Atjazz and long time vocalist Clyde, drop their new single “Please You”. The single is a laid back subtle dance floor track that really simmers and gets your feet moving, one foot at a time. It’s crazy how closely Clyde’s voice resembles Pharrel Williams of NERD. In fact, the track sounds like a spacey deep house version of a track that NERD would have made. Atjazz does what he does best, producing a simple but lush deep house dance track, while also producing a memorable “song”.
The single features a remix by Garcy Noise, and Om’s very own Rob G.
Drop this joint and watch the girls do the dance floor shuffle.
Digital Pre-Release Exclusive @ Traxsource.com. Click Here To Purchase.
Listen To Atjazz Feat. Clyde “Please You”
Posted by: g.win on November 24, 2009 @ 7:15 PM
Posted in: Music
It’s been a month full of surprises (Read “GA Join Om”)! Ready for another one? We have a new single from Radio Slave!!!!!
No matter what sounds you profess to be your dance music of choice, chances are that at some point over the last five years, you will have gotten your rocks off to Matt EdwardsAKARadio Slave. In that time Matt has remixed countless tunes for an incredibly-wide selection of notable labels. To boot, his touring schedule must be almost painful. So it was with great pleasure that Om was able to enlist his talents to compose a tune especially for our 15 Year Anniversary compilation.
To cut straight to the chase, “Orchestrating Maneuvers In The Dark” is a rhythmic deep tribal techno groove – obscure, dissident and crunchy – with a breakdown that dissolves into thin air – only to strangely and magnificently re-materialize into his funk-induced groove.
The single comes compete with an amazing reinterpretation from Mike Monday (Om, Great Stuff, Simple), a super-deep mix from Seth Troxler (Ghostly International) + Ryan Crosson (Wolf + Lamb, Spectral, Crosstown Rebels, Trapez) and a clubbed up version from Om’s own Al Velilla. The digital package includes a mix from Frankfurt up-and-comer M.in, who teamed up with the legendary Patrick Lindsey to create a bumpin funky tech rework.
“Sounds great def something I would play!” – Pete Tong
“Super” – Tiefschwarz
“Great track! would love to play this out!” – Laurent Garnier
“Great remix!” – Luke Solomon
“Wow! what a suprise from om records and it’s good too! will support.” – Stacey Pullen
“Right up my alley, obscure, dissident and crunchy..nice one!” – Osunlade
“Love It” – The Scrumfrog
The fall of the Berlin Wall marked its 20-year anniversary about a week ago. A year after the fall, Andre Lodemann, born in a small city in the GDR, picked up his first set of turntables.
Over the past nineteen years Lodemann has made a big name for himself in the Berlin music scene. This Om Podcast features some of his excellence, and given the context of Lodemann’s history, it’s really damn unique. If you’re pressed for time, listen to the first eight minutes of this minimally dark, sonically emotional awesomeness!
If you’re into those adjectives, then you’ll probably want to listen to the whole thing.
If you haven’t yet heard the new track from Amplive’s solo album, Murder at the Discotek, coming out next year, then step yo game up. For those who have been livin’ under a rock for the past month, check out the video for Gary is a Robot featuring Trackademicks and Mr. Micro. This little dittie has been blowing up on Al Gore’s interweb as of late, and for good reason. Beyond the pretty hilarious shots at Kanye and the auto-tune phase (which the track actually incorporates to great effect), Amp gives his usually perfect blend of unique beat patterns and catchy synth lines.
The running theme of auto-tune and those who follow that trend is widespread throughout the track. Trackademicks’ verse is all about being a leader not a follower in the game, and its clear that they view the current use of atuo-tune as a detriment to hip-hop as opposed to taking it to new heights like Kanye would like to believe .
The video itself is actually really creatively shot. Gary the robot is featured trying to find his place in the cool crowd, imitating the various trends he sees at parties and hip spots. From his trendy Kanye sunglasses to the BBC windbreaker, Gary steps his game up like a pro, illustrating the problems with hip-hop that Trackademicks and Mr. Micro allude to.
Be original. Don’t conform. Now, check out the video here .
Posted by: admin on November 8, 2009 @ 10:01 PM
Posted in: Music
Check out this funky DJ Platurn clip pitting Dennis Edwards & Siedah Garrett Vs. DJ Nu-Mark with “Imagine Not Looking Any Further.” This track takes Edwards’ and Garrett’s smooth vocals and matches it to DJ Nu-Mark’s instrumental take on the classic John Lennon song “Imagine” to create a fresh jam with something to offer everyone from Beatles enthusiasts to smooth jazz cats to r&b lovers. Plus, the video offers some unintentional comedy with Edwards old school jheri curl and Garrett’s sultry dance moves.
One of the best live sets we saw this summer was by Los Angeles hip-hop duo People Under the Stairs, whose energy transformed a muddy Bonnaroo Day into a wild house party with jumping bass and MCs Thes One and Double K’s dope rhymes about — what else? — smoking weed and drinking booze!
The duo’s set drew a larger crowd than hot indie acts like Passion Pit and Janelle Monáe. But to most music fans, they remain an underground obscurity.
That’s beginning to change with their latest release, Carried Away. Download one of the album’s best tracks, “Step Off.” Check out the rest of this feature and get your free download at spin.com.
People Under the Stairs at Bonnaroo / PHOTO BY Michael Didyoung.
