Ayo so real talk, I haven’t lived in NYC for very long and ya’ll got some fucking humidity issues. Like seriously, damn. Colorful Colorado, where I’m from, was also Bone Dry Colorado. It was also Meth Head Pastor Cavorting With Male Escorts Colorado, but enough about my state. All that matters right now is the new Bro Safari x UFO! collab album!!!

So I’m sitting here in this space, lamenting the film of sweat I’ve acquired thanks to this bullshit moisture in the air, and it suddenly becomes okay once I start playing the new joint from these two purveyors of trap-step. It’s the full on electro-fest experience from the comfort of my office chair, sitting here listening to one trappy dubstep cut after the other; the next track consistently grimier and dirtier than the last, and my body simply reacting accordingly. It seems both artists have mastered the long theorized genre of psychosomatic trap.

Excuse me while I cook at my desk.

But really, while a lot of people aren’t receptive to dubstep in 2k13, those same people are missing out. The whomp-y version of dubstep that Americans have come to know and love still has a surprising amount of life left in it, and both producers prove to us why. There’s also a good amount of versatility on this album, with tracks occasionally stretching beyond trap and dubstep and breaching into the borders of moombahton territory. Even retro synths a la my boy Giorgio Moroder get a nod on tracks like The Dealer (pretty sure that intro is from Scarface).

Bottom line is that some of your friends are gonna turn up their noses when they see/hear/lip-read the word “dubstep”. Your friends don’t know what the fuck they’re doing, so get as low as you can to that filthy new new.

When I was young and in high school, I used AltaVista (one of those archaeo-search-engines of the past; pre-Google) on an old beigh-box Windows 2000 machines to find Geocities sites explaining how to astrally project myself when I went to sleep. This is what I studied nearly every day in the library’s tiny computer room instead of meeting with my chemistry tutor. I wish me from the future would’ve sent Metal_Mother_IONIKA.zip to my old hotmail account.

With obvious similarities to Grimes et al, you’d be wrong to immediately pass judgment and dismiss Metal Mother‘s sound as derivative. In fact, Metal Mother shares a lot more in common with that early wave of EBM that branched out of the industrial scene. Equal parts VNV Nation, Dead Can Dance, The Cure, and even the strange, obscure sect of 80s dark ambient that has always been impossible to genre-fy.

Also, that opening synth on the track “Little Ghosts”. Remind you of anything?

Ionika, Metal Mother’s sophomore album, is a pretty recent (month-old) release, and for some reason they’ve remained relatively unknown despite music videos and releases going back to 2011. Hit up the Soundcloud embed below, sprinkle some DMT on your favorite breakfast cereal, and drift through phantom-space for a little while.

GIORGIO MORODER – YOUR DISCO LIFE from Jay Buim on Vimeo.

Giorgio Moroder sat down for an interview recently, and revealed how he turns out wave after wave of sexy synth beatz.

“But wait!”, you say. “The author of this post intentionally misled us and that’s not Giorgio!”, you say.

Yeah, I know it’s not really Giorgio Moroder, but I think it’s a clever impression of the man, and it’s great to see people actually pay attention to him after disco bit the fucking dust 30+ years ago. Yeah, he was an amazing film score composer, as well, but it’s his disco output that’s finally getting some retro-cool recognition via Daft Punk and their latest album.

If you watched the Creator Series with actual Giorgio Moroder prior to the release of Random Access Memories, you’ll probably get where the dudes in the above video got their ideas. Moroder is a legitimate disco legend, but he’s kinda been relegated to obscurity since disco’s hard and fast death. His being cast back into the limelight really underscores the fact that he’s 73-years old. Don’t get me wrong, I love the guy, but he’s kind of just like…I don’t know…a grandfatherly Moog-wizard at this point. And when a grandfatherly Moog-wizard DJs his very first set in the year 2013, it crosses over from charming resurgence of popularity, to that feeling you get when you see a cool-dad blasting a yesteryear trap banger from his recently-leased Camaro.

I feel all the love in the world for Mr. Moroder, but this hilarious parody mirrors my sentiments perfectly

PX$H6XD (aka Freebase) just posted this new beat yesterday with the tag “CYBERPNK FNK”, and the self-described genre is pretty appropriate. You could play this in a London jungle dance club circa 1991 and most of the ppl in there probably wouldn’t skip too much of a beat. The tempo on the PX$H6XD track is a lot slower, but all those familiar rave-hop sounds are present.

Check it out if you ever wanted to get down and dirty with your girl to some chopped and screwed Ridge Racer-type shit.

Yeah, girl….Damn girl damn. Hold up lemme pause this game girl damn.

Just when I’m about to write an ubi sunt-styled post about booty bass, muhfuckin’ Fool’s Gold goes and posts some exquisite new shit in the same goddamned vein.

They literally just dropped this track from Rynecologist & Meech, and the fucking moment I clicked it, my arms flew up into the air like I’d just discovered cold fusion, or proved the existence of ghosts or something (they’re real).

