Musique Non Stop - Jazz, Funk, Soul, Broken Beat, Electro, Electronic, Funk / Nu Disco, NU Jazz, House, Techno, Ambient, Lo-Fi, Downtempo... and Many More!
One of our favorite Aussies has just written his main stage answer to the summer. The man, the myth Wax Motif has yet again created a monster; this soars into a buildup only to then let you flail across a grinding and winding bassline through the entire track. The cosmic-like breakdown then lets you catch your brain before then pushing you out into a melodic finish. Definitely worth the FREE download below….
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/31/free-download-wax-motif-astra/?utm_source=rss&utm_medium=rss&utm_campaign=free-download-wax-motif-astra
We first got wind of Tokimonsta when excellent Brighton bass label Donky Pitch booked her for a show at The Jazz Place in 2009. She appeared alongside fellow Mixmag favourite Slugabed as well as Blue Daisy and Ghost Mutt in what was a quality showcase of the burgeoning electronic hip hop scene. Her love of colourful, glitchy, gut-punching beat music was a surefire way to grab our attention and she soon went on to become one of Los Angeles' leading experimental producers, getting involved with the Low End Theory crew and releasing on Flying Lotus'Brainfeeder.
In Hour 2 Robin Hexstatic is in the mix celebrating 25 Years Of Solid Steel and a mix inspired by Clink Street in London. "Why?" you ask,.. Robin explains.,.."1988, 25 years ago, and the 'Summer Of Love' in London, little did I know how much this street would come to mean to me. An explosion of new music, new headspace, new ideas. The birth of Solid Steel on Kiss FM. It is highly coincidental that driving from the suburbs up to the infamous Clink street raves for the first time we were listening to that exact show on the radio. To Borough, and down a side street,… at the time nobody went to this area. You could park your car on a double yellow all weekend and not get a ticket. And so into Clink Street, the RIP nights, run by Mr C and his merry cohorts. The sound here was always a bit 'darker', heavier beats, stripped down music and decor, the strobe and smoke. This place was definitely about the dance,..you couldn't really hear anything but music and see anything but your hands in front of your face :) Evil Eddie and Kid Batchelor were my favourite DJ's at the time and I'm pretty sure Coldcut played there too? Little did I know. The Jungle Brothers even came down once to do a PA of 'I'll House You'. They looked pretty bemused. There's a video of it on Youtube somewhere, with Mark Moore jacking at the end. Skip forward nearly a decade of dance and I'm back in Clink street, Winchester Wharf, a few feet opposite Clink prison, at Ninja Tune HQ, talking to Matt Black about animations for their forthcoming album. Who'd have thought it. I spend a fantastic few years there and later teamed up with Stuart as Hexstatic, we hire our own studio in the building and embark on the task of making an AV album with a couple of pocket calculators. The building was great, full of music and arts people coming in and out all the time, (David Byrne and Jean-Jaques Perrey just dropped in once!) I was signed to a label, travelling and working with people who I greatly admired. I go past now and again. It's luxury flats and a bloody Starbucks now :( "
Solid Steel (31st May) This week we present irk's new High On Beats mix, an eclectic selection of high energy beats and synth sounds. We kick off with heavy beats from Posij, Two Fingers and Ital Tek, then transition in to a drum and bass section including RAM, Neosignal and a rowdy new Black Sun Empire / Foreign Beggars collaboration. Switching up the style, the second half of the mix sits in a 110bpm groove, with rolling sounds from Proxy, Photek and this year's Nickodemus refix, then finally closes out with Bonobo's hypnotic Don't Wait.
Crookers has kicked off his new MiniMix series just in time for summer, and after premiering Volume 1 with Billboard two weeks ago, he’s back already with another pumping half-hour featuring tunes from Kingdom, Justin Martin, Skream, and more. Crookers once again proves himself to be a true mixmaster…
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/30/crookers-releases-2nd-volume-of-new-minimix-series/?utm_source=rss&utm_medium=rss&utm_campaign=crookers-releases-2nd-volume-of-new-minimix-series
"Random Access Memories," the highly anticipated fourth studio album from Daft Punk, sold 339,000 copies in its first week, according to figures from Nielsen SoundScan. That was the group's best sales week to date.
