Get ready to surf over to Discogs, because this track is The Very Best's African pop take on The xx's shuffling remix of Florence + the Machine's cover of The Source and Candi Staton's 1986 disco-gospel hit. Luckily, the increased distance from the original doesn't diminish the quality of this fine reworking, which leaves The xx's interpretation intact while adding African vocal harmonies, sweaty tropical percussive elements, and a healthy amount of delay. Candi Staton should be proud.
When it came time to commission someone for the Chicago edition of our City Guide podcast series, we here at XLR8R spent weeks brainstorming and tossing around possible candidates, many of them legends in their own right. After all, we were talking about Chicago, the birthplace of house music. Read more »
Perhaps best known for his high-profile remixes, the UK's Paul Woolford's latest project is a two-part mix that runs the gamut of electronic music's many sounds and genres. Aiming to create "a lasting document of my approach to music," the UK producer's eclectic Platform mix includes everything from Courtney Tidwell and Tom Taylor to Robert Hood and Suburban Knight, proving that a true sound technician never limits himself to one approach or genre. Check out the full tracklisting after the jump! Read more »
On "Bermuda," LA's KISSES deftly combine the clean, synth-driven throwback disco of some Morgan Geist productions and the male vocals that helped define the '80s New Romantic sound. Vintage synths, bright jangly guitars, and dusty beats ride below a voice that recalls a more full-throated Tony Hadley (of Spandau Ballet). With a sound that sits nicely next to the Smiths as well as Geist's recent collaborations with Jeremy Greenspan, KISSES' upcoming full-length just might lead to a new New Romantic revival.
Don't confuse Danish electronic experimentalist Mikkel Meyer with German techno producer Michael Mayer. Whereas Kompakt artist Mayer makes taught and cohesive digital music, Denmark's Meyer takes a scattershod approach to avant-bass tracks. On Bacon, spacious dubstep numbers like "Kotelet" seem on the verge of collapse, crackling with static, brittle rimshots, and unstable sub-bass notes. Read more »
After more than 10 years in the DJ game, Mike Monday offered his latest single, "Your Body," to frequent DJ-partner-in-crime and Veryverywrongindeed label head Tim Sheridan. Sheridan's beat takes a more motorik approach than Monday's original, though his warbling bass and reverb-laden vocal samples sound straight out of the dubstep playbook. It all abruptly cuts out around the halfway point—giving Sheridan a chance to rebuild the song's subtle energy into a flourish before retreating back to the initial beat.
German techno vet, Oliver Huntemann delivers one of his trademark reworkings on this single from Abe Duque's '09 full-length, Don't Be So Mean. The original version of "Following My Heart" was centered around the guest vocal from diva Virginia Nascimento, a slow-pulsing bass tone, and loads of delayed synths. Huntemann pitches Virginia's vocal down, just about doubles the BPM, and trades in melody for all sorts of dark, industrial-sounding percussion on his interpretation—the final chapter in Duque's Don't Be So Mean remix series.
Apparently, the dapper B-boy, who long ago spent his prom night charming Peanut Butter Wolf, now wants to start a doomsday cult. But never mind Seven Seals' tacky, occultist artwork—James Pants is still a charmer. He holes himself deep into a scuzzy, ramshackle noise and his mess is simply immaculate. Pants oddly clashes punk thrash with medieval Kraftwerk synth riffs on "Beyond Time," while "Wash to Sea" finds him cleverly revising Joy Division as a lounge act. Read more »
People love to throw out the word "schizophrenic" to describe musicians, but in the case of Kenneth James Gibson, it might actually be true. By his own estimation, the prolific LA-based techno producer has recorded under approximately 12 different monikers. His latest effort, "Something in the Way," on the rapidly up-and-coming Culprit label, was actually made under his own name and was released just today. Although those songs remain under lock and key (unless you actually buy them—what a novel idea), Mr. Gibson has passed along "Painted Eyes," a sultry vocal techno cut on par with his already stuffed volume of work. Watch for a Kenneth James Gibson LP later this year.
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