Slo-motion matador – HeyHeyHey [EP]


I’m a big-time music junkie and I’ve been extremely fortunate to have worked with some amazing folks (Ta-ku, Sweater Beats, Stacy, The Blank). With Marinate I’ve written about some extraordinarily talented musicians. Well, On June 3rd I released my debut EP HeyHeyHey though Bad Panda Records and it’s dedicated to all the people who’ve helped make Marinate Media a go-to outlet for slept-on, phenomenal music. It’s a dark, gritty EP that bathes in fuzz and distortion. Its aim is to fill up as much empty space as possible. There are some hip-hop influences, rock ‘n roll vibes and it’s all about letting the sounds soak (or marinate) into your eardrums. The artwork is done by the fantastic photographer Oliver Seary and text expert Erica Esham. Thank you, Bad Panda Records. Thank you, music lovers.

Love, Seth 


Paddy Fred – “Laminate” Feat. LP


Paddy Fred is a producer who makes some beautiful soulful electronic music. And, he’s a cool guy. He’s from New Zealand, a country known for its gorgeous landscapes…sprawling mountain areas, low hanging clouds and lush vegetation. “Laminate”, a single from his latest EP Laminate, sounds like he’s preserving/laminating that image into a 3-minute soundwave. The Kiwi producer teams up with Lisa Preston and it’s a journey to all things chill and right with the world. (Plus, check out that awesome artwork by Marinate’s own Paul Smith.) Dope. If you want to kick back and take a quick vacation to the Oceanic then listen to this.

Fwdslxsh – “I Wanna”


UK BASS with hip-hop influences? Yes, please. I love this track…not so keen on the pixelated artwork with terrible font, but this one is all about not judging a track by its cover art. “I Wanna” is a bass heavy hip-hop jam that evokes imagery of sexy people popping-and-locking in slo-motion. Fwdslxsh (pronounced: Forward Slash) is a young producer from Essex, based in Leicester and he’s creating gorgeous club ready sounds. You gotta love this track’s vocal pitch manipulations and that he pulls them from Toni Braxton’s single “You’re Making Me High”. This one has me excited about future releases from the 19 year-old Brit. You should give this one a listen…I know you wanna.  



I run a blog called CUTTINGPRACTICE, and when Marinate Media asked me to contribute a list of my favorite producers to contribute to their blog, I immediately accepted.  Since I respect their content and methods of delivering information, I jumped at the opportunity.  I expanded on the original project, though, and decided to include artists who are not strictly producers.  I then broke these down into three categories : Instrumentalists, Atmosphereists, and Producers (duh).  ”Atmosphereists”, is a category that I chose to include because there are Instrumentalists and Producers whose efforts result in a spatial experience that accompanies the acoustic ones.  Those are artists whose abilities range on another (not necessarily better) level of artistry, in my book.

In all honesty, any of these artists could and do overlap into the other categories.  Not only do they do this on a consistent basis  throughout their work, but they do this, in some cases, in these sample tracks.  I differentiated in this was in order to show the basis from which I was explaining and experiencing their work.  I wanted to give overarching reasons for why I admire these artists in general.  

With each one, I give a quick reason for why I admire their work as a whole.  I put together a special SOUNDCLOUDSOUNDMOUND mix for this, putting the tracks in the same order that I write about the artists below.  Hit play and read through while the mix plays.  I chose some of my favorites, but I’ve obviously left out some important artists who I apologize to ahead of time.  

***Enjoy The Mix And Please Check Out All Of Their Work***


Tommy Kruise is a champion of intensity.  If I had more room I’d post the video for “WAR HAMMERS”, too.  TOMMY chops n screws a fair amount, retaining a track’s original force, but injecting his own doses of hurt and depth.  Every piece becomes entirely his own through careful manipulations.  

Sa’eed can transport you with sounds.  I wouldn’t say that he strictly gives space to his beats, but he definitely gives motion to them.  You may not know where you are, but by the end of his work, you’ll feel like you went somewhere.  Your job is to figure where that is, Sa’eed already did the heavy-lifting.  He got you there, the least you could do is take a look around.  

Alf Alpha makes instrumental tracks that contain enough character to feel like he’s created personalities.  His ability to explore a certain genre and break it down give his work distinction.  He transports listeners to very specific genres, unlike many of his contemporaries.  

