The two new Electric Wire Hustle EPs have been available from Conch for a few weeks now, due to technical difficulties however we haven't been able to mention them up on this blog. Details are below, be quick as they wont last.
EP 2 12"
The 10th release from Wonderful Noise is 4TRK EP by New Zealand Nu Soul/Hip Hop group ELECTRIC WIRE HUSTLE.
While Electric Wire Hustle were in London Town for their Deviation session last week, we caught up with them at the Red Bull Studios to record the latest instalment of our ‘Rehearsal Rooms‘ series.
Electric Wire Hustle Website
The TMA-1 takes its name from a magnetic anomaly in Arthur C. Clarke's science fiction classic 2001: A Space Odyssey, with the designers hoping to replicate the durability of the underground monolith that created the disturbance in the novel. This should come as good news to DJs who've gone through multiple pairs in the past due to inevitable mishaps in the booth. The new cans boast a frequency response of 20Hz - 20.000Hz.
The TMA-1 has also been designed alongside Tomas Barfod AKA Tomboy of WhoMadeWho, and Fredski, who together run the Tartelet label. With the help of the Tartelet guys, they've managed to rope in a diverse array of product testers, with Kode9, Michael Mayer, Erol Alkan, Flying Lotus, Matthew Dear, Pilooski, Luciano, Hudson Mohawke and DFA's James Murphy all giving their feedback and advice along the way.
You won't be able to pick up the TMA-1s in any old store, however, as AIAIAI will only be providing stock to Apple stores and retailers, boutiques such as Colette and Bodega, and a select group of record shops that include Phonica, Rotation Records, Hard Wax, Sounds of Universe and Turntable Lab.
Take a look at the below video for a short look at the making of the TMA-1s.
TMA-1 cutdown B/W from AIAIAI on Vimeo.
Compiled by Alex Stevenson (one third of London-based DJ/producers Patchwork Pirates and assistant to Gilles Peterson) and proudly featuring cover art by KARBORN, Brownswood electr*c celebrates the spirit of invention and commitment to experimentation intrinsic to the Worldwide underground in the face of the fusion and hybridity that characterizes contemporary sound system culture. The boundaries between so-called “hip-hopâ€, “houseâ€, “technoâ€, “dubstep†and “drum & bass†have never been so blurred, and it’s at these crossings, junctions and awkward intersections where the most inspiring and stirring sound clashes occur. These are the sounds that we commemorate on Brownswood electr*c – the music that occupies the grey areas… that lives in the spaces in between… that falls between the gaps.
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