all of the energy. The song is raw emotion, a slow and catchy tune with beautiful layering and unbelievable workmanship.

The Devil’s Den, the next track on the EP, feels a bit more unpolished. It’s still very well made, don’t get me wrong, but there’s less passion. It incorporates a Moombahton tempo and offbeat synths, but it felt a little cookie-cutter electro to me. Meh.

Speaking of Moombahton, the next track on the EP is Right On Time. I actually thought for a second that my iTunes had somehow jumped me into Dillon Francis. This song is nuts. The tempo speeds up, then slows down, then the music cuts out, then a guy talks to you, then it speeds up again, eventually turning into a synth that, again, sounded just like Dillon Francis. I was a bit confused.

It was during the next song, Kyoto, that I realized that the fact that he sounded like Dillon Francis was a great thing.  He has successfully created a hybrid between drops the size of Mt. Everest and synths that could calm Godzilla (maybe that’s why this song is called Kyoto). He throws in a hip/hop beat and turns it one of the most interesting tracks I’ve listened to in a long time.

The EP is finished off by a track called Summit, featuring Ellie Goulding. One of the best voices for EDM, paired with the unrivaled king of vocal rendering. I was shaking a bit as I hit play. Immediately, you notice that it sounds nothing like Skrillex. It’s an electro house tune, without a doubt. Mellow bass and Major chord progressions blend together with Ellie Goulding’s melodic voice to create a relaxing and amazingly balanced work of art. I ended up listening to it on repeat four times in a row.

In total, I think he did a great job. With a lot of pressure to deliver, and after a mediocre remix of Levels (sorry, it’s true), Sonny definitely had to nail this one. And nail it he did.

>>>>>>>>>>Check it on Beatport<<<<<<<<<

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Mickey Moonlight is one of today’s most eccentric Electro producers. The British Ed Banger constituent has released two EPs to date, and likes to describe his music as ‘Science Fiction Exotica’. After a period of honing his production, and earning himself a little name recognition, the time is ripe for Moonlight’s grand expedition. With the help of his Time Axis Manipulation Corporation, Mickey Moonlight takes his listener on a journey to a wonderful, sometimes chilling future, full of Love-Bots, DNA ‘perfection’, and intergalactic travel.

The album is not a technical masterpiece, but rather, it’s a conceptual pleasure in its boundless idiosyncrasy and variety. From Sub-Saharan Mali, Moonlight alludes to ethnic Dogon mythology of extraterrestrials surfacing from the landed spacecraft Pelu Tolo (a shortened sample from his most recent EP).  Moonlight evokes the vintage synthesis of Vangelis’s Blade Runner soundtrack – with a sanguine and haunting atmosphere during the Trans-friendly opener ‘Welcome Aboard’, and with deep hanging synths, and distant distorted distopian ambiance in ‘A Big Ship Passing’. ‘We’ll Meet Again’, with vocals from Marina Gasolina, is a welcome return home with its downtempo funk; otherwise, Moonlight seems to keep his listener in strange and foreign places.

In more typical Ed Rec fashion, ‘Diamonds in the Mind of Talula’ is the album’s standard post-Daft Punk fare, providing The TAM Corp’s most introspective sounds with its emotional piano chords and soft synth arpeggios. Diamonds’ thoughtfulness isn’t all that long lived however, as Mickey decides two tracks later to indulge in the kitsch-psych melodies of ‘Buckaroo Banzai’. That’s alright though – by then, he’s earned the right to let his peculiarity fully realize itself.

While there’s probably insufficient evidence to conclude that Mickey Moonlight produced this album during an acid-induced road trip from Accra to Niamey, with an Isaac Asimov reincarnate as companion, I think it’s fair not to rule it out as a possibility. Mickey Moonlight has stated that he had to cut many tracks from the final album, and that he looks forward to releasing more material in the not-too-distant future. I imagine his being able to transcend time and all would probably make that an easy timeline to manage.

Mickey Moonlight and the Time Axis Manipulation Corporation is available now on iTunes from Ed Banger Records.

Mickey Moonlight – This Son by edbangerrecords

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Knife Party is a rising powerhouse in the world of EDM. Their beats hit hard, and their energy is wild. The group consists of Rob Swire and Gareth McGrillen, two of the members of Pendulum, who draw heavily on their drum and bass background for epic grime. They’ve been a force on the remix scene for a few months, but everyone has been looking forward to the release of their first EP. And it has finally arrived. Be excited.

They hit you right away with a Major Lazer-esque intro, which is fitting, seeing as the first track is entitled Destroy Them With Lazers. You know immediately that the song isn’t going to be anything melodic or even remotely subtle. Which is a nice break from Levels, believe me. With only a light synth to accompany the unbelievable grime, the solid and repetitious beat drags you along for the ride. It’s a strong beginning, but the best is yet to come.

The second song on the EP is called Fire Hive, a methodical, brain-squashing piece of art. It encompasses everything a drumstep song could ever ask for, syncopated chords, sirens, catchy chord progressions, and of course, floor-shaking bass. Classic dubstep wobble and 8-bit melody are combined for a great song that will possibly demolish your eardrums.

Here’s where it gets weird; the third track on the EP, Internet Friends. A bizarre and slightly hilarious script is recited throughout the entire song, talking about being in love with you, and eventually threatening to kill you. Despite the slightly disconcerting robotic voice, the song is actually quite fun, with unique sampling choices and horror-movie build ups to the numerous drops.