Dayggs does a phenomenal job remixing works by retaining key elements of original tracks, highlighting their importance to the original track.  Retroactively, we become aware not only of the current version’s force, but also the past one’s driving components.  

Stacy explores a huge variety.  Just the other week he released a collaboration track that was an industrial rap nightmare (in a good way).  In a good way.  Stacy blends the intensity of rap’s thumps with the carnage of a factory.  His work is a comment on the emotionless turn that music has taken.  

Nanosaur runs the gamut for sure.  Whether he’s remixing, or laying production down, Nano comes with hard-hitting, steadily (high) paced tracks.  His ability to infuse a host of sounds from a variety of sources is his biggest draw, for me.  

Sucideyear does a lot of remixes, but he’s focused, so far, on re-imagining the energy of a track by messing with the instrumental alone.  And although Suicide is able to re-explore a track’s atmosphere, he doesn’t ignore the importance of matching key elements of the original with those of the new.  


Keyboard Kid will take you on an adventure.  Just strap yourself to your chair, and let your ears move you around.  Whether he’s making glitchy instrumentals or producing vaporous tones for a sensational rapper, his work is conceptually complete.  KBK builds a landscape for listeners.  

Audate has many forms.  He used to be known under the name “Rick Flame”, a producer for Lil B.  He has a grasp on the infinite, able to push sounds beyond the brinks set up by speakers, and our common experience of sound.  He communicates the infinite with every note and pairing.  

BanksOnTheBeat has a distinguishable dark intensity.  His work creeps around, looming over his listeners, feeding their darkest fears.  He doesn’t oversaturate beats with inexplicable samples, each sound fits together to build off of the last, introducing the next, tying them to a common goal.

.L.W.H. is not afraid to challenge his artists.  Forcing artists into unusual tonal situations, .l.w.h. is able to rattle artists’ cages, forcing them to explore new heights in their art.  I included an extended tape/mix that he did, to give you an idea of the range he himself explores.  

Uptown Greg has a knack for digging into the essentials of a rap beat, what I call “foundation production”.  He builds tracks from basic elements of rap production in conjunction with lighter instruments to raise the spirits of a track.

FRIENDZONE, time and again, are/is able to tap into the experience of sound. Their work doesn’t reflect the trends of sound, their work displays the importance of sound as a vehicle for feelings.  The track I included is a perfect example.  It doesn’t sound like a love song, it sounds like how we feel when we’re already in love.  


SXMPLELIFE is one that I had trouble placing in one of these three categories.  I put him here because I’ve heard him primarily as a cohort with some of my favorite rappers.  What he does, for those artists, is create a sonic atmosphere for them to explore.  They are able to open up their own capacities and play with any elements of sound they choose.  

DK all DAY will make you go insane.  His tweets are often about wanting to turn up, and ALL of his beats will make you want to.  I rarely use superlatives, but I truly believe that “Rollin” was one of the best beats of 2012.  DK harnesses listeners’ excitement in a unique way.  

Tree produces primarily for himself, and is able to fit his acoustic needs in a personalized way.  The inventor of #SoulTrap doesn’t need to fit any specific mold, he just needs to be able to fit whatever gusto he will embody on a given track.  His forté is in his ability to perfectly match his (and others’) lyrical needs.  

Joe Wax  is developing a distinctly Bay area sound.  From his work with Green Ova, and his recent work on the 100s tape Ice Cold Perm, Wax has been able to open the Bay to its wide synth capacities.  Whether he uses drums or an organ, Wax perpetually creates riding music for heartfelt rap fans.   

SmuggsDeVorzon takes on many forms, but consistently captures the persona of a system of sounds.  Each note agrees with the others, each working together towards a common end.  He is able to give his work a personality by developing within the range(s) of a certain presence or genre.  

Froskees, the nature boy, the Shadowrunner, has worked with some of my favorite artists.  He is highly capable when it comes to making reference-heavy works that adapt to the artists he works with.  He works closely with Himself the Majestic and has developed a distinct sound, run on (falsely categorized) fantasy themes.  

Chidish Major has explained that he does not want to be put in any one particular box.  This beat, for Rome Fortune’s “Balcony” demonstrates precisely that.  By venturing into a host of styles, tone, textures, you name it, Major has been able to develop a transient persona.  Every time you think you’ve got him boxed away, he surprises you with a new twist.

