Panty Thing Party Mob


Lots of folks have been anticipating a new PantyRaid release for some time. If you’ve seen their live show, you’re sure to have heard some awesome unreleased heat that did probably make the girlies go crazy on the dancefloor. MartyParty and Ooah (of The Glitch Mob) are no strangers to droppin panties.. both separate and together. Today, they dropped a new mixed tape chocked full of brand new unreleased originals. Grab it below!



PantyRaid – Mini Mix 2010


1. PANTYRAID – BRUSH IT OFF

2. PANTYRAID – RUN IT

3. PANTYRAID – BECAUSE OF YOU

4. PANTYRAID – PURPLE BLUES

5. YO GOTTI ft. LIL WAYNE – WOMEN LIE, MEN LIE (PANTYRAID REFIX)


You can also check out PantyRaid’s upcoming tour dates here. Take it from me, if you haven’t seen them, make it a point to! Their live show is dope.




And speaking of the Glitch Mob, today Boreta released a remix of Nosaj Thing! It’s been a little while since we’ve seen anything solo from Boreta, and he races back in flying colors, coming true to his glitch-hop roots. This laser-bass synth-hop banger is sure to make you nostalgic for The Glitch Mob of old. Cop it below, and make sure to check Nosaj’s tour dates too.. this guy does it up right!



Nosaj Thing – Coat of Arms (Boreta Remix)





That’s What a Real Mob Do..



So the question today is, what does a REAL mob do? We’ve all seen what a real mob has done.. breaking barriers and genre restrictions, slaying crowds that didn’t even see it coming, and becoming a household name among electronic music fans nationwide. Through the years, Ooah, Boreta, and edIT (and, at one point, Kraddy) have bitcrushed and beat-repeated their way into our hearts. From edIT’s Crying Over Pros to Crush Mode, this Mob has displayed a real knack for diversity. And now, we are here to address the newest direction.



XLR8R TV Episode 83: Glitch Mob Street Warfare

(To be fair, I believe both edIT and Ooah can play the guitar.)



From their humble beginnings, four friends set out to change the face of underground music. Each producer was already well respected in their west-coast circles, and together, they proved that they were a force to be reckoned with. Four distinct sounds, rooting from four different DJing and production backgrounds, pushed their sound of bastardized hip-hop beats and crunchy, rolling basslines into the sights of many a fan through sheer perseverance and skill. As noted before, they’re also no strangers to finding the limits of genres and then bashing them down, each in their own way.


One thing that’s really great about The Glitch Mob is that they seem very accessible to their fans for the most part. They do their best to stay up on all the social networking sites, respond to inquiries, and even open discussions about their methods and gear. However, throughout time, The Glitch Mob have streamlined their live shows into something akin to the boy bands of old. Have The Glitch Mob become “The Boy Band of Glitch-Hop”? Some feel that without any sort of live mixing, and a marginal amount of effecting shared amongst three people, that The Glitch Mob are now the epitome of the push-play DJ that seems so popular in this day and age.





That being said, their new live setup looks extremely promising and should be an amazing thing to see live. This definitely looks like a great new direction for them, and could prove to open their horizons to new and exciting ventures.



The Glitch Mob – Beyond Monday :: An experimental installation honoring the harmony of vision and sound.



Anyone who has heard the new singles Between Two Points and Drive It Like You Stole It surely has something to say about the new direction that their music is taking. On one hand, with this being their first originals as a group, there will of course be some melding of tastes and styles.. but that’s a weird thing: The Glitch Mob’s newest material doesn’t sound anything like what they have created throughout their solo careers. In fact, it seems to miss a crucial element that probably defines the Mob: glitch. In short, one might define their new sounds as some sort of generic laser bass.


It looks as though The Glitch Mob are trying to distance themselves from their old sound (as seen on the new Glitch Mob website, where you won’t find any downloads of Crush Mode or Heat Up The Night), the sound to which their thousands of adoring fans have grown to love. One could assume that somewhere along the way, they decided to trade in the underground for the mainstream. Is it natural progression? Evolution? Will we see The Glitch Mob once again push the boundaries of what we think of as danceable electronic music, or will they fade into the background of countless other artists competing for the almighty dollar?



The Glitch Mob’s newest promo for their upcoming album, Drink The Sea.