UGH, just listen to it! Boom, boom, boom, boom on that fast-house bass. Some simple conga loops. And then the all-important baritone narrator….

Faceless and persuasive, the voice encourages all of us to pretty much just get naked and grind to the New Revelation. Booty Christ loves us all, and the Church of Nu-Ghettotech is upon us.

Got-damn son, got-Damn!!!

Yung Lean keeps turning out the weirdness at a prolific rate, and this time he teams up with DJ Smokey for a tra…hold up, hold up , hold up, hold up.

So yeah, seriously. I gotta just repeat one line from this cut before I continue because I can’t stop thinking about how insane it is: “All these hoes want my pee pee in a jar where they can save it.”

Okay, done, back to the track.

Like I was saying, Yung Lean and DJ Smokey put this up a couple days ago, and it’s probably one of the best I’ve heard from either of them in a lil while. Basically, Lean’s brand of hyper de-centered rap is perfect for DJ Smokey’s out-of-body beats. What I mean, is that while Lean is actually good at rapping, there’s no arc or story-telling aspect to it. And that’s actually a good thing for what he seems to be going for. Yung Lean goes from describing a bevy of drugs, to girls wanting his urine, to describing himself as “not human”, to dropping a Lambo reference out of fucking nowhere . It’s basically a talented distillation of weird-rap tropes.

For this collab, Smokey produced a beat that shares a lot of similarity with his other work, like “#CODEINEDEMONZ”. Slow-ish tempo, deeeeeeeep bass melodies, and repetitive 16-bit background FX. In fact, all that background noise reminds of a sloooowed down version of this track from a well known RPG from the 90s. And shoutout to that Poe laugh at the beginning of the track. Smokey’s on that Zelda tip.

Yung Lean’s Unknown Death 2002 is out on Мишка Records this July and don’t you dare miss it. Don’t you hurt me like that.

How important is video art to music? Is music felt more and perceived as better when it soundtracks a quality visual concept? Can video and projection art impact the swelling digital music landscape? -and do these musical communities alter the discipline itself?

I’m happy to announce we have a new midweek column which tackles all things video art, by someone steeped in it’s culture;      Logan Owlbeemoth.

You have most likely heard of Owlbeemoth, either from the psychedelic nu-pop sounds of band OS OVNI or from his insightful posts in Vice Magazine. Perhaps you are aware of his own contributions to moving image through his project TACHYONS+ where he makes video art machines, video synths and music videos using old video gear modified via VCRs TVs and old video mixers. Sounds interesting huh? (I’d love to hear comments from anyone who can actually say they own a video synth).

He told Video Circuits blog “Mostly everything I have done or been a part of is definitely based in the idea of what are the perceptions of reality. Changing reality, creating new realities through sound and art, colors and tones. Shaping new dimensional worlds based off the influence of science fiction and psychedelic art.” (Full interview here) So already you can tell, Owlbeemoth is vibing on a pretty unique frequency.

His new tech heavy, visually savvy column TACHYONS+ TRANSMITS will hit Bloglin every Wednesday. It will showcase ahead of the curve video artists from around the globe and their technical appliqués of wonder. Check some of Owlbeemoth’s own below:

DYLAN ETTINGER – The Pale Mare from TACHYONS+ on Vimeo.

The burgeoning synthwave scene exploded within the past year and a half, or so. Thanks to films like Drive, the Internet is now crawling with retro-future Kavinsky-clones. And that makes for the difficult task of sifting through a lot of unoriginal, boring, and just plain bad projects.

In such an overcrowded scene, Lazerhawk shines as an example of every single correct thing to do. And he’s not a one-trick producer, either. Both of his LPs, Redline and Visitors differ wildly in sound, ranging from the outrun-electro that Lazerhawk helped popularize, all the way to outer-space disco soundtracks.

For those of you wondering, the movie is the 1989 anime classic Riding Bean. Appropriately and seedily enough, it’s about a team of for-hire thieves who drive around in sports cars.

Paula Temple crafts these frightening, semi-glitched beats that are perfect for going way too far into the web. The soundtrack to old BBS servers still clutching to their last shreds of bandwidth; junked Ethernet cards littering the sidewalks; dead social media accounts; online murders; scary teenagers; subtweets about heartbreak, alienation, and fear sent to nobody in particular.

Wait for those icey synths to start soaring at about the 1:00 mark. Slow it down just a little, and I think MC Ride could definitely shout some verses over a track like this.

Nvr Mnd’ s Trey La Trash presents Dizzyland at Spectrum (Brooklyn) tonight, Saturday May 18. The event headlines one of the New York’s finest underground electronic producers, Slava.

Alongside Slava is a whole host of amazing performance pieces and music shows including burlesquie hip hop popstar Rica Shay, arty allrounder and performer Ms. Fitz and Post Religion hip hop artist from Miami, Robbie Lee - who released his latest video just the other day from the In The Moment EP on Post Religion.

Dizzyland is going to be one hell of a party.