RAMjams: Teebs’ new single, Daniel Avery’s favourite new track, the Sad Boys’ trap engine, and more…

All the newest underground electro you missed and should be listening to.

- Feb 11, 2014
RAMjams is our streaming weekly roundup of remarkable underground electronic music you might have overlooked.
This week: new music from Teebs, the Sad Boys, and Sacred Bones. Listen and enjoy.

1. Lakker, "Containing A Thousand": Lakker's 2012 EP Torann opened with intriguing post-dubstep bliss, but the following tracks proved the Ireland duo's interests lay in atmospheres of shredded rhythm and lurching bio-mechanical menace. "Containing A Thousand" splits the difference. Its structure is welded down by a trifecta of kicks as miasmatic melodies and near-subconscious vocal echoes waft through the track eventually underneath its static, boiling over into something  almost vengeful.

2. D/P/I, "HE.YY": The anxiety you feel consuming your body when your crush says "heyy" via text or instant message is articulated beautifully - even uncannily - in this new track from Alex Gray aka DJ/Purple/Image. The full-stop in the title mirrors the abrasions peppered like buckshot across the track, digital detritus against a strong wall of post-footwork.

3. Giganta, "Is Ma Beat": London label Werkdiscs has moulded a very particular and diverse outpost of electronic music for itself, with artists like Lone's smoked-out digi-soul and the cerebral and desolate Actress (also the label's founder). "Is Ma Beat" is a new cut from Giganta, an Athens resident and Red Bull Music Academy graduate. Its melodies have the appearance of a house track with its face melting, revealing the cyborg beneath the imitation flesh. For that, thank the ceaseless flux in the heart of the track: an underlay of gargling PVC pipes. An effective protest that keeps the body disturbed.

4. Yung Gud feat. blisse, "Fall In Love": Yung Gud's based trap beats helped morph the Sad Boys from just a couple of Scandinavian kids screwing around to a full on hip-hop movement charging 54 Euros for a hoodie and championed by Zomby. His sound's gotten increasingly Ultra HD since "Ginseng Strip 2002," though "Fall In Love" is definitely a peak of scope and genre viscosity. The emotive rave vocals Hudson Mohawke's LuckyMe collective flirts ably with kick off and into amen breaks, handclaps, and puncturing, brass-knuckled shots of sound, dropping the track out and rocketing it up just as quickly. There's an enormous operatic middle, but that doesn't undercut the track's overall Quad Damage force.

5. Teebs, "View Point": Whether it's solo or in collaboration with Prefuse 73, Teebs' production consistently resembles the sound of budding flowers picked up on some alien device only the folks at Brainfeeder could design. Whether "View Point" is comprised mainly of samples or live instrumentation adds to its mystery, as we cycle through a glittering congregation of forest fairies, tightly wound goatskin kicks and emerge through a waterfall of steamy chords. An overexposed cut swarming with Twoism's lineage.

6. Elizabeth Rose, "The Good Life" (Charles Murdoch remix): The soulful house sound Elizabeth Rose displayed on her self-titled EP gets taken to the deep house by Charles Murdoch. It floats through an intro built on the same dozy patches that will eventually transform into dagger-efficient dance stabs. Then, it's omnipresent cymbal hits and voices siphoned from the original into commands and miniature, occasionally obscured atmosphere colourants.

7. Demain, "With Love & Voodoo": Described as "one of the biggest tracks of the last year for me" by Daniel Avery, this track from mysterious Parisian (is there any other kind? sigh...) Demain's "With Love & Voodoo" is pure acid house, with all the warblings and peaks you're used to in a svelte and stylish package.

8. Prolife, "Gold Leaves": Sacred Bones has released the debut single from Prolife, an "anti-suicide group....[that] make noisy landscapes for the modern asthmatic gentleman to lie awake to at night." With it's faux-chandelier pop chords perfectly aligned and happy in spite of themselves, "Gold Leaves" could be the bed-ridden, possibly possessed cousin of Robyn's "Dancing On My Own."  But the dank and dreary noise swathing the notes makes drunken redemption here an even more unlikely scenario.

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