Posted on 29 July 2010
Last Saturday, Club Infinity hit the top floor of Santos Party House for their second edition of bass-driven musical talent and merriment. Carrying on the festivities that had begun with HARD on Governor’s Island earlier that evening, heat stricken music lovers came flooding in to revel in some heavy beats and cranked up air conditioning.
Kicking off the night’s event was Brooklyn’s own Dre Skull who warmed up the dance floor, building momentum to carry the crowd into Dave Nada’s set of “Moombahton” tunes. While most dance music producers take tunes and speed them up in their sets, Moonbahton essentially takes Dutch house and screws it down to create an almost reggaeton inspired sound. While this might sound strange in words, the aural translation is anything but, as evidenced by the incredible reception from the packed dancefloor. Popular tracks like The Crystal Method’s “Block Rockin’ Beats” and A-Trak’s remix of the Yeah Yeah Yeah’s “Head Will Roll” were reworked and slowed to 110bpm, blending seamlessly in to one another to create a fluid yet eclectic set of dance music.
Hitting the decks after Dave Nada was Kingdom, bringing in more Latin and Hip-Hop inspired rhythms to his set. After he started breaking into Juke tunes at around 3am, pure madness broke out as the stage suddenly became an impromptu block party, with a crew of dancers breaking out some serious footwork and party-goers in full costume pumping their fists and busting moves. Finally, Los Angeles’ Nguzunguzu made an appearance as a surprise guest after spinning at HARD earlier that evening, taking over Santos just as the party hit it’s peak at around 4am. With this caliber line-up, special guests, and energy from the crowd, we look forward to seeing what Club Infinity will bring us next time around!
Posted in DJ, Live Music, Local Flavor
Posted on 28 July 2010
This Friday, July 30th, Webster Hall will be sculpted into bass heaven with Nero and Gaslamp Killer, while our favorite NYC trio, Ayres, Catchdubs and Jubilee, bring their flashing lights rave goodness to the stage. This is one not to be missed, period.
Last time we caught the mother fucking Gaslamp Killer, he delivered an epic sermon of cosmic bass that melted our brains in Brooklyn. Vaulting hip-hop into another dimension, GLK’s eccentrically dizzy dj sets wrap riddims around your soul while his hair keeps up the tempo. Have a listen to this mixtape from last year which Flying Lotus tells us is his first glimpse into the mind of GLK.
The Gaslamp Killer – Brainfeeder Podcast [Download]
Nero brings their internally bruising drum & bass and dubstep riddims straight across the pond to damage your ear drums. Remixing eveyrone from The Streets to Beyonce, these boys are poised to bring out the bassface in everyone. Check out one of the their hugest anthems from this year…
Nero – Innocence
The Flashing Lights crew needs no introduction. Let their latest mix do all the talking…
Flashing Lights Mix #6
FREE BEFORE MIDNIGHT WITH RSVP - CLICK HERE
ADVANCE TICKETS - CLICK HERE
Posted in DJ, Downloads, Events, HiFi Cartel, Local Flavor, Mixes, Music News
Posted on 27 July 2010
The U.K. society of bass stretches far beyond the bounds of audible range; one can rummage through countless tunes, sub-genres and genres until the brain just shuts down from low-frequency exhaustion. It’s a fruitful time for sure, as we have artists like Mount Kimbie providing a sound that’s so natural and so organic to their musical climate that people get drawn in and never come out thinking about music the same way. The duo of Dom Maker and Kai Campos have been releasing tunes since 2008, forging a relationship with the bass community and beyond. Their most well-known tune, “Maybes”, stunned people from every continent and proved that Mount Kimbie was a sound that wasn’t particularly stuck to one genre. Dark, inviting and enticing all at once, they continued to make tunes, unassuming of the hype that would build up towards their first album release. Enter July 2010, and Hotflush Recordings have graced us with one of the best albums of the year so far, Crooks & Lovers, an enduring journey that’s more than what one would expect from up-and-coming electronic producers.
The album starts off with a tone that’s similar to a train leaving the station in a hurry but then is taken over by a guitar and a child-like vocal sample. “Tunnelvision” is the starter that pretty much sets the table for the journey one takes in listening, as chopped and filtered percussion go between synth notes, guitar notes and vocals (presumably from Kimbie collaborator James Blake). The next tune takes the familiar tonality of previous Kimbie records and spins it into a grainy, dissipating struggle between ambience and notation. Cut-up samples, plopped bass tones and a rhythm that stays in your head for ages, “Would Know” is a perfect trip between positive and negative energies that lead to an ultimately satisfactory purgatory of cloudiness. The next few tracks, “Before I Move Off” and “Blind Night Errand” find a light in the cloudiness, providing contrasting ideas within their audible context but ultimately leading to the gorgeousness of the guitar chords of “Adriatic”. A simplistic tunes of minimal electronics, guitar, handclaps and somewhat-satisfying scat vocals, the short and sweet tune provides a look beyond bass for the duo and more towards the aspect that the Kimbie boys are songwriters and not just producers.
