Remix Wednesday: Wick-It the Instigator's "Shout At The Devil" Motley Crue Remix

Well, it's Wednesday and with a new remix fresh out the beat labs of Wick-It the Instigator, it only seemed appropriate to drop a new edition of this on-going segment. This week we get a taste of 80's hair-metal deep fried into an electro, face-melting banger. Wick-it is coming out hard in 2012 with his first remix of the year laying heavy on the dubstep side. This seems to bode well for this DJ/Producer's fans who plan to attend shows during his already well booked 2012. With dates on the Warped Tour all across the US as well as Wakarusa for the summer festy session, if you haven't experience Wick-It yet, you have no excuse. Now go bump this remix from Wick-It's official Soundcloud: http://soundcloud.com/wick-it

Motley Crue - Shout At The Devil (Wick-it Remix) by Wick-it the Instigator

The Floozies - At Dusk We Launch

The Floozies - At Dusk We Launch
http://www.flooziesduo.com

Tuesday night was big night for new releases, and first up on our new music radar is The Floozies. The Lawrence, KS-based electronic duo has just released their newest album At Dusk We Launch available for free at their official website http://www.flooziesduo.com. I personally really appreciate The Floozies for two major reasons: One, I love their live production methods, mixing loopers with Ableton to create that hybrid electronic/analog sound that you just can't get when you watch a guy with a laptop or a good ole fashion power trio. Secondly, I love their musical sensibilites, creating soulful, funky yet futuristic, glitch-tastic soundscapes worthy of Herbie Hancock and RJD2 at the same time. This new release is no exception with the excellent audio flavors that these guys bring to the dinner table.

808s, funky guitar licks, arpeggiated organ licks, whirring and wompy bass lines, laid-back and in the cut beats, samples, samples, and more samples, a remix of Space Jam?!? - All these are just a few of the nuggets of goodness that, in combination, really set the Floozies apart and carry their signature sound into 2012 on At Dusk We Launch. One thing that can't be denied after listening to this album a few times is that these brothers are gangsta. As much as they flex their funk and electronic muscles on this release, they don't shy away from hip hop samples and sensibilities in their production method. The BPM stays slow and low throughout most of the album, and seems to say to the listener, "Lay back, bob your head, and get ready to bump." And bump they do. Although the beat stays in the cut, the bass textures are bringing the gritty nastiness to tracks like "Body Slam" that are sure to make all the bassheads out there very happy.

This album is almost a split personality of musical ideas in that it can flip from 2012-futurebass music to laid-back, guitar-based, funk tunes laden with 80's-worthy synth patches. Yet as disparate as that might sound, somehow they pull it off. The contrast in styles is never jarring and always keeps you jamming to the smooth beats. "Cheezle" is a great example of this flip mode production style with an intro that reflects its name sake, and then almost immediate slaps you in the the face with a glitchy, twerked-out synth bass. "Phat Beat" takes another page from the 80's book with the ever-classic 808 drum machine on the beat. Yet once again, The Floozies don't hesitate to slather on the nastiness of some dubstep-worthy, womped out bass. These compositions might get lost in their electronic elements if it weren't for the tasteful guitar skills of Matt Hill that lead the verses on nearly every song. These tracks are all heavy with samples, and although they help bring a more mainstream appeal to the music (especially from the stand point of the live music goer), I think that in some cases the samples go a bit too far. Maybe its only because I believe that the compositions are strong enough to stand out on their own without the leading voice of a popular commercial sample. My only complaint about At Dusk We Launch is the overkill use of samples and the concurrent use of feedback-heavy delay on a majority of them. With that being said, I think most listeners will disagree with this sentiment as the samples add a level of pop-music reference that any regular show goer can appreciate from an up-and-coming act like The Floozies.

The sonic landscape The Floozies create, with the union of spot-on electronic production and real deal musicianship, is in my opinion, the sound of the future. These brothers are in the good company of many other production/instrumentalist duos that are leading the way in creating a new genre of "fusion" music. Matt Hill's production skills and chops on the guitar and keys with his brother Mark's solid pocket on the drums is an undeniably powerful combo. Ten years ago, when you thought of music that fell under the genre called "fusion," you were talking about jazz artists that were bringing the pop sensibilities of funk and soul to the intricate disciplines of classic, cool jazz while at the same time infusing the music with the sounds of the newest technology. Now, a whole new generation is taking this creative method to another level with the continued integration of new technology and the breaking down of musical barriers. Dubstep is easily one of the most polarizing genres to blow up in this decade, but the smartest musicians and producers are learning how to take the most appealing elements of electronic music and fuse it back into the disciplines they have already mastered. The Floozies are truly a great representation of this zeitgeist going on in the indie music scene right now.

