Tag: house music

New Video: Wajatta (Reggie Watts and John Tejada) Release a Playful, 8-Bit Visual for Upbeat, House Music Anthem “Do You Even Care Anymore?”

Deriving their name as an amalgamation of its members’ last names, Wajatta (pronounced wa-HA-ta) is an electronic music duo that features acclaimed comedian/musician Reggie Watts and electronic music artist, producer and DJ John Tejada. With the release of 2018’s Casual High Technology and last year’s Don’t Let Get You Down, which was released through Flying LotusBriainfeeder Records, the duo established a sound that they describe broadly as “electronic dance music with its roots in Detroit techno, Chicago house, ’70s funk and New York hip-hop.”

The duo’s latest effort, the Do You Even Care Anymore EP is slated for a Friday release, and the EP’s material reportedly encompasses the next evolution of the duo’s sound. “It has developed into something a bit deeper,” Wajatta’s John Tejada says. “While our process and Reggie’s vocal improvisation work is still the same when we record, there’s just something new that we settled into this time. The music and the lyrics got a bit deeper.”

The EP’s latest single, title track “Do You Even Care Anymore” is centered around a classic, Larry Levan-like production featuring a bop jazz bass line, which reminds me of the sampled bass line in Black Sheep‘s “The Choice Is Yours,” tweeter and woofer rattling beats, twinkling bursts of synths, and a mischievous horn line sample. Reggie Watts contributes a soulful jazz standard influenced croon singing lyrics that poke and prod the listener into waking up from the mundanity of their lives, and start fully enjoying the only life they will ever know.

Directed by Mike Manor and featuring backgrounds by Waneella, the recently released video features Wajatta in an 8 bit universe rocking out for passerby and clubgoers. During the video, we see the 8 bit Reggie Watts being a warm and comforting presence encouraging all to live in the moment.

“We have all these man made constructs which mask us from intensely sobering existential dread,” Mike Manor explains. ““It’s like by default we’re all on the Titanic waiting to feel alive only when we hit the iceberg. I look at the song as a call to enjoy our lives mundanely as our true selves and to make it easier on each other by not being such judgemental d*ckheads all the time.”

New Audio: JOVM Mainstay LutchamaK Returns with a Slickly Produced, Trance-Inducing Banger

There are few artists I’ve written about as much over the past 20+ months than the frenetically prolific French electronic music producer and JOVM mainstay LutchamaK. During that period, LutchamaK has managed to release an increasingly eclectic array of material — through EPs, albums and standalone singles — that have seen him bouncing around effortlessly between a number of different electronic music styles, genres and sub-genres. 

2021 may be among the most prolific and productive of the JOVM mainstay’s career. He started the year with Pi, a full-length album written and recorded in at three-month inspired burst that resulted in some of the darkest and heaviest material, he has written and released to date. Then he released the Quest EP, an effort, which featured experimental yet very melodic material. A few months after that, he released Rapscallion, which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.” Then there was Seven Hybrids, which featured the hypnotic club banger “Moonbright,” and the  Larry Levan house music-like “Davai.” 

After a mere month hiatus, the prolific, French JOVM mainstay released his latest full-length album ThresholdThreshold, as LutchamaK explains ” . . . an invitation to a post-techno trip with strong electro dub accents.” Last week, I wrote about “Irie Vibrations,” a track featuring tweeter and woofer rattling beats, shimmering, reverb-drenched synths and spacey vocal samples to create a song that meshes elements of Lee “Scratch” Perry-like dub with club friendly trance and house.

Threshold‘s latest single “Bitrate Scale” is a brooding yet hypnotic club banger centered around glistening synths, skittering, tweeter and woofer rattling beats, a vocal sample featuring Antonin Artaud and a relentless motorik-like groove, reminiscent of Tour de France era Kraftwerk. Much like its predecessor, “Bitrate Scale” continues a run of slickly produced yet crafted bangers.

New Audio: JOVM Mainstay LutchamaK Releases a Dubby and Hypnotic Banger

There are few artists I’ve written about as much over the past 20+ months than the frenetically prolific French electronic music producer and JOVM mainstay LutchamaK. During that period, LutchamaK has managed to release an increasingly eclectic array of material — through EPs, albums and standalone singles — that have seen him bouncing around effortlessly between a number of different electronic music styles, genres and sub-genres.

