Tokyo Megaplex on Press

Tokyo Megaplex

1833 posted a fantastic one-liner about Tokyo Megaplex’s new R Kelly bootleg, Flurtacious:

This song has it all – an insane drum solo, T-pain, and most importantly a sense of humor.

Kuh-Lida and Tokyo Megaplex in Your EDM Press

Tokyo Megaplex


Tokyo Megaplex and Kuh-Lida have been doing some KrAzY CoLLaBs. Your EDM just featured their track Fuzzy Dice.

Boston meets Chicago with the premiere of “Fuzzy Dice,” a new single from the collaborative efforts of Tokyo Megaplex and Kuh-Lida. Their jolly future bass creation is the perfect song to pull you out of the Winter blues, if you have them. The thing I really like about future stuff is the fact that many producers aren’t afraid to push the envelope, and that is exactly what happened here. You have off the wall ideas, with the sound shifting throughout the entire production. I think the term “fresh” was meant for songs like that, especially with “Fuzzy Dice.” These two acts did a mighty fine job with this song, and I hope to see listener’s flocking to it. Don’t be one to let your friends sleep on it, so download this gem for free and share it around to the squad.

Check it out on Your EDM!!

TOKYOMEGAPLEX interview and guest mix on EGM Press

Tokyo Megaplex

TOKYOMEGAPLEX was featured on the EGM podcast.

Better known by his project name Tokyo Megaplex, he provides a healthy 40 minute mix of the craziest mashups and tropical feels! We also have for the first time a short interview between the two of us where he tells me about his steps towards making a mix, his upcoming projects and collaborations, and how he started his music career!

Check it out on their Soundcloud

MAYBEWISE interview in Future Classics Press


Future Classics posted an interview of MAYBEWISE’s EP, Welcome To The Fishbowl:

How long has MAYBEWISE been in effect? And where did the moniker come into play?

Welcome to the Fishbowl marks the first release of the MAYBEWISE venture, but Peter has been producing and djing for nearly a decade, going under a number of other monikers and concepts. Patrick is pretty new to the game, but he brings the X factor and the life of the party.

The concept for the project started as an exercise in synergizing all the different styles of UK bass music we liked and then kind of took on a personality of its own.

How does the duo function, i.e. what roles do each of you share or assume?

Our process really has two stages: Sample gathering and production.

Most of our sounds are field recordings (percussion especially), so we go out pretty often to random places and record ourselves hitting things with sticks. A recent trip to Home Depot was a highlight; you walk around there and you’ll realize its just a giant warehouse of percussion. Other times we’ll just watch old movies and record the sounds we like. Our personal sample library is massive.

When it comes to studio work, Patrick is the wildcard. He usually comes up with a number of substance-fueled sketches on any given night and then Peter polishes them up while Patrick sleeps off the debauchery.

Catch the rest of the interview over on Future Classics

MAYBEWISE in The Ripe Press


Marcus at The Ripe posted a fantastic write-up of MAYBEWISE’s new single, No One Else:

Maybewise are Peter and Patrick from West Philadelphia who make future bass music that᾿s not far removed from Disclosure᾿s 2011 Carnival EP. A collection of tracks focused more on simple vocal hooks and sample, not the structured verse/chorus songs of their debut album Settle.

᾿No One Else᾿ comes off the duos forthcoming EP ᾿Welcome To The Fishbowl᾿ out May 31st via Belgian Man Records and it᾿s incredibly hard to dislike.

The track is produced in good UK bass taste, every layer is dabbled lightly and even when the arrangement gets really busy towards the end, you never find yourself suffocating and searching for air. It᾿s a safe bet house party track that will have your friends asking “who is this?”.

Check it out over at The Ripe. Thanks, Marcus!

Nice Power writeup in Caterwaul Press

Nice Power

Nicholas Hodges at Caterwaul just posted a super positive review of Nice Power. Check it out.

The French Electropop duo release their debut Sounds Good BB in one of the most abrasively innovative years and decades in music history. It is a smothering depiction of individualism. Each track poses a flamboyant diversification that intricately explores their vast arsenal of electronic influence. Plunging from Ambient Techno, to Phunky Detroit House, climaxing somewhere in between the line of subtle hyperactivity and clamoring percussive sections—between a washed down pseudo Steve Murphy set and a beat/synth loops that resemble sonic textures found in Tron’s score. 81’ Tron; let’s be serious, there was only one real Tron movie and it had a young Jeff Bridges.

Thanks, Nicholas! Check out the rest of the article over at Caterwaul.