Digital downloads of the album were approximately 65 percent of overall sales, with 221,000 copies downloaded.
Daft Punk, formed by childhood friends Thomas Bangalter, 38, and Guy-Manuel de Homem-Christo, 39, were at the forefront of electronic dance music in the 1990s, fusing synthesizers and computers to create music on hits such as "Around the World." Daft Punk became popular figures in the dance music field, known for wearing shiny helmets on stage and being elusive and unpredictable.
For the release of their latest album, they stayed away from big stages and instead launched it at a small music festival in the small Australian town of Wee Waa on May 17, which they themselves did not attend.
Our good buddy Ryan Lofty has taken quite a bit of time off from his busy schedule to encapsulate some of his favorite sounds perfect for the upcoming summer. He doesn’t stop there, almost every track in the mix is a slight edit of his own, putting his own signature touch on big room & prog house classics. This mix is not for the faint hearted nor the casual listen, so get ready to tear the walls down.
00:05:30 W&W – Lift Off vs. Mikkas, Amba Shepherd – Finally (Ryan Lofty Mashup)
00:09:22 David Guetta, Taped Rai – Just One Last Time (Hard Rock Sofa Big Room Mix) (Ryan Lofty Edit)
00:15:00 Charlie Darker & Paris & Simo – Cairo (Original Mix) (Ryan Lofty Edit)
00:20:15 Thomas Gold – MIAO (Original Mix) (Ryan Lofty Edit)
00:22:07 Joe Ghost – Are You Ready (Hardwell Rework)
00:23:07 Hardwell feat. Amba Shepherd – Apollo (Lucky Date Remix) (Ryan Lofty Edit)
00:26:07 Avicii vs. Nicky Romero – I Could Be the One (Didrick Remix) (Ryan Lofty Edit)
00:30:41 Emma Hewitt – Rewind (Mikkas Remix) vs. Starkillers, Dmitry KO, Amba Shepherd – Let The Love (Original Mix) (Ryan Lofty Mashup)
00:35:49 Emeli Sande – Next To Me (James Egbert Radio Edit)
00:39:49 Fedde le Grande – RAW (Original Mix)
00:41:34 Cazzette – Beam Me Up (Kill Mode Radio Edit)
00:44:53 Seven Lions – Fractals (Original Mix
00:46:49 R3hab, ZROQ – Skydrop (Original Mix)
00:48:19 OVERWERK – 12:30 (Original Mix)
00:50:28 Audien – Wayfarer (Original Mix)
00:52:43 Bassjackers & Dyro – Grid (Original Mix)
00:54:13 Usher – Scream (R3hab Remix)
00:55:56 Sander Van Doorn, Julian Jordan – Kangaroo (Original Mix) vs. Afrojack, Dimitri Vegas, Like Mike & Nervo – The Way We See The World (Tomorrowland Anthem Instrumental Mix)
00:58:28 TV Noise – Kill The Radio (Original Mix)
01:00:22 Hard Rock Sofa, Matisse, Sadko, Swanky Tunes – Turn The Flame Higher (Original Mix)
01:02:41 IYFFE – Jurassic (Original Mix) vs. Dead Battery – Forget Me (Original Mix) (Ryan Lofty Mashup)
01:06:40 Calvin Harris feat. Example – We’ll Be Coming Back (R3hab EDC NYC Remix)
01:09:40 Zedd feat. Foxes – Clarity (Moiz Remix) feat. vs Knife Party – Power Glove (Original Mix) (Ryan Lofty Mashup)
01:13:10 Tiesto & Allure – Pair of Dice (Original Mix)
01:16:10 Calvin Harris ft. Florence Welch vs. Wolfgang Gartner – Sweet Nothing (Disco Fries Bootleg Mashup)
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/30/ryan-lofty-summer-promo-mix/?utm_source=rss&utm_medium=rss&utm_campaign=ryan-lofty-summer-promo-mix
Bonobo and his band dropped by Maida Vale Studios to record four tracks for Gilles Peterson's BB6 Radio 6 Music form his new album 'The North Borders'.