2021 may bee among the most prolific and productive of the JOVM mainstay’s career. He started the year with Pi, a full-length album written and recorded in at three-month inspired burst that resulted in some of the darkest and heaviest material, he has written and released to date. Then he released the Quest EP, an effort, which featured experimental yet very melodic material. A few months after that, he released Rapscallion, which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.” Then there was Seven Hybrids, which featured the hypnotic club banger “Moonbright,” and the  Larry Levan house music-like “Davai.”

After a mere month hiatus, the prolific, French JOVM mainstay released his latest full-length album Threshold. Threshold, as LutchamaK explains ” . . . an invitation to a post-techno trip with strong electro dub accents.” Album single “Irie Vibrations” may be the best example of what to expect of the album: Tweeter and woofer rattling beats are paired with shimmering, reverb-drenched synths and spacey vocal samples. The end result is a track that meshes elements of Lee “Scratch” Perry-like dub with club friendly trance and house.

Kennedy One is a multi-instrumentalist, songwriter, producer and radio show host, who has developed and honed a cinematic take on electronic music. As a ghostwriter, Kennedy One’s material has received airplay globally, as well as placements on film and television. Interestingly, Kennedy One recently stepped out into the limelight as a slo artist with the release of his full-length debut, last year’s Metropolis

Thematically, Metropolis‘s material is an introspective journey that tackled the challenges of leaving the past behind in search of something new — most often a path that is often taken alone. Since the release of Metropolis, the rising multi-instrumentalist, songwriter and producer has been busy: earlier this year, he released the chart topping collaboration with Shelley Harland “Calling You” through Black Hole’s Avanti and he released the Between Two Selves-era Octo Octa meets Tour de France-era Kraftwerk-like “Drive,” a song that manages to evoke late night drives and being hypnotized by the white lines ahead of you.

The rising multi-instrumentalist, songwriter, producer and radio show host’s latest single “Solstice” continues a run of hypnotic house music, centered around glistening synths, tweeter and woofer rocking beats with an expansive yet retro-futuristic arrangement that may draw comparisons to Kraftwerk and others.

New Audio: French Producer Flew Releases a Summery and Euphoric Club Banger

Flew is a rising Lyon, France-based musician and producer, who specializes in mixing organic instrumentation — namely guitar — with sleek, club friendly, electronic production. Over the past year or so, the rising French producer has released two attention grabbing singles “Ready For Tonight” and “Bad Lover,” featuring Julie Todd, which have amassed over 100,000 and 80,000 streams respectively.

Building upon a growing profile, the French producer recently released his latest single “Let Loose,” featuring J. Fitz. Centered around tweeter and woofer rocking beats, a New Order-inspired guitar solo, shimmering synth arpeggios, J. Fitz’s soulful vocals and an enormous hook, “Let Loose” is a summery and infectious, Ibiza-like take on house music that captures the swooning euphoria of new love — and dancing in a sweaty, strobe-lit club.

New Audio: French DJ and Producer Delon Releases an Ibiza-like Banger

Greg Delon is an acclaimed NÎmes, France-based, self-taught DJ and producer, who is best known in French and international electronic music circles as Delon. Over the past 25 years, the French DJ and producer has been extremely busy.

He founded Apéro Techno, a night at Nimes-based club paloma that features an eclectic array of French producers and DJs — and part of the A-Nimé Festival Association (of which he’s the president)
He’s the founder and head of Way of House Records, a French house music/electronic music label.

elon’s latest single “Sorry” is a sleek and sensual banger centered around shimmering synth melodies, a soulful vocal sample, skittering pads, thumping beats and a euphoric hook. The end result is a summery, Ibiza meets 90s take on deep house.

New Video: JOVM Mainstay Genesis Owusu Returns with a Pulsating and Uneasy Banger

2017’s debut EP Cardrive found Ghanian-born, Canberra, Australia-based, 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly establishing himself as a perpetually restless genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling in diverse forms. Cardive EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others. Adding to a growing profile across Australia, Owusu has opened for Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others. 

Last year, the rising Ghanian-born, Aussie-based artist released a handful of highly-celebrated singles including the fiery mosh-pit friendly banger “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and here in the States on KCRW, KUTX, The Current and Alt98. Those singles prominently appear on Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth.

Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

ver the course of the past six months, I’ve written about three of Smiling With No Teeth’s singles:

“The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
“Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
“Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles.

that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.”

house, hip-hop and future soul centered around skittering, tweeter and woofer rocking beats, synth arpeggios. industrial clang and clatter paired with Owusu-Anash’s silky falsetto. The track conveys a restless and uneasy energy while being a pure banger.

Directed by directing duo VERSUS (Jason Sukadana and Tanya Babic), the recently released video or “The Fall” was shot in Australia’s Phoenix Central Park, an innovative space for collaboration and live exchange. Throughout the entire video, we see Owusu-Anash bound, restricted or hemmed in. At points we see him desperately attempting to escape and at others, he accepts it. But you can’t help but observe the rising Aussie’s larger-than-life energy and intensity. “There was a real sense of symbiosis on this project, when we first met with Kofi our ideas for the film meshed perfectly with the themes in a track he had just recorded,” VERSUS co-director, Jason Sukadana says. “When Kofi is in the room, you know you are in the presence of greatness. He’s truly one in a billion. His immense talent and groundbreaking vision will resound for generations,” co-director Tanya Babic adds.

New Audio: JOVM Mainstay LutchamaK Returns with a Larry Levan-like Banger

There are few artists I’ve written about as much over the past 18-20 months than the frenetically prolific French electronic music producer and JOVM mainstay LutchamaK. During that same 18-20 month period, LutchamaK has released an increasingly eclectic array of material — through EPs, albums and standalone singles — that have found him bouncing around effortlessly between different electronic music styles, genres and sub-genres. 

career: he started the year with Pi, a full-length album written and recorded in a three-month inspired burst that resulted in some of the darkest and heaviest material he has released to date. He followed that up with Quest EP, which featured experimental yet melodic material. A few months later, he dropped the four-song EP Rapscallion. which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.” 

French producer and JOVM adds another release to a wildly prolific year, the 11 song album Seven Hybrids. A few hours ago, I wrote about the hypnotic club banger “Moonbright.” The album’s second and latest single “Davaï” is a straightforward yet crowd pleasing and hypnotic banger that’s deeply indebted to Larry Levan-era house music: skittering tweeter and woofer rocking beats and a sultry mantra-like vocal sample are paired with dense layers of wobbling synth arpeggios.

New Audio: JOVM Mainstay LutchamaK Releases a Melodic, Deep House Banger

There are few artists I’ve written about as much over the past 18-20 months than the frenetically prolific French electronic music producer and JOVM mainstay LutchamaK. During that same 18-20 month period, LutchamaK has released an increasingly eclectic array of material — through EPs, albums and standalone singles — that have found him bouncing around effortlessly between different electronic music styles, genres and sub-genres.

far, 2021 has been among the most productive and prolific of the JOVM mainstay’s career: he started the year with Pi, a full-length album written and recorded in a three-month inspired burst that resulted in some of the darkest and heaviest material he has released to date. He followed that up with Quest EP, which featured experimental yet melodic material. A few months later, he dropped the four-song EP Rapscallion. which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.”

The French producer and JOVM adds another release to a wildly prolific year, the 11 song album Seven Hybrids. The album’s first single “Moonbright” is a hypnotic and expansive 90s-inspired deep house banger centered around skittering, tweeter and woofer rocking beats, glistening synth arpeggios, atmospheric electronics and a melodic, almost pop-leaning sensibility.

Wojmann is a mysterious and emerging French electronic music producer and electronic music artist with a rather unique and interesting back story: Born somewhere in Southern France during the late 20th century, the emerging French artist suffered from a severe case case of amnesia, a case that has essentially erased his past. Found in front of a small Provence town’s public pool last April, the only memories that Wojmann seems to have is a haunting rhythm in his head that he tries to transcribe to music. 

Acclaimed French electronic label Sinners released the mysterious French producer’s debut EP Vars earlier this year. Building upon a growing profile in the electronic music scene, Wojmann has quickly followed up with the OT EP. The EP’s A-side single, title track “OT” is an expansive and cinematic take on deep house centered around layers of shimmering and arpeggiated synths, an insistent motorik groove and tweeter and woofer rocking beats. Sonically the song — to my ears at least — reminds me of bit of Tour de France and Computerworld-era Kraftwerk.