UK producer Max Cooper (pictured above) is known for his dancefloor-oriented techno—check his recent rework of Abe Cooper and Blake Baxter for proof of that—but this remix of Brooklyn's Au Revoir Simone finds him applying a softer touch. Reducing the girls' vocals to ghostly reverb while delicately layering tinkling keys and warm sub-bass over the song's delicate original melodies, he transforms "Take Me As I Am" into six-plus minutes of sublime bliss. With remixes on the way for artists like Hot Chip and DJ Hell, not to mention more of his own original productions, 2010 is shaping up to be a big year for Cooper.
Keeping up with every XLR8R TV episode can be almost as exhausting as producing it week after week. So, we've made it easy for you—the tired, poor, huddled internet masses yearning to read end-of-year lists—and picked our five favorite episodes of Twenty-Oh-Nine. Read more »
You like lists and we like self-important navel-gazing, so here it is, another mind-blowing collection of some of XLR8R's top-notch content from 2009. Over the course of the year, our weekly podcast series ran all over the musical map, courtesy of guest mixes turned in by some of our favorite artists. Picking the best of the lot was a King Solomon-esque task, but these were the podcasts we found ourselves coming back to again and again.
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This week Inbox enters the realm of wild French electro-grunge duo Kap Bambino. The gypsy that is leading lady Caroline Martial woos us with Guns N' Roses, eats spiders (supposedly), rages for the benefit of church-going families, knocks back soup, and loses her mind on stage. Read more »
In addition to doling out wings on a daily basis, Red Bull is gaining quite the reputation with its esteemed Music Academy becoming an official launch pad for young, innovative, left-of-center artists from around the globe. Austrian producer Paul Movahedi (a.k.a. The Clonious) is no exception. The soul-jazz combo feel of “Agenda” juxtaposed with the angular glitch beats of “Dataflow” exemplifies Movahedi’s full range of musical motion. Read more »
The original of "Cathedral With No Eyes" sounds a bit like Rob Barber (from High Places and the Urxed) channeling Primal Scream at their most apocalyptic and noisy. How Adam Forkner (a.k.a. White Rainbow) turned this railcars piece into a spacey, blissed-out carnival ride is slightly beyond comprehension. Nonetheless, the original's near-industrial percussion becomes bouncy and playful, its strained vocals replaced by Forkner's trademark cooing, and its hissing distortion is toned down to a cool sonic wash that builds to a roar by the piece's end. This excellent remix is taken from an upcoming digital and cassette release featuring Lucky Dragons, Panther, Former Ghosts, and others remixing "Cathedral With No Eyes." Look for that in February!
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