Life isn't always easy for pop princesses. Sure, some become international megastars, but legions more simply fade away, or even worse, get stuck in label purgatory. Such was the fate of Annie, which is why it feels like a millenium or two has passed since songs like "Chewing Gum" and "Heartbeat" were being hailed as works of electro-pop genius. Now that her label drama has passed, Annie is back with her sophomore effort. Read more »
Sometimes, a vocalist can sound sexy even when singing totally laughable lyrics. Luckily, most disco isn't eloquent about anything except a desire to screw, so Le Le's "Disco Monster" isn't brought down by lines like "I'm a disco monster/A glitter hitter/I hit her, hit her/I'm a glitz dance-mitter". Instead, the track is a Morgan Geist-like run through late-disco synth sounds and a truly fat bass sound. Though the group's sound is most certainly a French thing more appropriate for Kitsuné, it wouldn't be surprising to find the DFA putting out a Le Le record in the future.
Schlachthofbronx: Bavarian jokers throw AutoTune, deutsche schlager, kuduro, and more together for a belly full of bass.
There’s something pleasantly scrappy about the frenetically paced tracks that comprise Munich trio Schlachthofbronx’s self-titled debut. “We’ve got a shitload of unfinished stuff on our hard drives,” says Benedikt, one half of the group's primary production core, and who prefers to go without a last name. Read more »
Taken from the debut album, Enchanted, by A Bridge Far Away, "Drift feat. Indi Kaur" gets a makeover from fellow UK-based producer Grievous Angel. What was once meandering and atmospheric trip-hop is now a bass-heavy and crunchy dubstep track with Kaur's chopped, sliced, and pitched vocals crawling all over it. Grievous Angel's remix pays tribute to the original song when the elements expand into spacier regions, but its core always remains punchy and solid.
San Antonio's Ernest Gonzales (pictured above) transforms the indie-pop sound of A Sunny Day in Glasgow's "Shy" into a track that floats in an ambient ether, then suddenly becomes a lo-fi take on drum & bass. With a catchy synth loop and Annie Frederickson's vocals hovering above it all, though, no amount of genre nostalgia can bring down the track's luminosity. For more on A Sunny Day in Glasgow, check out our feature on the group in our Philly City Special.
Syntaks, the Danish duo comprised of producer Jakob Skott and vocalist Anna Cecilia, has shared the opening track from their debut album Ylajali, an ethereal intro entitled "Twentytwohundred." The song's long-stretching angelic vocals wouldn't be out of place on an M83 record and sound even more powerful when flanked by dark rhythms and swirling synth melodies. Ylajali is out now on Ghostly.
San Francisco-based Dirtybird and Mothership impresario Claude VonStroke (a.k.a. Barclay Crenshaw) is one of the few electronic music producers who can inject humor into his tracks without coming off like a doofus. On his follow-up to 2006’s Beware of the Bird, VonStroke balances levity with darkness, as on “Monster Island,” where a madcap 303 whoop contrasts with percussive, jangling chains and hazy strings. Read more »
London's Gold Panda is no stranger to the remix, having already taken shots at songs by artists like HEALTH and Telepathe, so it's no wonder his own rendition of The Field's "I Have the Moon, You Have the Internet" sounds so well-conceived and fully fleshed-out. Built on samples gathered from the original track on vinyl, Gold Panda's remix features the kinds of cuts and crackles one might find in a Flying Lotus or Dilla remix, yet remains true to the chilly techno source material. It's a strong fit and should remain a standout next to other reworkings from Walls and Rainbow Arabia when Yesterday and Today Remixe sees release on December 7.
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