Buenos Aires cumbia mastermind El Remolón rubs up against a Latin classic, transforming it into a glitchy, delay-driven piece of hallucinogenic dance music. The vocals of Alcides are chopped significantly, and with monstrous bass along with a wobbling squelch approximation of the original's melodic line, the piece is a surefire floor-filler. The slice was taken from the Pibe Cosmo B-Sides album, which drops today and features a collection of new versions, mash-ups, and remixes from the depths of El Remolón's hard drive. The entire album is available now for free download and includes El Remolón's bootleg re-works of artists like Animal Collective, Modeselektor, Matías Aguayo, Daft Punk, and more.
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Philly's Pink Skull has just come out with a second full-length, titled Endless Bummer. Featuring an admirable array of different sounds and textures, the album is perhaps best represented by "Oh, Monorail." A slow-motion disco beat, horizon-seeking guitar lines, and some synth swells mark the piece, but it is really Julian S Process' multi-layered vocal harmonies that make it special, as they're not only gorgeous, but complex and original—there are no simple chord progressions here. "Oh, Monorail" simply shimmers with a weirdness and beauty that only Pink Skull can pull off.
It seems about time that a serious acid revival should happen; after all, we've seen disco and early house sounds come back into fashion, so why not acid? Yeah, no one can afford a 303, but even so, Chicago's Thunderous Olympian manages to craft a somewhat squelchy, truly jacking slice on "Jack (The Movie)." Hardfloor meets the builds of "Full Clip" meets mid-career Carl Craig on the track, which is replete with vocal samples, high-frequency synth flourishes, and thunderous kicks. And with Thunderous Olympian being only 22 years old, there's a lot more to look forward to from this young buck.
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.
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.
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