Clocking in at roughly 36 minutes, the release is short and sweet and sure to find its way on to repeat for a little while on your music player. Every song is over four minutes, in fact most average around the five minute mark, which creates a nice rhythm to the album. It keeps you moving through each track, sometimes so smoothly that you may not notice the track change if you aren't actively listening. But by the end of the final track, you're going to want to hit repeat. Go and get this download for free at the official website for the Floozies: http://www.flooziesduo.com, and let them know the Winslows sent ya.

Fresh Hats Tight Beats - That's All We Need

Fresh Hats Tight Beats - That's All We Need
http://freshhatstightbeats.bandcamp.com/album/thats-all-we-need

Everyone at Winslow Family Productions is pumped about the newest release from Fresh Hats Tight Beats, entitled That's All We Need. This is the forth album from the group which now is officially a quartet of producers and instrumentalists. Matt Nigro (MattntheHat) joined the production group after his recent move to Denver after over a year of serving as half of the official live performance group. For those that may be scratching their head at this statement, to make a long story short, FHTB was developed as a studio project that was never necessarily intended for the live arena. When the first album came out and promoters starting sending emails to book the group, Zach Matthews and Phil Buck figured out a way to make it happen even though Tim Santos, one of the major contributors to the first album, had just moved to Denver. Since their first show, Phil also moved to Denver, thus leaving the live aspect of the group down one man. That year, Matt stepped up and started playing the live shows with Zach to keep the stage show going. Since then, Matt has also moved to Denver and joined in with the production of the albums as well.

That's All We Need is a departure from previous releases in that this is the first album that is completely original and sample-free. Once again, the genres and textures of the album are varied and diverse, but overall the album is a cohesive sonic experience. Clocking in at nearly 40 minutes and 11 tracks, this is the longest release from FHTB to date. The original album art was made by Leigh Bernstein. The man's face on the cover is actually made of hundreds of tiny icons, each which represents an instrument that was actually played on the album. The original conception for these icons was just to use them to represent which instruments were played by each member. You can see this idea if you check out the back cover which is included in the zip file if you download the full album from http://www.freshhatstightbeats.com



This album also features a couple of guest musicians. First up is FHTB and Winslow veteran, Dave Benedict, on the trumpet for the track "Mind the Line". Also featured is new-comer, Nick Monks, who contributed parts on acoustic and electric guitar as well as banjo. Nick was also a major contributor to the composition of "Course Clear!" writing a entire section of the final half of the track.

We're excited to see this new album go out into the world. Please pick it up for free at the official website of FHTB http://www.freshhatstightbeats.com along with their first three albums. And please remember to share that shit!

Wick-It the Instigator - Grindhouse Basterds

Wick-It the Instigator - Grindhouse Basterds
http://wickittheinstigator.com/

This Monday, Nashville-based DJ/producer Wick-It the Instigator released Grindhouse Basterds, a hip hop, mash-up, remix, electronic, dubstep, mixtape that comes with a heavy dose of everyone's favorite Quentin Tarantino films. It's the long-awaited, much-talked about follow-up to his wildly successful mash-up album The Brothers of Chico Dusty (Big Boi vs. The Black Keys) from last year that took him straight to the next level overnight. Now, Wick-It is melting faces all over the country on a nightly basis and his Grindhouse Basterds is exactly what all of his fans have been waiting for.

It's no secret. Anyone that knows me well, knows that I don't really get down to much dubstep...if any at all. This mixtape is somewhat heavy on dubstep, I mean it IS Wick-It. But I can deal with it and I even found myself head-nodding pretty hard to the mixtape's namesake opening track Grindhouse Basterds, Reservoir Dawgz featuring Bun B and Yelawolf, and the remix of the Pulp Fiction Theme. It's all tastefully done in most spots and simply takes the tracks to the next level when he builds it up then drops it hard into the 'filthiness,' as the kids say.

My favorite parts of the album are by far the hip hop remix/mash-ups. He features nearly every emcee in my top 10 (and then some) - including KRS-One, Notorious B.I.G., Slug, RZA, Ghostface Killah, Murs, Method Man, Aesop Rock, Busta Rhymes, Bun B and Yelawolf. Without question, for me, the strongest tracks are Shoalin vs. White Lotus, Bang Bang, Stuntman Mics, and What Happened to You. These tracks are just more up my alley. True to hip hop with a superb choice of acapellas over some very well-produced tracks. This is how I like my Wick-It. Plus, he gets extra points since Kanye isn't anywhere to be heard on it. Kudos, sir.

I have been following Wick-It for a while. I helped book him at a club I was working at in Memphis 6 years ago or so. He was a dope DJ back then, but he has definitely taken it to a whole new level. In the last year, he has reinvented himself somewhat. It seems now he known for his dubstep rather than his hip hop DJ'ing by the younger generation.  Regardless, he is a force to be reckoned with. His fanbase is steadily growing and his internet presence is off the charts. He has changed with the times, as all good DJ's must do to stay alive. Grindhouse Basterds is a just as good as I figured it would be. I would recommend it to anyone who is into electronic, dubstep or hip hop. It's good a great all-around showing of his skills as a DJ and a producer. I hope to hear more tracks produced by him for dope emcees, majors and indie cats. It would be great to see him able to educate the younger generation he captivates with his dubstep on the importance and beauty of old school hip hop- which I know he loves just as much as me. It's present on this mixtape and I only hope he keeps it up.

