2011-12-30 15:35
麻油女郎
SBTRKT - SBTRKT (2011) [Electronic/Post-dubstep/Soul]
[img]http://ecx.images-amazon.com/images/I/418jLSuSFKL._SS500_.jpg[/img]
Artist: SBTRKT
Title: SBTRKT
Label: Young Turks
Genre: Electronic
Bitrate: 232kbit av.
Time: 00:41:17
Size: 72.21 mb
Rip Date: 2011-06-22
Str Date: 2011-06-27
01. Heatwave 2:57
02. Hold On 3:31
03. Wildfire 3:25
04. Sanctuary 3:56
05. Trials Of The Past 4:28
06. Right Thing To Do 3:26
07. Something Goes Right 5:04
08. Pharaohs 3:42
09. Ready Set Loop 3:10
10. Never Never 4:01
11. Go Bang 3:37
Release Notes:
SBTRKT made his name hiding behind a mask, remixing the likes of
M.I.A., Basement Jaxx and Modeselektor. And here, hes kept the veneer
while doing somewhat of a showy back-flip by bringing in an A-grade
line-up of guest vocalists, hes given his own music the stage and
produced a debut album almost unbelievably bursting with ground-zero
moments, unexpected side-turns and slinky promises. This set packs the
kind of hustle biologically required to (hopefully) scale the charts
and explode into new places.
Its a both timeless and timely album, for the mix of right-now
production a haughty brew of clean-but-intricate beats, squeaks and
wobbles with chart-ready choruses. On headphones, its fixated on the
image of a desolate figure lugging their emotional haul through the
dancefloor while the night goes on around them, free of fluff and full
of power. Through the right PA, its mini-breakbeats fly across open
space like strobe-lit ping-pong balls. Each trick is as impressive.
Samphas vocals are striking, frequently courting the edge of tears
especially on Hold On where he pleads, "Youre giving me the coldest
stare / Like you dont even know Im here". And so it continues, with
other such imagery, of "ghostly enemies" on Trials of the Past and
breaking down the blockade of "Pharoahs guards, Kings and Queens" on
Pharoahs, featuring the blindingly impermeable vocals of Roses Gabor.
On Right Thing to Do, Jessie Ware comes through even stronger than the
twisted bass and thumping 808s, mournfully purring "Let me eat all
these lies up / Let me hide, let me hide them". Its simple heartbreak,
unusually matched with such an upbeat arrangement.
But as the pace drops and the cycle restarts, sobriety creeps back in.
This album is paced like a perfect DJ set it reads the listener with
incredible insight, combining the immediate and familiar with intense
passages of warm-up, breaking to allow for moments of blank space and
reflection. The mix of shiny vocals with tight, accelerated textures is
steeped deep in a glorious combination of two-step, UK funky, dubstep,
US RnB and Chicago house. Add that to the compendium of a killer pop
sensibility, infectious bubbling rhythms, unbridled energy and
astounding curation from the man in the mask, and what we have here is
the promise of this decades Timbaland.
Download Link:
[url]http://115.com/file/dnonoxff#[/url]
[size=4][b]Post-dubstep[/b][/size]
More recently the term post-dubstep has been used to describe music that combines stylistic features of dubstep with other musical influences.The breadth of styles that have come to be associated with the term post-dub-step preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that "well-meaning attempts to loosely define the ground we're covering here are somewhat futile and almost certainly flawed. This is not one genre. However, given the links, interaction, and free-flowing ideas...you can't dismiss all these acts as unrelated..." Such music often references earlier dubstep productions as well as UK Garage, 2-step, and other forms of underground electronic dance music. Artists producing music that has been described as post-dubstep have also incorporated elements of ambient music and early 2000s R&B. The latter in particular is heavily sampled by two artists described as post-dubstep, Mount Kimbie, Fantastic Mr Fox and James Blake. The tempo of music typically characterised as post-dubstep is approximately 130 beats per minute.
The production duo Mount Kimbie is often associated with the origination of the term post-dubstep. The commercial popularity of The xx, also marked a breakaway and a member of the band, Jamie xx has released remixes which are considered post-dubstep, including a Gil Scott-Heron remix album. Other names frequently associated with post-dubstep are Ikonika, 2562, Cityscape, Deadboy, Martyn, Floating Points, Pangaea, Ramadanman, Sepalcure, FaltyDL, Pariah, Burial, The Weeknd, SBTRKT, Lorena B, Scuba, Egyptrixx, Shackleton, Starkey, Matthew Thompson, Ital Tek, Ifan Dafydd, Guido, Four Tet and the U.K. labels Hotflush and Hyperdub.
[img]http://userserve-ak.last.fm/serve/_/68481010/SBTRKT.jpg[/img]
[b]London, United Kingdom[/b]
SBTRKT is Aaron Jerome, a producer based in London. He allows the music to speak for itself. He performs behind a mask every time he plays out. Having just wrapped up remixes for Basement Jaxx (‘Scars’) and Franz Ferdinand (‘Send Him Away’), he’s got the airwaves in a stir with Benji B, Mary Anne Hobbs and Gilles Peterson singing his praises. With releases on the equally anonymous Brainmath label, Ramp and the ever fun Young Turks.
5 things about SBTRKT:
1) His live show includes his main collaborator Sampha on vocals and keyboards.
2) The name came about to create a musical identity separate from any single person.
3) Much of the music being played is electronic based but some recent material is live.
4) First gig was at fabric in Room 1 at Get Familiar (amazing sound/vibe!).
5) SBTRKT is pronouced ‘Subtract’.
SBTRKT sound:
The main thing are the synths, arrangement and syncopation. I tend to play around with chords or pads first, and then start applying some drums to it. Even though I guess I write ‘bass music’ I tend to add bass in last; rhythm and arrangement are most important for me. A lot of people seem to mention ‘2 step’ alongside my name guess it’s just because of the syncopation that genre entailed.
[[i] 本帖最后由 麻油女郎 于 2011-12-30 16:57 编辑 [/i]]