We’ve been all over this guy for a while now, following his first two track releases from his highly anticipated album Cataclasm. However, it hasn’t been easy! Having broken away from the buzz of California, and hidden amidst the isolation of Iceland, he confides in the necessity of a new environment to work within, in order to generate a new sense of creativity. Now he’s hit us with another new release, “Akureyri”. Crywolf (A.K.A Justin Taylor Phillips) is building quite the portfolio, consisting of these empowering/ ethereal sounds, placing us within a state of elation. Comprising of organic sounds created in his lake-side cabin, this track its beautifully authentic and honest, something which he’s passionate about as an artist.
As a producer, musician and vocalist, he holds an eclectic and rare skill set enabling him to work individually, and yet explore his incredible style of electronic and acoustic music. Cataclysm is set to be released on 20th November, and if it’s a body of work representative of what he’s already shown us, it’ll take the industry by storm!
Throughout the writing and recording Phillips is documenting the process and guides us through this new and “alien” environment he’s inhabited. He discusses the impact of this new surrounding and escaping from the claustrophobia of the city; this documentation can be found on YouTube.
Ringtone (Joe Goddard Remix)
Perhaps one of the most multifaceted studio blokes around the music industry today, Joe Goddard seems to carry a certain gravitas whenever his name is attached to anything. Known most primarily as one of the chief architects behind the almighty Hot Chip, and co-founder of Greco-Roman Records (the same label which housed debut releases from the likes of Disclosure & TEED), Joe Goddard has carved out quite the tastemaking assemblage of fans through those avenues; but his high profile remix work as a solo artist has always been just as intoxicating of an earworm for this writer as well.
Last month, the L.A. based ‘band, business and belief system’ otherwise known as the future-pop sweethearts of James Murphy’s legendary DFA imprint, YACHT, presented us with “Ringtone”, the third single to be released from their concept-bending LP I Thought The Future Would Be Cooler -which by the way may be running one of the most creative preview campaigns we’ve ever seen– and like a lot of their pop infused catalog, was one of those tunes just begging for the remix treatment. From the moment we first heard Joe Goddard would be taking on official remix duties, our little Ninja hearts couldn’t help but skip a beat as we prepared for something special. And oh, how he delivered. Goddard seamlessly folds YACHT’s recorded “ringtone” and notification sound bites into a uniform indie-dance anthem fueled by Goddard’s slick, hand-keyed basslines and synth progressions. Honestly, we could go all day about this one, but we’ll let Mr. Joe G. tell you in his own words instead: “I love YACHT; I think their music and their live performances are mesmerising, and they are just plain good people. For this release, I wanted to make an old-fashioned Chicago banger as if the Eurythmics were remixed by DJ Pierre.” He certainly hit the nail on the head with that statement, but why don’t you just check out Joe Goddard’s “Ringtone” remix for yourself above.
Canadian singer, songwriter, producer, music video director, and record producer Claire Boucher, better known as Grimes, has been working on her latest release for quite a while. Anyone who follows Grimes knows that she’s been influenced and motivated by quintessential pop for most of her career, citing people like Mariah as her major inspirations. While her previous releases have been primarily infused with her insidiously experimental electronic flare, her latest album release Art Angels finally epitomizes the pop product she’s been working towards, and she absolutely nailed the aesthetic in her track “Kill V. Maim.”
This song packs the kind of punch that belongs in the official soundtrack to a fierce cheerleader’s escapades taking out crime while defying any and all gender stereotypes—a theme that Grimes touches on in many of her interviews and songs. Complete with word-spelling and hi-yahs, “Kill V. Maim” has a powerful beat and lyric structure that’ll make anyone want to take on the world, and has convinced us that that is exactly Grimes’s plan. Seriously, this girl can do anything.
An Elderly Woman Named Jeff
Is it just us, or are more experimental records finding their way to the surface? Whatever the answer is, one such track that has come to us is “An Elderly Woman Named Jeff.” If you thought the name was intriguing, just wait until you hear what Seattle producer Budo created. His clean production makes use of several acoustic elements, including a keyboard, but he uses his fair share of synthetic elements as well. BY interweaving these elements together, he creates a solid, balanced mixture that your ears will be swooning over. This is one of those records that you just vibe out to, whether you’re with your crew, or alone in your room with your eyes closed and headphones on. Budo hasn’t come out with a track under this project for a long time before this one, but it’s safe to say that he is back and better than ever.
Woolymammoth has always been a producer that we have admired here at Music Ninja. His records never have a dull tone, and he’s continued to push electronic music forward in the best way he knows how. His focus on trap and hybrid styles have been especially important for the genres artistic growth over the past year when he’s been putting out records. Today, we share with you his Buygore EP entitled Tricks that has taken listeners by storm. Tricks gets pretty experimental, taking from industrial sounds and elsewhere, but Wooly keeps the focus heavy on the hip-hop/trap vibe he is known for.
Tricks is comprised of five singles that you’ll have on repeat for several weeks coming, if not longer. It’s becoming less usual for releases to be 100% solid from start to finish, but that’s just what Wollymammoth does with this EP. It’s hard to choose favorites, but after running through this EP time and time again, we’ve narrowed things down to “tricks” and “Best In It.” Have a run through yourself, and comment with which two you have deemed your favorite. You’re going to want to be buying this entire project, and you may do so on iTunes.
Best In It (tryna Get Yo)
NGHTMRE & Boombox Cartel
NGHTMRE and Boombox Cartel – two of the hottest acts in the trap scene have teamed up for this massive track. NGHTMRE‘s “Street” and Boombox Cartel‘s “B2U” have both been supported and played by big names at festivals. And if you’re not familiar with them, “Aftershock” will give you a pretty good impression of what their sounds are like.
Similar to “B2U”, an intricate and infectious piano melody starts off the tune, then followed by a series of soaring synths that please your ears. This gives a false sense of serenity before the massive drop, which features a heavyhitting electro-bass sound and adrenaline-provoking drums. This 180-degree flip will take you through mixed emotions and most importantly, you will dance your ass off.
Out as a free download on Mad Decent, this collaboration between NGHTMRE and Boombox Cartel is one of the biggest trap songs in the game right now. We cannot wait to hear this at their live sets everywhere.
Austin-based producer Spencer Stephenson, known by the moniker Botany, stepped out onto the electronic scene in a big way with his new LP Dimming Awe, The Light Is Raw. Demonstrating a significant command of the frequency spectrum, Stephenson has once again created a work that effortlessly combines ambient, hip-hop and psych in a landscape that transports the listener to a place of heightened auditory perception upon the first listen. Stephenson’s artistic interest in paying homage to all the freaks (aka frequencies) is hugely seen in this LP’s own “Bad CGI”, a track that will get you vibing all around.
Opening with a drone-y vocal sample that will come back to haunt you later on in the song, the track has an experimental low end pulse that fittingly follows, setting the driving bass rhythm for the rest of the track. The intro flows seamlessly into a funkier tune as the bass line comes in along with the highs of ambient flutter effects that fill the background of the track. It soon becomes apparent that this is one you can get down to. The transition from a chanty bass track to the track that could easily be dropped at a club is impeccable, and I think that’s what attracts us to Botany’s work the most. Check out the rest of his stuff for a groove-ridden train ride across his Texas-made bridge between the experimental and beats that anyone can feel.