The first thing you’re probably asking yourself is, “Um, what’s the deal with the horse?” To be honest, we’re not entirely sure either, but let it go, that’s not important right now. What is important is the fact that the duo of Zev Eisenberg and Gadi “Baby Prince” Mizrahi, better known to their admirers as Wolf + Lamb, have ventured beyond the universe of their Crew Love label for the first time to release a new single. For this historic step, the pair have chosen to hook up with the legendary house haven Strictly Rhythm, and judging from the aural evidence, it was an exceedingly successful partnership.
On September 7, Strictly Rhythm will release “After We’re Gone,” on which Wolf + Lamb retain a connection to their previous work while adding something fresh to the mix as well. It’s the kind of track that ought to sound just right around 3 a.m., when you’re a wee bit delirious from a night of clubbing and things are starting to get just a little bit hazy. That’s when “After We’re Gone”‘s blend of insistent beats and smoky, sensual atmosphere will hit you just right. Of course, it’s entirely likely to work at other hours of the day as well, that was just a suggestion…..
A week after producer Ten Walls’ homophobic rant on his personal Facebook page went viral and basically ended his career, Wolf + Lamb producer Tanner Ross has apologized for a barrage of awful tweets aimed to provoke Resident Advisor’s North American editor Andrew Ryce. Piecing together the story, Ross apparently didn’t like Ryce’s unimpressed review of Jamie xx’s new album, In Colour, and set out to piss Ryce off.
Ross tweeted: “Musta felt so good to give Jamie Xx a bad review. What was it like? Did your dick get hard?”
His follow-up: “@andrewryce like… I feel so cool just reading it. Can we rub our dicks together and go to Creamfields?” and “@andrewryce I was doing my dissertation at Fabric with Craig Richards before you came in someone’s ass.”
Ryce screenshotted the deplorable tirade (see below) and filed a complaint with Twitter, claiming Ross harassed and provoked him but reportedly to no avail.
As a result of the incident Ross was tossed from bill at the Crew Love party tonight in Barcelona.
“I apologize to those who have been offended. Attacking someone verbally is absolutely wrong but I was not coming from a homophobic point of view. There really isn’t enough words that can express how sorry I am. I truly am sorry.”
Good luck on your next career, Tanner Ross. Dance music has no room for hate mongers like you.
On “Messin” Crew Love stalwart Navid Izadi channels ’80s Latin freestyle — a genre whose lyrical matter is mostly derived from tales of a lover who’s done someone wrong — and offers a fantastic contemporary spin. Joined by Angelica Bess from Body Language, Izadi, who has previously collaborated with Deniz Kurtel, PillowTalk and Soul Clap, calls out this despicable cheater while getting down and dirty with his badass grooves.
We’re pleased to world premiere Midnight Magic’s remix of “Messin,” an interpretation that adds more fuel to Izadi’s musical fire.
Check out the Brooklyn collective’s remix below and be sure to listen to Izadi’s five-track EP which will be released June 22, 2015 on Wolf + Lamb.
Lounge electro-pop with its head in the clouds, meets a deeper burning desire to get on the dance floor, which turns into a pitstop from a galaxian cruise, and returns feet to solid ground. It doesn’t sound like a best of both worlds situation hatched between Greg Paulus and Nicholas DeBruyn, particularly when some hippish rap leaves its mark as well, but all works unexpectedly well in No Regular Play’s covenant of cool.
The Marcy Hotel-educated pair look to out-dreamy other groove fantasists, with “Nameless” draping over a cosmic chez-lounge, dropped back down to earth by the techno-toothed “The Answer” taking out mumbling jazz pianos. The title track keeps the breathy vocal function over forward deep house in its keenness to look/sound the most dapper, with the first interjections of rapped rhymes acting like heavies on the door making sure you’re enjoying yourself.
Reaching for the astral doesn’t make Endangered Species a sleazy listening experience, defying a not unreasonable expectation of the electro vistas being given a lick of the slimy. “Never Had Enough” is seductive, but makes gentlemanly intentions known, cruising in a hover car with its bubble down as it does. “Kickback” is funkily playful, sounding like a Digital Underground jam for the year 3012 before providing an alternate ending, and “El Dorado” is chic deep house with a killer stab of bass interacting with the falsettos. Fashionable, yet vibrantly in touch with the common ear.