I’ll leave it to our TO pal, Rynecologist, to explain this hilarious/actually very good free tune.
“In light of the recent ‘Crack Cocaine’ scandal Our Mayor Rob Ford has been associated with. I decided to produce this satirical track for this bizarre moment our great city of Toronto has been given. Enjoy!”
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/29/download-rynecologist-our-mayor/?utm_source=rss&utm_medium=rss&utm_campaign=download-rynecologist-our-mayor
Premiering here on GDD™ this morning is DC trio, Volta Bureau‘s, remix of our mate Goldroom‘s springtime tune featuring Mereki titled “Only You Can Show Me.” The original saw its release back in March on Vitalic Noise, and Volta Bureau have put together a great, funky rendition to switch up your tracklist for the summer. Grab it for free below.
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/29/gdd-download-premiere-goldroom-only-you-can-show-me-volta-bureau-remix/?utm_source=rss&utm_medium=rss&utm_campaign=gdd-download-premiere-goldroom-only-you-can-show-me-volta-bureau-remix
The background: Juveniles are a French duo releasing songs on Kitsuné, a label that has, historically, been so hip it requires a more hip word than hip to describe it. But they haven't got much to do with Daft Punk, even though French house has been invoked in some of their write-ups. Their music isn't very disco, filter or otherwise. No, it harks back further, to the earliest days of electronic dance music. Well, not the very earliest – we can't detect any of the influence of Pierre Boulez, nor much of John Cage. More than anyone, they sound like British synthpop from 1980-1, before it bisected into white funk and new romantic. Oddly, their forlorn melodies, sad even when they're at their most sprightly, recall OMD, and we say oddly because even the singer's nasal vocals, which are distinctly bunged-up, recall Andy McCluskey with catarrh, and he was from the Wirral.
Some have suggested they're a cross between New Order and the Smiths, and that would make them Electronic, who they don't really sound like at all, unless you count Some Distant Memory. Rather, they offer random access memories of, as we say, Maid of Orleans and Just Can't Get Enough, Joan of Arc and Leave in Silence. Their latest single, Strangers, gives good melancholy bounce, notwithstanding the entirely superfluous, but not unenjoyable, guitar solo. The song is apparently about comradeship among musicians, which hardly explains the video featuring the fire-breathing toy crocodile (it could be an alligator, we can't verify) wrapped round the woman's crotch.
Other tracks, hopefully available on their summer 2013 debut album, include Hard Working Girl, which has a euphoric rush even as it evokes nostalgia for a music that was itself nostalgic even when it had futurist intent. We Are Young, too, is wistful for an era that was already full of wist. Again, there's a guitar solo. Through the Night has a chorus that overwhelms. Ambitions, with its guitar slashes and speeding synths, is new wave synthpop. And Fantasy is the one with a remote connection to Gallic nu disco, with a verse that manages to be even catchier than the chorus, which says something about Juveniles' confidence, if not their commercial intelligence. Still, the busy, bustling keyboard-heavy mix and sense of restrained flamboyance do at least allow us to praise their use of everything plus the kitsch'n'synth.
The buzz: "Triumphant 80s bombast" – the Quietus.
The truth: And it's the early 80s – acid house revisited this is not.
Most likely to: Be hot this summer.
Least likely to: Be burned at the stake.
What to buy: Strangers is released by Kitsuné.
File next to: New Order, Depeche Mode, OMD, Yazoo.
Something Depeche Mode find surprising, singer Dave Gahan remarked at the start of their current tour, is that some of their fans are young. Evidently, he doesn't understand why teenagers would be thrilled by a band whose music is emotionally bloodied, with murky sexual and religious undercurrents. The handful of under-20s in tonight's crowd could have set him straight: why wouldn't they love a gig that splices techno's pulsating aloofness, the sonic attack of metal and gothic imagery?
