Roni Size is here with a solo album that will be released in August. After it barely simmers, he will reunite with Reprazent but first, the solo works. From the forthcoming Take Kontrol album is “Final Day”.
Good news for Roni Size fans. As you can see, he has a new track that will be released on his forthcoming solo album due out on the 25th of August called Take Kontrol. A week before, he’ll also surface with Size Matters, a 6-song EP that is meant to be simply a different perceptive of Size that fans have known and will love.
Not only are two projects ready for release in a little over a month, but Size is reviving Reprazent later this year, with an all new album planned for released next year.
Diehards will also want to know that he’s giving away a free track, “Bite The Bullet (2014 Remix)”, which you can obtain by signing up to his website at RoniSize.net or checking out the official Roni Size Facebook page.
You may already be familiar with UK duo Gorgon City but do you know how they originated? This brief documentary video made for Vevo Lift UK will explain it to you, what inspired them to join, create, and have a good time.
July 7th is when you’ll be hearing a new album from Brighton duo Anushka called Broken Circuit (Brownswood Recordings), and the first single from it is called “The Recalculation Of Mansion”. If you’ve already heard it, you may not have heard this, a remix by a master of drum-n-bass, DJ Krust. It takes the original to an nth level.
News about a new album from Machinedrum really got me going, you know? I have enjoyed what he did with his 2011 album Room(s) to the point where I almost caught myself listening to it backwards and at half-speed, it’s that good. A new song of his, remixed my DJ Shadow, pumped me up even more and I looked forward to whatever he offered. Vapor City (Ninja Tune) is the offering, and I probably wet myself once the final notes were heard.
With that out of the way, Vapor City continues to show the production expertise of Machinedrum but it is also a more finely tuned Machinedrum as well. There are some songs where there is a sample sequence using a guitar and I can compare that to what he had done on Room(2) and previous projects, but then I will hear other portions of the album feel that it is also a progression of what he had done. It’s a need to keep things traditional, to maintain the usage and styles of what he did before, but also try new things. It is that blend of the traditional and the newly formed that help drive this album. I enjoy his use of vocal samples and how they may be sparse or distant and yet become the core of these songs, then you hear some of the beats he’s doing. Some of the instrumentals go back to a time when house became techno, which lead to jungle and the other variants of the genres and sub-genres, as if the last 20 years have just been us existing in a jungle world and we’re just slaves to Machinedrum’s rhythms, both present and subliminal. He makes music that I would find myself listening to frequently, and yet I can also imagine him working with mainstream artists, just to see how he will test their limits. I want to see and hear the limits removed, and I hope Machinedrum will be there to take care of the equations and solutions.
This may be hard to believe, but it’s true. There’s yet another Verve Records remixed project, this one called Verve Remixed: The First Ladies, honoring some of the many ladies who have released music in Verve’s discography over the years. Along with remixes by Toro Y Moi, Azari And III, and Bassnectar, Zeds Dead were honored with a spot on the album, and they decided to honor Nina Simone’s cover of “Don’t Let Me Be Missunderstood” in their own way: the drum’n’bass way.