The next track is undeniably a bumpin’ one; “Carbonated” is similar to what you would hear on the intelligent and welcoming dancefloors of London town, expecting invigorating rhythms and cut-up RnB vocal samples. The chords, lush and lamenting, sound like the doing of James Blake, who we don’t know had officially worked on this album. No matter, because it’s a great tune that finds ways to tug at the heartstrings and provide a beat amongst its doing. Again, the next two tracks are complete contrasts of one another; “Ruby” being a dark and dusty walk amongst town drones and “Ode to Bear” being a tale of a long night, being a bit chipper in the beginning and going closer to the grain of bass-filled blues by the end of tune. The following tune might be the most intriguing on the record, as “Field” is a journey that must’ve taken place during an acid trip gone wrong, waiting for it to disperse and longing for a clear-headed viewpoint. Once the madness disperses, the guitar comes out to hopefully shake off the chemically-induced cobwebs and look towards the sun and start the day fresh once again. The final two tracks, “Mayor” and “Between Time” follow the formula of the record, be drastically different. The former, is a bouncy affair between keyboard jumpiness and high-pitched vocal cuts and bumping bass, with the occasional strike of a modular synth in the mix. “Between Time” is the excellent closer of the record, depicting the long journey back from a night on the town, whether it be the moody vocals or bass tones that will make you want to revisit Unknown Pleasures, it’s the perfect way to close out a record that’s full of everything one could expect.
While Crooks & Lovers isn’t close to a perfect record, it’s nothing short of a brilliant debut for Mount Kimbie. Alluding to their love of indie bands, hip-hop and current U.K. bass music, the duo invites us to the world of London from the eyes and ears of people, places and things they hold dear. Honest, humbling and heart-warming at times, Crooks & Lovers is an essential record to pick up in 2010.
Stream “Mayor” below and make sure you check them out October 1st at The Bunker in Brooklyn.
Mount Kimbie – Mayor
Posted in New Music, Review, Up & Coming
Posted on 25 July 2010
Hailing from far-off Melbourne, Australia, Andrew Szekeres, Vincent Vendetta and Daniel Stricker, otherwise known as the Midnight Juggernauts, shook the stage of Santos Party House for another outstanding event courtesy of Fixed this past Thursday with their energetic performance of live instrumental dance music. They were joined on stage by HEALTH, who warmed up the expectant crowd, anxious to get their feet moving and heads bobbing.
In a triumphant exhibition of musical exuberance, the Aussies performed using a range of instruments with each band member utilizing multiple tools. These included (among others) multiple sets of drums and keyboards, drum machines, bass and vocals, thereby creating the hybrid sound of electronic experimental rock music they are so known for. Showcasing both material from their new album like their single “Vital Signs” as well as old favorites such as “Road to Recovery”, the Midnight Juggernauts managed to communicate to both old fans and those just tuning in. Parallel to the vivacity of the music was the energy of the artists themselves ebbing and flowing with that of the crowd, which had been reduced to one big heaving mess of sweat by the end of the show.
Hot off the May 28 release of their second full length album, The Crystal Axis, the Midnight Juggernauts rolled through New York City as part of their ongoing tour, which is set to continue to California, head back to their motherland, and finally cross the pond to take on the United Kingdom. Check out out the full list of coming tour dates on their Myspace.
CLICK HERE to check out the full photo gallery, and stay tuned to see what exciting talent the Fixed crew sends our way next!
Posted in Concerts, Live Music, Photo Gallery
Posted on 24 July 2010
The video for “I Am Europe”, the lead single from Chilly Gonzales’ highly-anticipated upcoming album, Ivory Tower, hit the interwebs yesterday, giving us an exciting glimpse of Gonzales’ collaboration with DJ/producer Boys Noize. The seemingly unlikely partnership has spawned a truly unique sound, blending Gonzales’ piano playing and trademark spoken word with a stripped-down version of Boys Noize’s electro beats.
Click through to watch the video, which not only has a fantastic concept, but also features a hilarious appearance by Tiga.
Posted in DJ, Music News, New Music, Video
Posted on 23 July 2010
Just in time to close out the outdoor concert season, Virgin Mobile FreeFest 2010 will take over Merriweather Post Pavilion on September 25. In addition to the two main stages, which will feature Thievery Corporation, LCD Soundsystem, M.I.A., Matt & Kim, and others, the festival will also include a “Dance Forest” soundtracked by Chromeo, Sleigh Bells, Neon Indian, Modeselektor and Die Antwoord. As if that weren’t enough, Trombone Shorty (featured on HBO’s Treme) will lead a second line march from stage to stage, a unique tradition from his hometown of New Orleans.
Not only is the line-up out-of-this-world awesome, the show is also free. Yes, free. So start buttering up your friends with cars because this mini-festival is worth the trip.