Then there's Gahan himself, crossing the generational divide by being the least avuncular 51-year-old on the planet. His hair is greased back, his chest bare and his voice shot through with end-of-days gloom – a picture of pathos and seediness few other frontmen can touch. Though between songs he's all cheery whoops and waves, the persona is undeniably effective. The band would be greatly diminished without him, as proved by an interval when he disappears and guitarist Martin Gore takes centre-stage for Higher Love and When the Body Speaks. His reedy voice and leather skirt make Gore the tender, ambiguous side of the Depeche coin, but he's no Gahan as a frontman.
The purpose of their first tour in three years is to promote the album Delta Machine, which provides a fifth of tonight's setlist. The show starts with its opening tracks, Welcome to My World and Angel, two of their most austere songs in years. The minimalism is echoed by a stage set comprised of Andy Fletcher's drumkit, three keyboards – one played by Gore, the others by session musicians – and a screen displaying CGI graphics and footage of the band in undertakers' top hats and cloaks; it amounts to one of the most striking of 2013's big rock shows.
Roughly, it's a gig of two halves, the first defined by the heavy-hanging gloom of Black Celebration and Walking in My Shoes. They're experts at creating an unsettling atmosphere: even the clip of gooey-eyed dogs that accompanies Precious makes the skin creep. Part two turns up volume and tempo, epitomised by Personal Jesus, which oozes sleazily into life and becomes a sermon from the pulpit. It ends with the line, "Reach out and touch me," giving Gahan licence to fling his arms outward and play both preacher and messiah. The crowd duly reach out, but can't quite touch; you suspect both fans and Gahan enjoy it that way.
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After seeing him poolside in Miami this past March, I just can’t seem to dislike anything from Huxley. His latest endeavor is a remix for his fellow countryman, Joel Compass, who provides perfect club vocals that Huxley puts his ever-grooving stamp on. The release is forthcoming on the UK’s Black Butter Records, and the original from Joel will be accompanied by a very cool video out soon. √+
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/28/stream-joel-compass-fucked-up-huxley-remix/?utm_source=rss&utm_medium=rss&utm_campaign=stream-joel-compass-fucked-up-huxley-remix
Last year’s collab track “Shake & Bake” from Nom De Strip & Bones spread like wildfire after support from the likes of Diplo, Tommy Trash and Chris Lake helped skyrocket its exposure – so far as to catch the attention of Australian diva Kylie Minogue, who loved it so much she insisted on recreating it to be her own sexy original. With the approval of NDS & Bones and the help of Chris Lake, the new version was just released on Nom’s soundcloud yesterday (written by The Dream), with already an incredible response at over 150k plays.
Check it out below, and be on the lookout for its official release!
ORIGINAL:
Listen to the original track by Nom De Strip & Bones – ‘Shake & Bake’ HERE
via Gotta Dance Dirty http://www.gottadancedirty.com/2013/05/28/kylie-minogues-skirt-comes-down/?utm_source=rss&utm_medium=rss&utm_campaign=kylie-minogues-skirt-comes-down
Entering its 14th year on May 29, Montreal’s MUTEK is one of those electronic music festivals where you’re not likely to see bare-chested, muscle-bound guys with their shirts tied around their waists or girls making out with trees à la Ultra Miami. Attendees are much more likely to be clad in stylish gear and glasses — IT workers or graphic designers by day, festivalgoers by night.
MUTEK is amongst the brainy festivals that offer something for the mind as well as the body: seminars, panels and artist interviews during the day, followed by the seated early evening A-Visions program, with its experimental collaborations of sound and visuals. Later in the evening and well into the night are the nocturnes, which are oriented to the dance floor.
The theme this year is "you never forget your first time," and the programming promises that, if this is your first time, you won't forget it. MUTEK continues its trendsetting history, and this year it boasts 13 world premieres, 14 North American and four Canadian.
Among the firsts this year are the debut of techno dream team Juan Atkins and Moritz von Oswald, a joining of iconic energies from Detroit and Berlin. Their performance at MUTEK precedes the June release of their new album, Borderland.