Snub Nose Frank translates an authentic experience into sound.  I included one of my favorite tracks into the mix, because it displays exactly that.  Frank goes by many names, and can call on many sounds, but his work consistently sets a distinct tone that tells a story through sounds.   

***As A Final Word, I Would Like To Reiterate That This List Is Not Comprehensive.  Just Because I Didn’t Put Someone Down Doesn’t Mean That I Don’t Appreciate Your Work, I Probably Just Don’t Know It Well Enough To Speak On It***




VHS Logos – Marinate Mix

VHS Logos, a Brazilian “post-internet” producer, gave us a 10 minute mini Marinate Mix and it’s wavy y’all. They’re all original tracks produced by him…pure funk. Think tracking VHS tapes and rewinding them with a pencil. Think ’90s fashion. Think neon. Okay. You’re in the right mindset to fully enjoy how awesome this video mix is. It’s curated by editing guru El Famoso Demon who weaves in old pop culture references and doesn’t ease up on the tracking fuzz. You’re going to want to check this one out. 

Hit the skip for the tracklist.


1. Dial 89,3
2. Vegas
3. Dreams
4. Love
5. Acapulco
6. TV2
7. Paralelo30
8. Nonversation
9. Verano
Presented by Marinate Media (
All tracks and mixed by VHS Logos (
Video edited and created by ElFamosoDemon

slo-motion matador – Heyheyhey


Slo-motion Matador, a twenty-something producer from the Midwest, USA, makes an ethereal production that’s steeped in fuzz and dreamy howls. “Heyheyhey” features a stumbling drum line and it’s a gorgeous two-minute journey. The track is off of his upcoming debut EP with Marinate Media. A beautifully rich chorus, a haunting and gritty backdrop…definitely give this one a spin. It’s a little bit hip-hop, a tad chill and a whole lot wavy.


Cover Art: Oliver Seary


Maths Time Joy – Hideaway [EP]

maths time joy- hideaway EP
By: Rosaleen Gallagher 

NOTE: I actually wrote this post in November, but work, life and the holidays got in the way, and it was never published. But the time has come to revisit this abandoned post and really shed some light on the amazing artist I was featuring – especially since the album I had *just* found in early November is still in heavy rotation. That being said, here is my original post from last year.

I just stumbled London-based producer/singer/songwriter, Maths Time Joy’s his new EP, out in collaboration with Live For The Funk. This is their second release, and they are proud to have joined forces to complete this amazing producer’s most complete project to date. I don’t know what it is with these European 22 year olds…the past few producers I have featured or interviewed have been 22 and have been really at the top of their game. It’s refreshing to see so many young producers really standing out tirelessly amongst all the competition, churning out fresh, amazing tracks that are immaculately produced and dancefloor ready, right out of the box. Maybe this goes to show that the hungriest will really find their way to the top just due to their sheer talent and drive, and Maths Time Joy is no slacker. He has been growing like wildfire in the blog world, with a slew of tracks already out on Soundcloud, and several mixed floating around, this producer is one one to watch.

On his three track “Hideaway” EP, Maths Time Joy brings his signature sound, beautiful, soft synths, proper organic-sounding percussion, and gorgeous samples and melodies….of course, mixed up with my favorite ingredient, perfectly chopped up and echoed vocals. His style on-point and cohesive, everything in it’s exact place (almost mathematical precision…hence the name, perhaps?), and not overdone at all…each track has a wonderful simplicity, starting slow, with growing intensity as the tracks build, and then, the twist, a perfect, and un-anticipated beautiful closure.

All this with a lightly sprinkled garage sound, lovely vocals, perfect timing…nothing is lacking in this EP. I just wish there were 3 more songs.


shak. – “Maybe, U” [MM Premiere]


I first encountered shak.‘s music through this fantastic remix collection of his which no longer exists online, sorry folks. He flipped Jeremih, Drake, and made it all his own—driving, downtempo, dark versions. (I’m lucky I got a DL in!) Marinate has the pleasure of premiering his newest creation. He says, “it’s different from my other work,” but that’s not a bad thing. shak. is a young producer from the Netherlands who on “Maybe, U” makes hazy, foggy sounds—employing slick clicks, splashes of guitar and a burping synth backdrop. This track is SOOOO GOOOOD. I don’t know, maybe you should listen to it. Maybe you should listen to it 500 times like I have. 

