People like to throw around the "'80s" tag all willy-nilly when talking or writing about more electronically based pop acts (M83 and The Juan MacLean come immediately to mind), but here's one that truly sounds as if it had been born of and imported from that neon era. Brooklyn's Light Asylum is the duo of singer Shannon Funchess and producer Bruno Coviello, who together write desolate pop songs that simultaneously evoke Kate Bush, Grace Jones, and the early days of New Order. This demo of the song "A Certain Person" showcases Funchess' low-register voice subdued beneath an array of vintage synth tones, classic drum-machine sounds, and an oddly fitting sample of a braying horse—making the moments when she breaks through the mix especially ear-catching. (via FADER)
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As his productions often do, Prins Thomas' remix of "En Vill Hest" by Norwegian indie-pop quintet Casiokids takes its sweet, sweet time to really get cooking. After spending nearly half of the song's run time layering percussion upon bass licks upon low-register chants upon guitar strums upon synth flourishes upon more drum sounds, a smooth falsetto vocal is introduced to the mix, and moves the track from slow-burning Balearic disco to upbeat beachfront pop. In the hands of someone other than Prins Thomas, a nine-minute exploration of hypnotic live instrument grooves could be a drab listen, but somehow Thomas manages to make his remix coast by without us having to glance at our watch.
One may think that making spatially amorphous, rhythmless washes of soupy synth tones and blurry aural textures would be relatively easy, and they'd be right. However, making those same sounds interesting proves a task few are capable of. Alongside the likes of Brian Eno, Tangerine Dream, and Mike Oldfield stands Oneohtrix Point Never: Brooklyn's Daniel Lopatin manning the station of formless electronic music (whom XLR8R featured in its pages not long ago). This slice of interstellar sonics is taken from his latest release, Returnal, and is as equally indescribable as the Lopatin's confounding moniker. "Pelham Island Road" starts off with what sounds like the tail end of another instrumental suite heavy with Juno-60 patches, and cuts off abruptly on its way to another floating point somewhere further into Lopatin's psyche. (via FADER)
While Poirier continues his global bass assault, Mungo's HiFi dubs "Let Them Hate" down a few notches, transforming a pummeling slice of bass into a fast-paced reggae jam that Lee Perry would get down with. Of course, YT's vocals are as fierce as ever, and keep the remix—which appears on the second disc of odds and ends that comes with Poirier's new Running High album—as sizzling as the original. And if you're on the West Coast in the next week, check out Poirier's Myspace page for dates in LA, Vegas, and the Bay Area.
Berlin's Motor City Drum Ensemble does his usual routine on this remix of London-based indie-rockers Archie Bronson Outfit's new single, taking the pleasant, rocking stems from the original of "Hoola" and filtering them through a German's perspective of what Detroit house sounds like. In fact, this remix sounds almost exactly like a Moodymann or Mike Huckaby outtake, and considering the genius of those two producers, this is high praise.
Sounding something like we imagine Pictureplane's new party, Real Is a Feeling, to sound, his treatment to rapper Lil B's "Real Life" marries the original track's gritty vocal performance with producer Travis Edegy's patented style of electro-influenced darkwave music. It's not exactly a song we'd expect the Denver native to take a crack at, but Pictureplane's distorted bass synths and crunchy beat work make Lil B's flow sound right at home. (via Pitchfork)
Bangana's Alf Tumble and Combo originally intended this remix of the Godfather of Soul to appear on a tribute compilation, but decided that releasing a bootleg version of it was an infinitely better idea. Good news for us, since the Swedish duo craft a disco-funk mix of "Get Up Offa That Thing" that not only does justice to JB's original, but also grooves hard enough to recall a totally sweet Major Swellings or Idjut Boys track. In fact, the vocal samples are so carefully chosen and bass is so bouncy and clean that one can easily imagine DJ Harvey rocking this joint towards the apex of the night, a compliment bestowed upon only the best edits.
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