It's hard to quantify, but it seems like John Hughes movies really did a fucking number on a huge swath of the human populace—at least folks between the ages of 18 and 45. How else can you explain Teen Daze, whose sentimental electronic bliss-pop often sounds like something from the soundtrack to 17 Candles: Long Duk Dong's Revenge? Here the young Vancouver producer covers "New Theory," the original of which appeared on Washed Out's Life of Leisure EP. And while the music's cultural reference points might be familiar, we'd be lying if we said that this didn't touch some warm, squishy place inside and make us want to overcome some teen-angst-related struggles. (via Pitchfork)
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Due to popular demand, Asthmatic Kitty is soldiering on with two additional volumes of their Library Catalog Music series. Volume 7 was put together by Instruments of Science & Technology (a.k.a. Richard Swift), while direction of the 8th installment was handed to Oakland sound designer and electronic musician Kristin Miltner. "Dreaming Longing" is the first offering from her Music for Dreaming and Playing record, and its sound isn't exactly easy to describe. Imagine the most beautiful CD skip in the known universe, stretch it for nearly 8 minutes, add extra bleeps and etheral vocals to the mix, and you might have an approximation of what Miltner's piece sounds like, but this doesn't do "Dreaming Longing" justice. A soft journey to another world, the track is like Yasunao Tone on laudanum, which is certainly a good thing.
Though you may know Londoners Mock & Toof better for their nu-disco remixes, "Suppress Your Feelings" throws those funky sounds out the window with grace and aplomb. Like a low-key Morgan Geist track, the piece features lush synths, distorted guitar bits, and a plodding beat that rides behind plaintive vocals somewhat reminiscent of the Junior Boys' Jeremy Greenspan. Though the lyrical content is rather depressing, "Suppress Your Feelings" has a regal flair made for gray days walking around Camden Town. Taken from the duo's debut full-length, Tuning Echoes, which comes out this week.
Mix a bit of Jamie Principle with some Shalamar-style '80s synth-funk and you might have the first single from Jimmy Edgar's upcoming album, XXX. "Hot, Raw, Sex" features a nice main melodic loop, cutting synth stabs, and a bass that's funky and deep enough to really get asses shaking. The vocoded vocal line is somewhat cheesy, but in the way that makes the listener smile, and with a killer synth break in the middle of the track, this small sin is easily forgiven. XXX will be released digitally on July 27, with physical copies due to appear on September 14.
The killer combo of Gudrun Gut and AGF, known together as Greie Gut Fraktion, do a fascinating rework of Palais Schaumberg's 1981 classic, replacing angular bass and guitars with dubbed-out synths and high-frequency meanders. What's most interesting about the duo's work, though, is that they keep the original's death-disco beat almost intact, and the vocal phrasings are equally similar to those of the original. There is only one major departure from Thomas Fehlmann and Holger Hiller's masterwork, and that is the inclusion of bizarre and menacing English lyrics towards the piece's end. It is safe to say, though, that this alteration does not taint the end product, which is a lovely updating of what should be a better-known song.
Canadian music maker Teen Daze took a stab at this song by fellow hazy pop outfit Twin Sister, from the NY band's recently released Color Your Life EP. The young producer has been lumped in with the rest of that whole "chillwave" scene, and it's easy to see why; his remix of "All Around and Away We Go" smothers singer Andrea's nuanced vocal performance with blankets of squishy synth sounds, but not before he soaks it in a pool of reverb and places it atop of a muffled dance beat. (via Gorilla vs. Bear)
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.
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