5 Rappers and Cliques To Keep An Eye On




There are several handfuls of rappers/cliques who’re buzzing, who’ve got really great sounds and, unfortunately a lot of them will be left out of this list. (There are totally several obvious exclusions and that’s because you probably already know those fools. I’m trying to dig a little deeper here.) These five rappers/cliques have unique qualities that are bound to push them out and into the forefront. 



The Shadowrunners Click consists of rapper Himself the Majestic and producer Froskees. The two are steeped in video game references, they ooze pop culture and well, they’re slimy. Playful lines, quirky samples, swagged-out personas and ’70s style printed shirts are the norm—they don’t take themselves too seriously, but you should definitely be taking their music seriously.The Californian hip-hop duo run with buzzing rapper ANTWON whose End Of Earth project ended up on a lot of people’s best of 2012 lists. Check out the visuals to the dope track “Japan” off of their album Cyberdine. Also, peep their Soundcloud and get more acquainted with the Nature Boy Gang lifestyle. SLIMY.   



Kung Foo Grip

Kirkland hip-hop duo Kung Foo Grip are singlehandedly bringing class to the Eastside rap scene, one that’s been needing a revamp in beats and rhymes for a long while. Between the onslaught of furious raps and devastating hoofbeats hide soulful and downtempo grooves that sink into your veins and force your hips to move.” [via] Way I see it, rappers Greg Cyper and Edward Brock II are making some great Seattle-based hip-hop—equipped with a dope ear for beats (Keyboard Kid, Stewart Villain, et cetera) and a personality to match, they’re on the rise. They released Growing Up In The Future this year with Fresh Selects out of Portland and it’s beyond dope. (They also call themselves the Indigo Children, which, I’m hoping is a least a little bit of a nod to the game Indigo Prophecy, though I doubt it.) Give these cats a chance, I think you’ll like what you hear. 




Just watch the video. Forreal. 

Okay, well the 2008ighties, BRKF$T CLUB is already pretty big in Chicago, especially their headliner Julian Malone who signed with Stones Throw in December

But, it’s not a one man show, the whole crew has skills and it’s evident in this 5 minute posse cut. (Damn sweet visuals too. Props to the team on this simple, yet effective presentation.) Keep an ear to the ground, Windy City on the come up. (!!!)



Phony Ppl 

Fellow blog enthusiast and hip-hop head  Andriana from Gluttony Is The New Black swears by these guys. She introduced me to the New York City crew about two months ago and since that time I’ve been pushing them onto other people. In December they released visuals to their track “Statues” off their EP Nothing Special and it further solidified (in my mind) how legit this clique is. “Phony Ppl are a collective. They are a rap crew, a songwriting/production team, a live band, and a group of friends who live to make music.” [via] They are also legit as fuck. Check these guys (DYME-A-DUZIN, SHERIFF PJ, ELBEE THRIE, AJA GRANT, BARI BASS, ELIJAH RAWK, IAN BAKERWOMAN, MAFF YUU, and TEMI O) out, now. 



Sandlot’s Dugout

Sandlot’s Dugout is a crew of rappers and producers from the northwest quadrant of the US. They’ve all got different styles, but it it’s a melting between heavy, push beats with generous amounts of bass and gruff personas. KreamTeam, the group’s producers, are awesome. Leon Swanks brings it. I really hate using the word swag (especially since it has been bastardized by uncool people), but this group has an amazing amount of swagger that carries over into their music. Be sure to give them a listen and keep an eye out.



Marinate Media out. We workin.


duke hugh – #after work I buy a record and make a beat [EP]


Duke Hugh, self-proclaimed “producer and professional alcoholic,” just etched together a beautiful three-track EP entitled, #after work I buy a record and make a beat. The constantly sloshed beatsmith flips some crazy (unknown to me) dope funk record and makes guitar laced, thumping, inebriating jams. “Elevation” features a killer jazzy lick, smashing-blitzed-out-its-mind bass hits and the best part…the best damn part is this flute dancing in and out of earshot. I’m big time in love with this EP–it’s no frills, just the essentials, badass hip-hop with a funky heart. Let’s all get a little tipsy and listen to this one.