Graze, a collaboration between New Kanada labelhead Adam Marshall and beat-smith Christian Andersen’s (XI), also makes its first live appearance. The two hatched the project in Berlin, where both had relocated from Toronto.
Amongst the North American premieres, U.K. experimenter Matthew Herbert presents his work, One Pig, which distills the sounds Herbert recorded during the life of a pig and its eventual demise. Montreal chef Martin Juneau will apparently cook a pig during the performance, adding a visceral element. Have to say I am intrigued by this one — but will the vegans boycott?
Then there are artists like Dan Gardner, a.k.a. Frivolous, who debuted his first live set at MUTEK in 2004. This will be his first MUTEK performance since, and he confesses to being just as excited and nervous as he was then.
American artist Laurel Halo will make her first MUTEK appearance, as well as the hotly tipped German trio Dictaphone, which employs electronics, live violin, clarinet and sax to create its cinematic compositions. Dictaphone was the first unanimous selection for inclusion in this year's festival by MUTEK’s curators.
This year we’ll also have a chance to see the first MUTEK appearances by techno veterans John Tejada, who brings his spare, elegant style to the opening night Nocturne, and Robert Hood, another Detroit legend, who plays on the Friday. His Underground Resistance cohort, Jeff Mills, made his long overdue MUTEK debut last year and was the highlight of the festival for many of us.
At MUTEK there is always that excitement of seeing new work, an artist you’ve never had the chance to see or perhaps someone you’ve never heard of who completely blows you away. In 2011 it was Amon Tobin’s incredible Isam, with its 3D mapping, and from that same year Austria’s Elektro Guzzi, who played live techno with guitar, bass and drums — they had everyone talking the next days. Last year, the artist that had all my friends buzzing was Kink from Bulgaria. For me, it was the chance to see '80s U.K. acid house legend, A Guy Called Gerald.
Who will it be this year? Are you planning on attending this year's MUTEK? Who are you most excited to see? Let us know in the comments below, on via Twitter or Facebook.
No longer confined to the north, this infectious blend of bassline and house is becoming the UK's most exciting club scene
The sound of a fight starting in a rave is unmistakable, the hostile grumble in immediate discord with the bubbling bass. I turn my head and, sure enough, a circle has formed: people are shouting. I'm not the only one who has noticed: everyone around has turned their heads, too. But then something amazing happens, something I've never seen before at a party. Within moments, you can hear an almost audible sigh of "leave it out", the crowd swarming in around the fight like a blanket to a flame. It happens so fast I have to stand a while and piece together what has happened. People's good energies have pacified the fighters: they're hugging within seconds.
Welcome to 02:31 at Birmingham's Rainbow Warehouse, where the music policy is strictly jackin house and bass, and the vibes are peace, love and NRG. Over the past couple of years an amazing dance scene has formed, centred on Insomnia at Club Mission in Leeds and 02:31, but which reaches out across the north and midlands and has been totally neglected by the London-centric dance press.
The music, "jackin house" or "house & bass", is totally fresh. It warps (and wobbles) the house template; this is not smooth music for champagne bars. The scene itself – the clubs, producers, DJs – is bursting with energy, with packed-out nights all weekend, every weekend; seriously euphoric vibes; and massive anthems coming out thick and fast. Essentially, rave has been reborn north of Watford.
The story starts in the late 00s when T2's Heartbroken reached No 2 in the UK charts and put bassline – the hi-octane, garage-derived, northern dance genre – on the national map. Increased media interest also highlighted the violence and trouble that plagued several bassline clubs. The negative media attention and police harassment took its toll. It reached the stage where police wouldn't let an event go ahead if it had "bassline" on the flyer. That was the context in late 2009 when Chris Lorenzo – the "godfather" of jackin and its most prolific and prodigious talent – got together with Jayye Jackin and Dappa D to make Come With Me, a track that avoided censorship by mixing bassline's bass with a house rhythm. The trio followed up the trick by producing the other early jackin anthems, Let Me Clear My Throat and Love for Me.
