I couldn’t find any information about who Nelio Pires is, but this Soundcloud loosey from this mysterious producer is just gorgeously simple downtempo. On “Been Listening a Lot,” a track off an upcoming album of his that’s supposed to put listeners in the shoes of workers in different parts of a nightclub, Zeisig lays down a deep, meditative, ambient dub techno soundscape to get lost in. If you’re looking for a little calm audio oasis to relax into this month, German producer Forian T M Zeisig’s got you covered. New York’s Kush Jones is one of the most prolific and most eclectic dance music producers making footwork/juke music now, and on “Leave Em” Jones makes that transcendent mountain out of a loop of Sounwave and Terrance Martin’s instrumental for Kendrick Lamar’s “For Sale? Interlude,” and another loop of someone saying “he ain’t bothering you so don’t fuck with em.” It doesn’t make sense on paper, but the importability of turning two simple elements into transcendent electronic soul music is the liberation theology that juke/footwork music preaches.įlorian T M Zeisig – “Been Listening a Lot” and Nelio Pires – “Baion” Kush Jones’ “Leave Em” does what my favorite juke/footwork tracks do, building transcendent music through sampling and looping small snippets of sound. “You don’t want to stop white violence do you?” Ture thunders, “It’s my survival that I’m fighting for white boy! Have you stopped it?” Ture saying “have you stopped it?” repeats again towards the end of the track, hammering home the idea that just thoughts and feelings won’t stop the worldwide pandemic of white violence, but that only direct action against the system that holds it in place will stop it, then the drums kick back in, loud and clear. Over a rapturous techno-soca beat and a filtered acid house bass line, Foreigner samples an impassioned speech by Kwame Ture admonishing white audience members for not putting their bodies on the line to stop white violence directed against people of color. Carribean dance music legend Foreigner’s techno-soca party track for Black liberation against white violence. Speaking of urgent cries for liberation, “Touch Ground” is underground L.A. RELIEF 3 by Kush Jones RELIEF 3 by Kush Jones Touch Ground by Foreignerrrrr Touch Ground by Foreignerrrrr Mashed together, the track is an urgent moan of liberation.įoreigner – “Touch Ground” and Kush Jones – “Leave Em” “If I’m in Love” slows that bpm down a little to match the tempo of a sultry r&b slow jam vocalist, but keeps the pounding four on the floor hardcore gabber drums crushing behind her. “If I’m in Love” is MoMA Ready’s clearest and best expression of the gabber/early 2000’s r&b mashup sound that he’s been exploring since he put out a 200 bpm gabber remix of Amerie’s “One Thing” at the beginning of the year.
It’s an exuberant and almost celebratory, sounding like it was just as fun to make as it is to listen to.
It’s a house track, but it calls back to elements of techno, bass music, hip hop, soul, and maybe even a little jazz and gospel. Propelled forward by what sounds like a detuned trumpet or a harmonica sample from The Dude- era Quincy Jones records but turned into an air raid siren, Ali softly pleads for a distant lover over a head bobbing house beat, occasionally accompanied by a wordless chorus of ghostly female vocals. Kareem Ali’s “Come Back to Me” is the platonic ideal of a house music track in 2020. The Other Side EP by MoMA Ready The Other Side EP by MoMA Ready Kareem Ali – “Come Back to Me” and MoMA Ready – “If I’m in Love (feat. Sam Ribakoff‘s drip is like Pete Campbell’s faucet in Cos Cob.
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