Posted by: Guest Blogger on November 4, 2009 @ 4:00 PM
Posted in: Music
Funky, spacey, minimal, and continuous; this SPIRITCATCHER mix is perfect for a Friday night chill out session. SO pour yourself a glass of wine, maybe a few glasses, get on the couch, if you have a couch, and just CHILLOUT. Let those subtle elements come together, build, and fall apart over and over again, until you feel good. The only thing is… if you’re trying to keep yourself inside for the night, best avoid the last seven minutes, because it will surely inspire you to go out and live it up.
SPIRITCATCHER is pretty notorious for insane sets (check their myspace) where they do a lot of live, musical processing. This mix, entitled “Missing Danger”, definitely captures a lot of their unique space flashes and funky undertones, but it’s a lot more relaxed than in your face, which is often times a good thing. Thanks for the mix SPIRITCATCHER!
Yes, it’s true, now’s your chance to get your paws on a PUTS & Billy Dee Williams 45! The good peeps at Colt 45 hooked up our happy panda with 50 copies…
Be one of the first 50 to go to om-records.com.and buy a copy of ‘Carried Away’ on heavyweight audiophile double vinyl, and the ‘Beer’ 45" is yours for FREE (courtesy of Colt 45).
Pick it up, pick it up HERE.
Check out the gate-fold board game!!!
Posted by: Gunnar Hissam on October 29, 2009 @ 3:01 PM
Posted in: Music
If you attended this year’s Lollapalooza Festival in Chicago, there was one performance that had folks talking — and it wasn’t the helicopter shining a spotlight on the crowd during Jane’s Addiction’s first song. Rather, it was the set by Lorin Ashton, aka Bassnectar, the socially conscious hero of the growing bass-heavy electronic sub-genre that is currently captivating American audiences. Lit by a mutant cascade of projections and LEDs, Ashton threw down a seismically rumbling set for the manic dancers who’d packed themselves elbow to elbow into “Perry’s” (aka the festival’s dance area) in order to catch one of the hottest names in dance music.
Playing to this capacity festival crowd represented a sort of mainstream coming-out party for the San Francisco-based producer, who began making music a decade ago in the city’s warehouse rave scene before going on to build a stellar reputation through decidedly underground networks like the hippified Burning Man community. But there’s nothing “jam band” about Bassnectar’s sound, a genreless mash-up of hip-hop, drum ’n’ bass, dub step, grindcore and just about any other music you can think of that focuses on the sounds found at the low end. In fact, Bassnectar — who just released Cozza Frenzy, his eighth full-length album — doesn’t even like jam bands, as he tells ShockHound in this exclusive interview.
SHOCKHOUND: People are struggling with your new album title, Cozza Frenzy. It’s meant to be pronounced “cause-a-frenzy,” but everyone keeps saying “coze-a-frenzy.”
BASSNECTAR: My tour manager was like, "name me one word where the single o is a soft aah.” and I’m like, “mom, pop, spot, pot…cozza.” But everyone wants to say cause a, and I don’t know how to help them. I don’t care. They can call the record Bob. I think names are semi-irrelevant.
SHOCKHOUND: What came first — the spelling, the word, the thought? Was it the song, the lyric, the album?
BASSNECTAR: I love spelling things phonetically. I’m not trying to be hyphy or something. Ever since I was a kid, I loved misspelling things the way they sound to me. I do it all day long, and it’s gotten worse since I’m texting all day, or on Twitter. The title is about constructing sound systems and how sound is a form of energy, in terms of how weight can effect the human body. One of my first musical influences was the Loma Prieta earthquake in 1989. That was the first time I sensed the sensation of sub-bass. I was in the car and my mom was yelling and trees were bending and the car bouncing around and I just feel this sensation. Ever since, I’ve been fascinated with the concept. It was also a response to a tour last year, when we did 48 nights and 45 were sold out, and it was just night after night of complete frenzy in these random towns where I would never have expected to visit, much less play on a Tuesday night. I guess that’s the meaning of the song.
So I’m taking this music class at U.C. Berkeley entitled AfroFuturism. We study the reoccurring themes of space, technology, and the future in African American music. We’ve looked at several artists who incorporate such ideas, everyone from Sun Ra to Earth Wind and Fire to Kanye West.
AmpLive (DJ half of Zion I) has so many of the themes we’ve talked about in class. Robots, space ships, and technology are all present in this tune Gary is a Robot. This is not the first time Amplive has brought space up; Zion I’s debut E.P. was called Starship!
One last note on philosophical content. The track starts off with a british voice saying “auto-tune activated”, which I think is great. Many people caste auto-tune off as an excuse for poor vocal qualities. I think there is much more forethought that goes into using auto-tune (not all the time); there’s a deep history with using vocal changing technologies in African American music like the talk box and vocoder( I know kraftwerk are white Germans), and I think Amplive is saying something when he decided to use such technologies. What he’s getting at I’ll leave to you.
Okay, besides the philosophical content (which I think everyone should delve into), Gary is a Robot is ridiculously catchy and well produced. All the synths and drums chosen are perfect, and despite some of the darkness in the vocals, i’’s a real upper track. I will definitely be running to this and/or forcing it into whatever car happens to be taking me across the bride tonight.
There are also some awesome remixes that you can pick up at turntablelab.com. Trust me, this is a fine addition to your collection, and perfect to drop at your halloween party.
The remix single features remix work from James Curd, Grand Theft Auto, Al Velilla, and one of my favorites is the Blu Jemz.
Purchase Amp Live Feat. Trackademicks “Gary Is A Robot (The Remixes)” At Turntablelab.com
Listen To Amp Live Feat. Trackademicks “Gary is A Robot (Al Velilla Remix)”
Posted by: Intern #1 on October 26, 2009 @ 1:39 PM
Posted in: Music