Come With Me and Let Me Clear My Throat show that all the major elements of UK jackin were there from the start: slinky, staggered house beats at around 126bpm, poptastic vocals, and Big-with-a-capital-B bouncy bassline – basslines that need to be heard on a sub-heavy sound-system, basslines that would be turned away from classy house nights. However, it's what sits on top of these core elements that provides the real fun, and differentiates jackin from house of the deep and tasteful varieties.
Jackin is kitchen-sink rave music, and producers will pull any trick to crack a smile on your face while you brock out on the floor: whirling piano vamps, badman MCs, outrageously cheeky movie samples ("You play jazz flute?" "I dabble"), choruses lifted wholesale from other tracks, sections where the track slows to half-time, contemporary US hip-hop beats, soulful diva vocals, amen breaks, ragga chat, air horns and even Kate Bush will be deployed if necessary. Jackin's slow, almost sluggish tempo competes with this flurry of sonic debris to create a slow-fast manic wonkiness, a compacted energy that destroys the dancefloor.
Jackin is the most interesting thing happening in UK dance music at the moment, but it can't be taken out of context from the scene that spawned it. You'd probably have to go back to the hardcore rave scene of the early 90s to find a time when a UK dance scene was so, well, ravey.
How do they do it? Well, the drugs obviously help, and when you walk into the Rainbow Warehouse, you can't help but be struck by the constellations of starry eyes and beaming smiles that greet you. All the old rave rituals are out in force – people sharing water and gum, handshakes and shoulder pats as you navigate through the crowd, people standing and facing one another doing miraculously synchronised boxy hand dances. Present, too, is rave's comparative sexlessness. Too many London nights are tainted by the dank smell of desperate sex: the men all horny and predatory and the women, in understandable defence, standoffish and cold. Though the crowd is dressy and there are plenty of people getting off, overall the vibe at 02:31 is silly, not sleazy.
But it's not just a lack of sleaze, aggro or, for that matter, too-cool-to-dance hipsters that make 02:31 so special – the peaceful vibes extend to a genuine warmth and openness – and, most refreshingly, a healthy sense of play. The first time I went, I was by myself. I was never without people to hang out with and found myself accepted into groups of friends pretty much instantly: hugs all around, spliffs shared and ubiquitous raving snaps taken on everyone's phones. In times since, people I might have spent five minutes chatting and dancing with have recognised me and we've all hung out again. This is not just rave as hollow ritual or retro revival, but rave with its utopian message that it's OK for people to be decent to each other.
Now, jackin is beginning to make waves outside of its heartlands. The main ambassador here is the DJ Marcus Nasty, who after helping break UK funky in the late 00s, has done the deed again by catching jackin way before any other London DJ, back in early 2012. By consistently supporting the jackin scene on his show on Rinse FM, he can be thanked in part for the newfound national success of artists such as Hannah Wants, whose deep and sexy take on the sound has earned her regular bookings at house nights across the capital, and 02:31 top dog Tom Shorterz, who made his own debut show on Rinse back in April where he pushes his own bouncy, garage-inflected sound.
What the scene hasn't had yet, however, is it's own Heartbroken, a track that crosses genre boundaries, invades the charts and makes everyone sit up and pay attention. Chris Lorenzo – half of scene heavyweights Cause & Affect alongside Kane, and engineer (read "producer") of a huge portion of the scene's biggest anthems – assures me that something is in the works: a jackin pop banger with original vocals (the vast majority of jackin tracks use bootlegged vocal hooks) and the power to cross over and blow up. Meanwhile, he worries about success: "I want to keep things underground. I've seen it with loads of other genres before: as soon as they go mainstream, they turn shit." For jackin, poised as it is between underground and overground in Birmingham and Leeds, the question is how much bigger can it get while still maintaining what makes it so vital and fun?
