By UG Light

Keys N Krates Live Re-Mixing 101 is both an album and a statement. (click here to listen & download!)

Every inch of it exudes a vibe of triumph and “we-have-arrived” excitement. KNK extends the moment when an artist or DJ is building up to a break, hyping the crowd, and generating the thrill of musical crescendo, and extends it over an entire disc. They also produce a contagious feeling of community; you may well feel like you’re at a party even if you’re listening to it in your bedroom.

This dynamic is an egalitarian effort by all three musicians involved. The core of the KNK ethic is the sample, that ubiquitous modern cultural artifact, that sparks both groove and recognition in the listener. But these are samples transported and transfigured; washed in melodies and pumped by rhythms alien to them. DJ Junior Flo provides these cultural flashpoints, and the drummer Adam Tune and keyboard player Matisse surround that cultural core with an irresistible architecture of party music.

One of the most shocking qualities of the album is how interested they manage to keep the listener, and how effectively they keep the party going. One would assume that track after track of deconstructed hits, while an engaging gimmick at first, would wear thin. But the members of KNK are capable of such versatility, and can so effectively build and release tension, that getting bored is almost impossible.

Their paintbox is nearly infinite, and this helps. The album begins with almost Prince-like keys and rhythms, with breaks that effectively hype you up even when you’re sitting down– a testament to Adam Tune’s rhythmic versatility. As this song segment segues seamlessly into the next, we’re greeted by the immediately recognizable Q-tip.

This first sample begins a long listener love affair with the familiar faces that populate KNK’s musical landscape. There are more obscure textures involved, but the best moments in the mix involve instances of recognition that feel almost like epiphanies. When Lauren Hill’s voice busts through the cresting wave of music with the call “123…the group is called Refugees”, it’s actually physically difficult to keep still. And the all we need are the intro chords of “Next Episode”– no lyrics necessary– to completely lose our sh*t.

This kind of sonic alchemy is no easy feat. Keys N Krates manage to balance innovation, experimentation and unexpected twists with recognizable and culturally explosive sampling touch points. The result, a live remixing experiment and a landmark of modern remix culture, is one of the most surprising and engaging recordings of 2009.

For a taste of the Keys N Krates Experience and to download “Live Re-Mixing 101″ just

Featuring and endorsed by:
Joey Ruben//Taste
Nick Catchdubs//Fools Gold
Nick Hooks//Cubic Zirconia
Rhettmatic//Beat Junkies
DJ Reflex//Power 106
DJ Eleven//The Rub
Terry Urban//Shade 45 – Press Play
Joshua Glazer//Urb Magazine
Elosi Ikharo//Vapors Magazine

Click here to download “Live Re-Mixing 101.”

Stevie Stone – New Kid Comin’

The intro caught my attention, just a list of a few Gangster Rappers/Groups that I consider legendary. I was hoping that those names would foreshadow what were to come, not really. The bass is well pronounced throughout this album. Tech N9NE is featured on this album, listening to him is always interesting. With gangster rap there is violence, so you better respect his grind.

Anjulie has a jazzy feel to it. The tempo is slow and calming. Most of the tracks, I can picture being played in a coffee house and open mic nights. Content matter has a lot to do with love, which may or may not be a good thing. Anjulie’s voice is unique, quite reminiscent of Nelly Furtado, but with a twist. So go grab a coffee and give it a listen.

Megaphone sends a message that could be shouted through a megaphone on the streets.  The lyrics are real and relatable. The cuts by DJ Platurn are impressive. I like that the flows are as quick as the beats. These artists compliment one another. Features from Zion I, Oh No and Gift Of Gab, complete the album.

If you’re looking for anything to “shuffle” to, there is a lot to choose from in this compilation. One thing I like about this album is that even though there are a lot of songs, it doesn’t get too repetitious, considering that it’s electro/techno/house. In my opinion these genres tend to get a little redundant. These DJ’s know how to change it up a bit right before one would tend to get bored, for the most part.

This is a funny album with a catchy beat. I could see myself driving down the freeway bobbing my head to this. The lyrics are quirky and instruments make me imitate the head nods from A Night at the Roxbury.  This guy has got moxy.

Speak easy is a witty, almost satirical, album.  Tales about partying, a lot of drinking and drug use seems to be the theme of Speak Easy. The beats are catchy along with the lyrics. It’s funny, and in my opinion not offensive at all, but the content may make some of the more conservative a little uneasy.

Butter expresses the versatility of Hudson Mohawke. There’s a splash of comedic, emotional and exciting feel to this album. Some tracks are strictly beats and others have vocals. It’s hard to put Butter into a genre, Hudson Mohawke does a thorough job at fusing R’n’B, hip-hop, house, and techno all into one.  This album is smooth, like “butter for the eardrums.”

The album starts off slow, but catches your attention with the lyricism. The beats are mellow, but Foreign Beggars brings together their talent to impress their listeners. I enjoyed this album, but I wished the tempo was a bit quicker and the bass was a little more pronounced. There is a great support of talented artists within this record.

I hope there is a little more content to 6treg’s album than on this “fresh” single. I’m sorry, but I can’t take someone who raps about rocking Ed Hardy and thinks its “fresh” seriously. His flows were simple and nothing really caught my attention. But I can see it being a mainstream interest.