TOKYOMEGAPLEX and ABSRDST remix featured on Nest HQ Press

Tokyo Megaplex

TOKYOMEGAPLEX and ABSRDST’s fab Rock The Boat remix was featured on Nest HQ

Newfound favorite ABSRDST teams up with fellow Massachusetts producer and SSX Tricky repper, TokyoMegaplex on a sultry bedroom jamming flip of Aaliyah’s “Rock The Boat.” While 2K R&B vocals have been all but tapped out in terms of slowed-down soundcloud-step reworks go, this one stands out with a unique blend of call-and-response techniques featuring a complex layering of jazzy chord arcs and colorful dispersions of soft synths which slide into whiplash snares and punched-up piano cuts.

Read the article on Nest

Leaftype writeup in Portals Press


Faith at Portals just posted a nice piece about Leaftype:

Like his fellow Belgian Man compatriots, the LA-based artist Leaftype, a.k.a. Christopher Knollmeyer, is no stranger to the practice of “extravagant genre hopping,” and his newest release LTEP0008 shows just how nimbly he can jump. On “Ooh,” the producer keeps one foot rooted in the skittering traditions of drum and bass, while reaching, through heady melodic involutions and a structure that disorients like a dream, for something enticingly unfamiliar. The result is at once propulsive and paralyzing, a sensation akin to the pleasurable discomfort of pins and needles.

Thanks, Faith! Check out the article over at Portals.

Tokyomegaplex in Impose Magazine Press

Tokyo Megaplex

Dayna at Impose Magazine wrote a glowing writeup of Tokyo Megaplex’s new album:

When a 44-minute 29-track mix of sample-based experimental music drops in your inbox, and then it’s called The Legend of Beefwell, really your only options are to listen and listen hard. With the case of Tokyo Megaplex, helmed by production wunderkind Christopher Rutledge, the melee of sounds follows no real storyline except to prove that sampling, pitch-shifting, and working alongside the lush vocals of both pop stars and rap stars can be more interesting than the same old, same old sad boy junk. The Legend of Beefwell is not afraid of bringing in jazz standards as well as J-pop shine, and in under an hour, it’ll have you asking, “What did I just listen to?” Hardly definable but thoroughly enjoyable, Tokyo Megaplex’s complicated full-length release is like sticking your hand into a box labeled with a question mark.

Thanks, Dayna!

Tokyo Megaplex in Emerging Indie Bands Press

Tokyo Megaplex

Tim over at Emerging Indie Bands posted a nice writeup of Tokyo Megaplex’s new album:

The LP takes a fantastical journey of a mythical life-story. Ever pressing the edges of credulity – if you get the trippy electronic sounds, this is an LP to get hold of, which is available on bandcamp. Track seven – Groove University – is the longest track on the release running in at just under two a three quarter-minutes.

Thanks, Tim!

RYV Interview in Decoder Magazine Press


Decoder Magazine just posted a FANTASTIC interview with RYV. Super interesting tidbits about his life in Japan, his creative process, and his new album, Hwut.

RYV in Portals Press


RYV was just written up in Portals. Check it out:

RYV‘s Charlie Abbot creates an otherworldly soundscape on his latest release, hwut. Between manipulated hiccups, sighs, and little burps of beauty, “yaspring” keeps the listener on their toes. Currently abroad in Japan, Abbot has been inspired by local artists like Magical Mistakes and Seiho. The result of which is made clear in this short, though statement-making, release.

Wax Monsters in Portals Press

Matthew Gallagher

Wax Monsters

Wax Monsters’ self-titled album was reviewed by Ian Stanley in Portals.

I love when music gets filtered through my brain in very cinematic terms. I suppose I should clarify that statement a bit. I am not talking about envisioning grandiose gestures or pretentious art house drivel… no, it’s more like cult trash favorites. B-movies, exploitation, low-budget shlock, generally just stuff that other people consider garbage. That’s where I wallow. So when I first listened to Oberlin, Ohio synth duo Wax Monsters‘ recent self-titled album my mind went right to my brains back catalog of outsider cinema.

You see the album play out in very movie-like terms, and the best part is that it is content to hop around from place to place, leaving it the responsibility of the listener to play catch-up. At times it sounds like the score for some lost 1980′s horror gem before switching to something much more science-fiction-based, all while operating safely within the world known as pop music. In fact, the first thing I asked member Matthew Gallagher about the album was if any particular genre movie scores played a part in inspiring the album’s sound. From there he told me about looking to artists like Philip Glass (who, don’t forget, scored Candyman and its sequel!), Oneohtrix Point Never, Joy Division, as well as a myriad of 1980′s pop stars for inspiration.

Check out the full article, along with an interview with Matt on Portals’ site.