I can't help but feel it's unjust that this sound and scene go without wider acknowledgment. Take last year's You Want Me – an impossibly slinky, almost sleazy number with Leeds' Nick Hannam and Tom Garnett on the buttons and local celebrity Tom Zanetti on the mic. This is the perfect British dance-pop song. The bassline is pure junglism though it bobs and bounces in a way unique to jackin. Spooky, swirling ghost noises evoke the Specials and the vital reggae influence that run through so much UK music. Meanwhile, Zanetti's good-times bars flit atop the beat with a lightness that has always run alongside the rude-bwoy menace of UK MC culture. In short, it should have been this generation's Sweet Like Chocolate, one of those underground dance anthems that storms the charts and explodes into popular consciousness. It should have been blasted out of cars, played at school discos, sodcasted from phones at the back of buses. It should have been a No 1.
In recent months there have been several articles decrying the state of UK dance culture: the deterioration of vibes in London clubs and warehouses, the lack of big new ideas. But perhaps people are looking in the wrong place. I'm going to conclude with the words of a stranger I chatted to near the speaker stack at the Rainbow Warehouse. When I mentioned I was from London, he put his hands on my shoulders and turned me to look at the bouncing, buzzy crowd. "It makes London look like shit, dunnit?"
•
A great track from Detroit’s Dames Brown that starts of “Soul Funk” and switches to “Soul Techno”. Drumagick drop their authentic deep Brazilian House styles, a classic soul tune from Irma Thomas (for the Treme fans). Die and Jenna G go soulful D&B (see how many classic soul tracks you can spot), plus a great D&B track from DJ Marky and Makoto. The Hip Hop comes from Action Bronson, Ty, Pusha T and Youngblood Brass Band plus a nice re-work of Erykah Badu by Lakim.
French duo's new album scores highest number of first-week streams in US, weeks after similar success for single Get Lucky
Just weeks after Get Lucky became the most streamed track on Spotify, Daft Punk have broken a second Spotify streaming record, with their new album Random Access Memories achieving the most first-week streams on record.
A month ago, the French musicians set Spotify alight when Get Lucky had more streams on its first day than any other song since the service began, in 2008. Over the next four weeks, users got funky more than 25m times, the song's popularity rising as May went on. "We expect the [forthcoming] album to become one of the biggest, if not the biggest, on Spotify this year," said Spotify's Will Hope, director of label relations.
Following the release of Random Access Memories on 20 May, Hope's prediction seems on track. Yesterday, Spotify announced that the LP had more first-week streams in the US than any album in history. Daft Punk are expected to cross the same threshold in the UK. Until now, the record for first-week album streams had been held by Mumford & Sons' Babel: upon its release in September, the album had 8m streams in seven days.
In addition to their streaming success, Daft Punk are also selling copies of Random Access Memories. After moving 165,000 units in its first week, the LP is 2013's fastest-selling record. The duo are duly celebrating their first No 1 album. Unfortunately it's not a dual title: after four weeks on top of the singles charts, Get Lucky was recently butted to No 2, behind Naughty Boy's La La La.
Random Access Memories justifies hype by becoming UK's fastest-selling album of 2013, with 165,000 sales in first week
It's possible Daft Punk's low-key promotional campaign – capped off this weekend by their trip to Monaco to see a Lotus F1 car bedecked in their colours compete in the Monaco Grand Prix – has passed you by. Nevertheless, somehow enough people became aware of the release of Random Access Memories that the French duo's album entered the charts at No 1 yesterday, becoming their first UK chart-topper.
In the process, it became the fastest-selling album of 2013, notching up 165,000 sales in its first week. The year's previous fastest seller had been Michael Bublé's To Be Loved, which had 121,000 sales in its first week.
However, what the charts giveth, the charts taketh away. Even as Random Access Memories stormed the top spot in the albums chart, Daft Punk's single Get Lucky was being dislodged from a four-week stint at the top of the singles chart. Naughty Boy's La La La is the new No 1 – itself becoming the fastest-selling single of the year with 145,000 sales in its first week.
Daft Punk's colours proved to bring no luck at all to Lotus driver Romain Grosjean, who was forced to retire from the race after 63 laps of the city-centre circuit, following a collision with another car. In the non-Daft Punk-branded Lotus, Kimi Raikkonen finished 10th, securing one point in the drivers' championship.