So now we come to their newest release, a bootleg remix of French Electro/Breaks producer, Krazy Baldhead. This remix captures the epic factor of the original and builds upon it quite nicely. Nine minutes of revolving synths and well-produced samples, culminating in an emotional presentation of the state of the music industry today.



Krazy Baldhead – The 4th Movement (The Glitch Mob Remix)




Everything aside, it is ultimately the job, neigh, the duty of the fan to reach out and support music that they love. So go see The Glitch Mob live, and develop your own informed opinions about them and their evolution.



-Psymbionic



Exclusive Interview: EPROM


Finally got around to finishing up the Eprom interview! This was done the night of Eskmo/Eprom back in January @ Aces Lounge, Austin, TX. Both dudes are a lot of fun and very down to earth, chill people. They really had me cracking up most of the night.. and part of me really wants to sample some of the audio from that night into an awesome breakcore track, haha. Eprom, engage!



Psymbionic: Tonight is the first show starting a tour in anticipation of the upcoming release with your friend Eskmo on Warp records. How does it feel to be a part of legacy such as Warp?


Eprom: It’s pretty humbling, man. I’ve been listening to Warp Records since I was very small. So, uh, it’s def a dream come true for me.



Psymbionic: What is your thought process in naming your tracks?


Eprom: Hahaha, I don’t think there is any.. it’s kind of like, whatever comes to mind to save the first version, I usually just end up using that. And a lot of times it’s in jokes with friends of mine. And it just ends of getting used because I can’t think of anything better.


Eskmo: I had one called Donkey Balls one time.


Eprom: Donkey Balls? You gotta send me that one dude.


Eskmo: It ended up changing to Donkey Kick.. or Donkey Punch.


Eprom: I had one called ‘Donkey Nap’ that me and Justin (Boreta) made. Which was actually a progression from Donkey Lunch.. which is a progression from donkey punch.. which is a sexual act that bears no description.. at least in context of this interview.


Eskmo: Not family stuff.. [at this point, I'm just dying laughing]



Psymbionic: Your style is distinctly nasty, yet trippy. Crunkadelic, Psyphy, AlienAbductionStep.. how do you explain your music to people who don’t have a solid contextual basis for it?


Eprom: At this point, if someone hasn’t heard it, I just say “electronic music”.. haha.. because I’ve given up on trying to come up with new genre names. It’s hard for me.. I just don’t think that any genre names can really describe it I guess, so I just try to play them my music which seems to work better.



Psymbionic: I’m sure you’re exploring new geographical territory, more and more. What kind of response are you getting from playing at places where your style is unexpected?


Eprom: Well, I’m still pretty new to the whole touring thing. Brendan’s been doing it for a while, but I am hitting up a lot of virgin cities on this little tour we’re doing. I’m always real excited to play in new places because I get to bust open some new heads, which is always fun. And I think, I definitely feed off of that energy. I really liked playing in Denver and I got to play outside of Houston recently, that was really fun.



Psymbionic: I hear that you have some tunes coming out on a new label called “Bad Acid”, which seems to be focused on the more psychoactively heavy tunes. Can you tell us a little about these guys, and when we can expect a release?


Eprom: Hopefully I’ll be getting the test presses on that in a couple weeks. Should be pretty dope, got some killer remix artists lined up, and I’m super stoked to get that out. It’s gonna be dope, the cover art is fucking sick.. it’s like this crazy skull with like this psychedelic texture in the background and it’s all cut so it looks like a blotter sheet. They are actually an offshoot label of Black Acre, and they’ve been pushing some really great sounds coming out of the UK.. Akira Kiteshi, Slugabed, and some really progressive cool artists who are doing great things at the fringes of dubstep or whatever you want to call it.



Psymbionic: I’ve seen multiple spots online where you’ve shared personal techniques or tricks that you use. How do you find the time to help others when I’m sure your schedule is plenty full?


Eprom: My schedule is actually mostly playing video games.. and I try to make to make some music occasionally. So uh, if I ever accidently do something productive for the community, I apologize.. it was a mistake on my part.



Psymbionic: About how long does it take you to finish a track to the point where you would be proud to play it out?