Grindhouse Basterds also features some strong performances from Nashville emcees Future, Cas One, Iller and Tre E (from Sam and Tre).

Now, GO download or stream the album for free on his website: wickittheinstigator.com. You'll thank me.

The Acidophiles - The Water EP

The Acidophiles - The Water EP
http://theacidophiles.bandcamp.com/album/the-water-ep

Right on the heels of Wick-It's release, CO-based electronic producers, the Acidophiles dropped the newest episode in their elements series, The Water EP. This time around they only bring us 3 tracks, but don't let that lead you to believe there is less music on this release. The opening track, Surge, clocks in at over eleven minutes. Without missing a step, the Acidophiles start out their newest EP in the same manner as many of their previous releases: with a slowly building soundscape. I always enjoy this part of their jams as it helps lead me into the hardest bass without slapping me in the face. While the arpeggios and blips are as strong as ever, the bass clearly takes the spotlight on this track. The middle portion of Surge brings some of the hardest bass I've heard on an Acidophiles release (and that's saying something) up until the last minutes when they opt for a funky, squelchy bass patch that gives the whole track a chance to break it back down to the pre-face-melting status of the song's intro.

Sublimation may be a more literal title than I originally thought as the intro is laced with ambiance and background sounds that will make you think of subliminal messages. Just when you think things are beginning to hypnotize you, a patch that could have come straight from Maniac Mansion on the NES leads us into the first of the melodic soundscapes of the track. This track is much more low-key than the previous, with locced-out claps that carry the rhythm as the synthetic elements breakdown and ride back to the top again. In final quarter of the track, the grit comes back to the forefront of the mix. A nasty bass synth leads us through a beat-repeat driven outro that takes the melodic content of this song to its highest point. The slowing walking bass melody creates a fantastic sense of emotion and building drama up until the plunky arpeggiated synth drops tempo and leads into the final track.

Galatic Tides is aptly named as it makes you feel as if you are riding the waves of Saturn's outer most rings. This track is a great example of what continues to draw me back to the Acidophiles tunes again and again. They use sounds that could have been used in the soundtrack of every video game on the NES system. More importantly, they use sounds that are pure and let them focus on the progressions and melodies they create. The combination of their musical sensibilities with their production on Propellerhead's Reason software create a very unique subset of sounds that are not being made by really any other producers I am familiar with. The epic bass sounds of dubstep, mixed with the low-key down-tempo beats and 8-bit synths create a sound that is both new and classic at the same time.  The psychedelic element of the Acidophiles sound may be what makes it so successful. Every track tends to take you on a journey. Although this EP is named in honor of water, I feel that it should refer to water in is coolest state: ice; mainly because each of these tracks transports me to outer space. Galactic Tides first made me feel like I was surfing in space, but by the end, I feel like I am zipping across the cosmos on a beam of light.

Overall, the Water EP is a great addition to the other releases in the elements series. The Acidophiles are able to distill the essence of the elements they pay homage to and channel it into their music time and time again. And I, for one, truly enjoy it.

Be sure to check out all of the elements EPs from the Acidophiles at their site
http://theacidophiles.bandcamp.com

Remix Wednesday: Blackcat Sylvester x Ugly Lovely - The Bar Kays - Soul Finger Remix!

I'm very excited to revive Remix Wednesday with this remix from Nashville's Blackcat Sylvester and Ugly Lovely. They took "Soul Finger" from the Memphis funk legends The Bar-Kays and turned it into a remix worthy of today's dance floor. Featuring Jay-Z and Kanye West acapellas, this feels like what we wish Watch the Throne could have been. I was very skeptical when I saw the words "Soul Finger" and "Remix" in the same sentence. This song was already a "banger" in its own time. On top of that, growing up in Memphis, this song holds a special place in my heart. But after one listen, I was sold. These doods pulled it off. And more importantly, they didn't butcher this soul classic. The hypnotic sliding bass line of the Bar-Kays is supplanted by a phat and slightly gritty synth bass that occasionally throws in some wobble. The solid back beat of the original is re-imagined with some modern day samples, electronic tweaking, and a healthy seasoning of break-beats. I commend these guys for paying homage to some Memphis funk in a classy way. Do it up, fellas.

Blackcat is known most recognizably for his efforts in the psychedelic, improvised outfit Call It Anything (C.I.A.). Ugly Lovely has been performing all over Nashville and Middle Tennessee as well as making waves on the internet with his recent mixtape Ay Girl! Ay! Ay! Take This CD! and numerous other remixes.

Blackcat Sylvester x Ugly Lovely - The Bar Kays - Soul Finger Remix! by Ugly Lovely