Tickets go “on free” Saturday, July 24 at 10 AM on Ticketfly, who is waiving all service fees for the occasion. If you miss out on the free tickets, Virgin Mobile is offering up a limited set of premium tickets, which gives access to pavilion seating. As an added bonus, Rusko has produced a mini mix featuring many of the artists on the line-up, which is available for $5. Proceeds from premium ticket sales and the mini mix will be donated to charities supporting homeless youth.
Posted on 22 July 2010
With vocals by M.I.A. and Collie Buddz, and remixes from Thom Yorke, Buraka Som Sistema, Kicks Like a Mule (KLAM) and others, the latest EP from Major Lazer, Lazers Never Die, highlights the great dynamics between DJs/producers Switch and Diplo. Five tracks in all, these songs are busy and unlike the riddim vibes of their 2009 release, Guns Don’t Kill People, Lazers Do. For $4.95 we’d say Lazers Never Die is a pretty good deal, but nothing beats a free sample - click here to stream the EP on Myspace.
Click through for the track list and a video-teaser for the album.
Posted on 21 July 2010
Last Saturday, The Creators Project held their second of five global events at the Victoria House in London. The exhibitions, screenings and panels were open to the public during the day from 12 PM – 6 PM, followed by a private party in the evening, which featured an array of musical performances and DJ sets from 9 PM – 3 AM.
Posted in Art, DJ, Events, Extracurricular, Film, Live Music, Photo Gallery, Travel
Posted on 19 July 2010
This is the one we’ve been waiting for all summer, Breakage and Zombie Disco Squad join our Trouble & Bass family at Santos Party House, Thursday July 29th! We of course have you covered with all sorts of free goodies, check below…
After seeing Breakage tear down the White Room at the Winter Music Conference and most recently at Fabric in London, it is clear why his critically acclaimed album, Foundation, is such a great success. This man continues to switch up styles with production layers uniquely ranging from jungle roots to drum & bass while fusing bits of dub and ragga into your bass vein. If you are still not convinced, have a listen to his outstanding Essential Mix from January below.
Breakage Essential Mix 1.5.10 [Download]
London natives Lucas Hunter and Nat Self of Zombie Disco Squad push house music into new dimensions bringing a fresh perspective to a worn out genre. Taking cues from African rhythms, Balie Funk, hip-hop, tech and fidget house, these boys throw one hell of a party. Check out the mix below they made for Diesel Japan and if you are craving more like we are, be sure to visit their mix page for a whole slew of listening pleasure.
We have a very special contest set up for HiFi readers. Two tickets for the show plus your very own Mishka x Trouble & Bass shirt. And wait, we also have a limited 7″ from Drop the Lime’s side project Bad Lupo Grande. To enter the contest through our website, fill in all fields below and click “Enter Contest”. It’s one entry per person, but you can double your chances of winning by sending THIS MESSAGE via Twitter. You must be following both @HiFiCartel and @Troubleandbass to be eligible to win. The contest will close on Tuesday, July 27th at midnight. Advanced tickets are $10 HERE…Good Luck!
Posted in DJ, Downloads, Events, HiFi Cartel, Local Flavor, Mixes
Posted on 19 July 2010
On Saturday night, Le Poisson Rouge hosted France’s Deep Forest, who gave their New York City debut performance to a crowd of enamored fans, most of whom seemed nothing short of absolutely thrilled for the opportunity to experience the innovative electronic world music in a live setting. Many spectators had clearly been in tune with the sounds of Deep Forest for many years, recognizing almost every song and grooving enthusiastically at all the right moments, creating an infectious energy of joy and reunion akin to the feeling of visiting visiting a dear old friend.
Spirits were high amongst audience members, as frontman Eric Mouquet announced his intention to primarily cover old material, particularly from their self-titled debut album. They opened appropriately with the title track off Deep Forest, following with many other iconic tracks, including “Endangered Species”, “Madzulu”, and “Sweet Lullaby”, keeping their focus primarily on material based on African indigenous rhythms and samples, with a brief foray into Eastern European culture with “Cafe Europa”. Rather than continuously playing tracks back to back, transitions between songs were marked by an introduction on the part of Eric Mouquet, who provided a brief background and explanation for each coming track. This, along with significant alteration of the lighting scheme for each song, enabled the audience to truly appreciate each individual track as a work of art, and to focus on the complexities of the sound more actively.
Throughout the performance, a visual backdrop consisting of footage from life in Abidjan, Cote d’Ivoire, focused the eye as well as the ear on the performance. The footage was taken from a film scored by Eric Mouquet, to be released this winter. Check out his website for more information.
Ultimately, the experience was made enjoyable not only by the quality of the musicianship, but by the sheer joy that the artists themselves expressed on stage. Their appreciation for their music, for one another, and for the support of the audience made it impossible to not be swept into the feeling of elation, leaving the crowd begging for just one more song after the end of the encore.