Opening the show with the beautiful Webster Wright Ensemble, and Quadron's new material featuring Kendrick Lamar. Local heroes 74 Miles Away have a new release on Laid-Back. A Japanese inspired release by Al Dobson Jr and Creole+, sounding very good, new Kool & Kass from Das Racist of course; also, happy to see a new Free The Robots release and the Eglo first lady Fatima on a Oh No production. Jesse Hackett and Bullion's collaboration resulted in something beautiful called Blludd Relations and have another Dirg Gerner jam for you as well. Koreless' new EP is finally out on Young Turks. Swindle's new record is coming out soon and single is a killer. Dawn Day Night with re-animation #3 on Astrophonica, BIG! New kid Olugbenga is one to watch out for, heavy bass from Hyperdubs Champion & Kode9. New Action Bronson, Chuck Inglish, MOUNT KIMBIE INTERVIEW and ending strong with Typesun, Mop Mop, Detroit Swindle, Blacksmif, Dark Sky and Pedestrian. Enjoy. DL: http://we.tl/T5opOV3cRN
Enter the Niceness zone with the latest of Theo Parrish's productions with the legendary Tony Allen on th drums jumping into Ty and then DITC lyricist supreme O.C ... New tracks from Pablo Sancez, Tommy Rawson (we've got a a summer anthem here !!), Mr. Chop, Thundercat, Slugabed, Sons of Anarchy (aka Terror Danjah & Dj Champion); add some soul classis to the menu with The Supremes, Marvin Gaye, Jimmy Castor Bunch and Mad Skillz; this, that and more ... Hope you'll enjoy !!
Mount Kimbie's second album finds the south London post-dubstep duo signed to Warp, the ancestral home of digital beats that wrong-foot the dancer. Lead track Made to Stray sounds suitably on point, expertly marrying digital precision with wooze. Somewhat ironically, though, this follow-up to Crooks & Lovers, their much-lauded 2010 debut, features songs with vocals , even more organic sounds, and a palpable push towards centre ground. King Krule – a low-lying "one to watch" from 2012 – crops up twice, his sullen lyric enlivening You Took Your Time. Break Well, meanwhile, turns into an actual pop song near the end. But Kimbie's levels of invention are such that this album still feels tricksy and cutting-edge.
DK follows in Hour 2 with some more recent hip hop from The Underachievers on Brainfeeder, the return of Quasimoto on Stones Throw, Paul White featuring Danny Brown and Ty with 'Let's start', plus vintage Jeru the Damaja with the classic 'Come clean'. Omar is still delivering quality soul, followed by reissued tracks from Orchestre Poly-Rythmo De Cotonou and Terry Garthwaite on the joint If Music and Ninja Tune compilation, before closing with King Midas Sound. The mighty Ghostbeard returns with another fine reggae selection, this time from Japan. With music from Ken2-D Special, Fly-T, Dry & Heavy and Sly Mongoose, it sounds like they grew up on On U Sound classics. All this plus extra vocals dropped over the mix by Yellow Mouse (aka Kiki Hitomi from King Midas Sound).
Solid Steel (24th May) Following on from last year's treatment of 'Paul's Boutique', United States of Audio does the same with De La Soul's groundbreaking album 3 Feet High and Rising. It's not just a mix, but more like an audio documentary about an album that is also about to celebrate it's 25th anniversary. Using original sample sources, album tracks, interviews and rarities, 'How High's The Water Mama' tells the story of one of hip hop's most influential albums.
![Random Access Memories [+digital booklet]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_s-todx_JJ4cCw4pBRDIYO-oQPBHIFNn8F-Stsu6nMm-SRdqIcIaSnZyQBXQJcL89nxXP93Gu-Lfn7Fy_NnjYeQvLjtPz0NfRxFZKVVf3C2qLwmX3nUm7oODYuRoYmOnZHvvIjI1T0=s0-d "Random Access Memories [+digital booklet]")
