Aiko should have nothing to complain about now that Nadus has come along with some different type of beats. Everyone else may be the same while claiming they’re not, but he follows through on the promise with this remix. Taking her tune into garagey territory, the Newark producer brings a subtle East Coast club sensibility to the track. To catch more of this Brick Bandits affilate’s style – which ranges from Jersey and Baltimore club to juke and moombahton – come through to Bushwick tomorrow night for the Thread NY party. (Art by Wojciech Pijecki.)

Stranded in a future that was never meant to happen, DJ Earl is pursued by time bending authorities. Basement experiments with pirated time travel technology caused butterfly effects that blasted him over a horizon long deviated from our now established chronology. But he was followed through his wormhole in a conspiracy unknown to this world’s inhabitant’s. Interweaving melodies, brash drums, and sweeping vistas flew by without their ever knowing. Only the climax came to their knowledge, sheathed in mystery. The rest of the secrets that this rebel teknitianz footwork uncovered lay hidden, waiting to be discovered in his manifesto, the MurdArchTEKture EP. (Artwork by Pete Harrison.)

Foreshadows of winter may be stretching over New York right now, but MPEACH is attempting to ward their spell off with some new tropical heat. She’s spreading the word of the fertile art music scene in her hometown of Caracas, Venezuela – which although tiny, has made an outsize impact far from its base in a small enclave wedged in the Eastern part of the city. The bonds of that circle are evident in Peach’s output, and this new EP features production support from Pacheko and Pocz along with remixes by Cardopusher and changa tuki heavyweights Yirvin and Baba. She was also part of a group based in her curent locale of Brooklyn called Todosantos alongside fellow expats Sunsplash and Ill Pharoah. To celebrate the release of the record tomorrow, she’s throwing a party in Manhattan along with tropical bass specialist Geko Jones and DJ Castor. To get warmed up for the big day, bump this remix of her conscious club stylings. (Painting by Ana Langeheldt.)

You know those times when publications that don’t cover hip hop complain about it? This instrumental track recently sparked such a rant, when a major magazine posted it for free on their blog, and used the opportunity to complain about rappers. It’s true a lot of ill beats get ruined by garbage verses, but lets try and be positive. This track presents the chance to talk about how more rappers should get involved with instrumental beat makers grounded on the electronic music side of things. There’s been lots of great verses rendered unlistenable by douchey beats too. The cooperation would open up new audiences on both sides and help shrink the divide between them. A$AP Rocky got the right idea collaborating with Clams Casino here in the New York area, and things are picking up over on the West Coast where the ‘beats scene’ has been in full swing for a minute. Let’s hope for more connectivity. This beat, produced by DC duo Starks & Nacey, is best described as goon music. Watch yourself! It was released on New York’s T&A Records. (Photo by Jonathan May.)

Emotions rise like a new sun in the night sky, brightening the darkness just enough to enjoy its eccentricities. Electric rattles roll, skipping over stuttering kicks and echoed rims. Comforting vocals waft with a smokey glow; subs ripple the very air; and xylo pads glitter high above. Arae brings his unique touch to Brooklyn by way of an aesthetic bond with London, landing in a warm circle of similar minds like the local Sleepyhead and Dunes. Catch them all tonight at Broke City along with the grimier styles of Messkid. (Image by Justin Mezzell.)

Static dripping synths cling ominously to the surface of a swamp paced beat. Symphonic organs wail in concert with vocals lost in the smoke of burning obsolete electronics. Arpeggiated ember bits flutter in the thick air while outdated creatures howl and gloopy drums trudge on. Andy Petr sought to rid himself of this Demon through the free APD005 EP over on Mixpak, where you can now find more of our steyels. (Painting by Nick Gentry via Core 77.)

Challenged organs resembling failed warning sirens and distant foot stomps pounding a beat into the dense earth shake and whirl the dust that has yet to settle. Charred remains crunch underfoot, and a pained jazzy melody plays from unattended speakers. This is just Monday, but things do get brighter as The Murray Episodes 2 continues through the rest of the free week. Check the Datalog to see what led us to this point. (Image by Long Cao Hoang.)

“Wut” glowed on the black surface of the bulletin board service zAK-MATIK had dialed up to. Was it the Feds? How else would this dirty dirty sound from London’s future have traveled back to these analog times? It flickered in waiting as he agonized over what to do with. Was it a trap? The sparse beats were too enticing to pass up, but he couldn’t risk getting caught with it. After a heated back-and-forth with himself, zAK decided to scoop it up after routing it around the world a number of times to avoid detection. The path he mapped out would blast the contraband packet through Luanda, then off the Atlanta, over to Puerto Rico, next to Rotterdam, and finally back to the West Coast. After a caffeine fueled sleepless couple days of coding, he logged off, shut down, went to sleep and forgot it. Decades would pass until one day his email would chirp as the file reminded his older self of its existence. But when he hit play on his smartphone, the sound that spilled out was a different one. On its journey, “Wut” had passed through a variety of cultures like Kuduro, other strains of hip hop, and moombahcore. But the evolution had continued beyond that until it finally manifested in this new Moreauian 3.0 form.

A solitary zAk is dragged along the dark basketball court of “Burnin’”, where he’s pursued by a non-existent but determined Cyberdyne Model 101. Guns cocking over women moaning leak through the ripped fabric of broadcast fuzz. Trapped in Angolan rhythms, his kicks are met every few bars in the cage of his mind by militant rolls until they assume control. They march through the next cell accented in a sort of reversed negative, paired with the newly creaking polyrhythms of unkempt floorboards. After a social intermission with ghosts not seen or heard, the sonic noise of youth destroys the floating plane he dreamt. (Images by Crystal Beach.)

Every surface on Techno Blood street has a reverberant quality to it. Instead of concrete, it’s paved with rubber. A closet full of deep kicks spring with a gripping rhythm. Black metal street lamps cast surreal shadows in alleyways of electric dusk lurking with solitary predators. A canal of ephemeral jewels flows swiftly full with automated life. Patrols float by slowly following you from behind mirrored eyes. David Last‘s instrumental version presents a cavernous space that will easily catch your attention but also offers margin enough for the vocal play of the blood red Elephant Man in the room. Big up Subatomic Sound. [COP IT] (Photo by Aschwin High.)

This interpretation of Girma Beyene‘s classic Ethio-groove instrumental “Muziqawi Silt” comes courtesy of the New York-based Sol Oso Ensemble. The version is jazzier and more American than the hypnotic, smokey original and bursts with a dark main horn melody in place of the organ at 1:30. The ensemble is lead by composer and trombonist Sebastian Isler with Jason Candler on sax, Atsushi Tsumura on trumpet, Tom Abbs on bass, and Kevin Raczka on drums. “Muziqawi”, often spelled in a variety of ways, was written by Beyene in the post-Golden Age Ethiopia of 1977 for Hailu Mergia & The Wallias. It’s been played by numerous other bands since, including Antibalas, Debo Band, and even Yo Yo Ma. (Speaking of, did you see his collaboration with the pop-lock/ballet dancer?). The original can be copped through the seminal Ethiopiques series. You can catch Sol Oso play tonight as they start their monthly gig at South Street Seaport. (Painting by Scott Belcastro.)