The last song on the EP brings it back down a couple of notches. Called Tourniquet, it’s a solid Mord Fustang-ish electro tune. Probably the easiest to listen to of any of the four tracks, it has a four-on-the-floor beat with nicely mastered synths and a real sense of completion, with a distinct beginning, middle, and end.

All in all, I think that it’s a quite impressive showing, displaying quality production skills and an obvious sense of fun. Taking into account that Knife Party is only a side-project for two guys who have already attained super stardom, I’m thoroughly pleased.

Knife Party – Destroy Them With Lazers by Knife Party
Knife Party – Fire Hive by Knife Party
Knife Party – Internet Friends by Knife Party
Knife Party – Tourniquet by Knife Party

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Here’s one for the history books!

The brilliant minds of Leo Wyndham, Chris Marigold, and Michael Tognarelli a.k.a. Blu Mar Ten have delivered their magnum opus, Love is the Devil.

I know it’s been about a month since ‘Love is the Devil’ a.k.a. LITD was released (an eternity in blog years!) but come on, how often does one really get to spend time with an album these days? Sometimes, the constant flow of new music can get a bit overwhelming. That’s why it felt right to really listen to this record over and over again….like really let it into your soul man, you know? Ahem, sorry that was my inner hippie speaking, excuse me.

Soooo…what was I saying? Oh yeah, This is the kind of record you want with you at all times. It is the perfect soundtrack to any usual walk down the street, late night bus ride, make-out sesh, or epiphany. Don’t let the sinister title and the mysterious white silhouettes on the cover fool you, this is by no means a “dark-sounding” album. “Love is the Devil” actually whimsical and charm-filled than you’d expect (Ah, now that questionable light-blue monochromatic colour scheme adorning the front cover makes much more sense).

The one-two punch of “Five Summers” and “High Hopes” is where this is most distinct. “Five Summers” is the poppiest Blu Mar Ten song to date but its crunchy beats and sugary sweet synth are so delicious, you won’t be able to resist. In contrast, tracks like “Made In London”, “Problem Child”, and “Love is the Devil” explore a much more shadowy realm of electronica. “Made In London” consists of  skittering rhythms, ominous bass, and a syncopated vocal sample, repeating just the word “jungle”. Hey, I never said that this was gonna be all rainbows and unicorns.

Love is the Devil contains some of Blu Mar Ten’s most accessible work and (dare I say it?) has mad crossover appeal. Although, whether it will actually cross over is another question altogether. However, simply because Love is the Devil is somewhat more “accessible” than their previous work does not mean that the boys of Blu Mar Ten have lost any credibility. I mean who even cares about “accessibility” in the underground electronic music scene anyways? No, Blu Mar Ten have maintained their aura of mystique while  staying true to their roots in D&B. LITD finds the trio broadening their spectrum, tinkering with a traditional D’n'B style, and exploring a dark yet airy realm of IDM and electro.

Another aspect of LITD that sets it apart from most other electronic releases this year is its length. With 18 tracks and a runtime of 1 hour and 37 minutes, there’s quite a bit of material to cover. It’s not often that an artist can produce a well-done and consistent 18-track album but Blu Mat Ten pulls it off. Nothing feels like filler on LITD and all the songs flow together neatly. The collaborations give the album a pinch of  added flair and variation.

I’m a real sucker for any electronic music with skin-crawling female vocals (a la Portishead, Bjork, The Knife). So, you can bet I was excited when I heard “The Fourth” (featuring Jennie Potts), “Whisper” (featuring Kirsty Hawkshaw), and “Sweet Little Supernova” (featuring Rochelle Parker) for the first time. Personally, I found those 3 tracks really struck a chord with me. I’m sure they will with you, as well.  

On collaborations with fellow electronic producers Airwalker, INtrepid, Stray, and InsideInfo it is evident that both artists are on the same level and they complement each other well. The production is crisp, clean and precise; nothing sounds out of place.

Aside from a technical standpoint though, the songs are pure emotion and spirit. They can make you feel sad or glad… love or the devil! It most certainly has its fair share of highs and lows, stops and turns, feelings and sounds. It’s a lot of material to get through but its really quite rewarding once you’ve given it an in-depth listen from start to finish.

You might even be a little bit sad that it’s over.

I mean, Love is the Devil is just like life, in a sense, with all its mystery, jubilation, melancholy, and unexpected turns. Looking back, there is beauty and sadness, love and evil but you find that is was all worthwhile (at least we hope so!). Don’t worry, you’re life (probably) isn’t ending any time soon. However, heed my words of existential wisdom: joy is found in the journey, not in the destination. Think about that.

(Side Note: Those aren’t actually my words, I’m paraphrasing what many scholars and academics have said) and I apologize for getting all “hippie” on you guys again. OK OK enough talking; just freakin’ listen to this thing!:

Blu Mar Ten – Love is the Devil (Out now on vinyl, CD & MP3) by Blu Mar Ten  

You can purchase Love is the Devil at:

• blu-mar-ten.com
• iTunes

Or follow them on:

• Soundcloud
• Facebook
• Twitter
• Youtube

Look out for Love is the Devil on my upcoming ‘Best Electronic Releases of 2011′ Feature

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