Eprom: I’m not sure if I’m ever really ‘proud’ to play them out.. I dunno, I get them to a playable state usually within the first two sessions, which is usually 8 hours. If I’m feelin’ the song, and I know it’s gonna end up being a playable tune, I’ll just bang out the whole structure within one night, and tweak it over the next couple sessions. I usually end up doing no more than like 3-4 sessions on a song, because after I that I just feel like I’m driving myself crazy on little detail things that people aren’t going to notice anyway. But that’s why I like having a hardware synth, because you have to commit at a certain point, and just be like, “ok, I’m just going to record what’s happening right now and just use it in the song”, and then beyond that, you can fuck with it a little bit with effects processing in the sequencer, but you’re basically committed to that bassline sound and that’s a good thing from my perspective because you’re not endless tweaking it and trying to get it more and more dialed when really it probably sounded great in the first place.



Psymbionic: What hardware synth do you use? What about Digital Audio Workstation?


Eprom: I use a Moog “Little Phatty”, which is really great for bass sounds.. really great. Super warm. It’s a dope synth, the whole signal path is analog, and the preset storage functions are digital, and it’s going to some digital functions like preset backup and you can digitally control it like a midi controller. I use Logic to do most of my stuff as a DAW, but I have been doing tracks in Ableton now and then as well, because it’s really great to be able to bang out melodic ideas using some of the melodic ideas using Ableton midi functions like the arp.. the built-in arpeggiator is real dope.. and the chord generator is real awesome. And I’m super excited about the possibilities for Max for Live. I’ve been watching people like Richard Devine use that and it’s just fucking.. pretty mindblowing.



Psymbionic: HOOKERZ AND BLOW.. really?


Eprom: Yeah, really.


Eskmo: It’s just real life, it’s the way he is.


Eprom: That’s just how I roll, pretty much.



Psymbionic: I remember all sorts of buzz about your “The Mixtape 2009″, with many tracks still unreleased from it. What’s in store for “The Mixtape 2010″ or when will see a full length Eprom album?


Eprom: Uhh, I dunno? I don’t really have plans to do an album. A bunch of those songs are actually coming out on various labels, and some of them will probably never come out. I think that I like that format, so I will probably do another tape like that, just like a beat tape type of thing.. just maybe make it shorter. That way I won’t have to put the all 4000 vocal samples on there. But I think that whole format is a good one for gaining public awareness.. I basically copied it from Lazer Sword.. and I was like, “Oh that’s a really good idea.. do a mixtape of all original beats” and make them like dropped like dancehall music style, where’s there’s not really any mixing.



I managed to dig up a couple of tunes to give away, as well as a video compilation from the night of the show that this interview was done at by none other than Mike Abb of Abboriginal Productions. The first tune is an Eprom remix of a band by the name of The Earlies out of the UK, and the second is a mashup of sorts that Mochipet put together of an Eazy-E track fused with some unreleased Eprom amazingness. The third bonus track is a Nasty Ways (Eprom + Boreta) remix of Lil’ Wayne’s “Lollipop”. Enjoy!


The Earlies – Breaking Point (Eprom Remix) (via Stay Lucid)


Mochipet Ft. Eprom / Eazy-E – Eazy-Eprom


BONUS: Lil’ Wayne – Lollipop (Nasty Ways Remix) (via xlr8r)




Don’t forget to grab the track from this video, “Bubble”, released yesterday via Bad Acid on the Shoplifter EP! Special thanks to everyone involved, especially to Polaris Presents and Scoremore for doing it BIG in Austin, TX!



-Psymbionic



Straight Glitch Mobbin



Boreta, edIT, Kraddy, and Ooah, aka The Glitch Mob, the masters of lazery glitched up techy bwomp-assed hip hop remix madness, have a show alongside DJ AM coming up this Thursday April 30, in Downtown LA! There’s not much to be said about these guys that you shouldn’t already know, but if you DON’T already know…


La Cita

336 South Hill St.

Downtown L.A., California


Go to http://www.danceright.net/rsvp.html to RSVP.


What… you thought there was just gonna be a flyer?


TV On The Radio – Red Dress (The Glitch Mob Remix)

90 BPM


Nalepa – Monday (The Glitch Mob Remix)

95 BPM


Evil Nine feat. El-P – All The Cash (The Glitch Mob Remix)

70 BPM


www.theglitchmob.com

myspace.com/theglitchmob