Given the success of The Juan Maclean's "Happy House," it's no surprise that the DFA decided to release a load of new remixes of the disco-house banger. Dance-pop auteurs VHS or BETA actually disco up the track a bit more, making the handclaps chunkier, adding some laser-synth stabs, and inserting a violin run that screams 1979 at Studio 54. While the remix doesn't really alter the original enough to make it a great departure, it adds an element of campy disco fun to an already excellent piece of dance music, and with other remixes from Will Saul & Mike Monday, Chateau Flight, and Lazaro Casanova, there are plenty of reasons to check out this new remix package.
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Young Harlem transplant Mike Slott crafts glitchy, futuristic beats that fall somewhere between dubstep, hip-hop, and old-school breaks. What's most interesting about "40 Winx," then, is that it is so soothing, featuring bass sounds that recall Ellen Allien, and shimmering high frequency loops that can best be described as dreamy. Fresh off of a collaborative effort with Hudson Mohawke, the rest of Slott's latest mini-album, titled Lucky 9teen, is an exercise in creating ambient music from a jazzy, hip-hop perspective; in other words, the Irish native proves himself to be one of the more versatile and interesting producers working right now.
If you thought the original of "Baby Can't Stop" was massive, then the Aeroplane remix will seem earth-shattering. The early-'80s disco-funk sound of Lindstrøm & Christabelle's original is transformed into a stomping disco-house number, filled with cosmic synth flourishes, acoustic guitar strums, chunky handclaps, and high-frequency washes accompanied by some out-there arpeggiations. While it may be hard to imagine another artist sounding more Lindstrøm than Lindstrøm, Aeroplane succeeds in the best way possible, giving us one of the best remixes of 2009. Lindstrøm & Christabelle's Real Life Is No Cool comes out on January 19, 2010.
This remix is simply down 'n' dirty. Aptly, too, as it features Australia's own Bertie Blackman, with a voice seductive enough to woo even the most celibate of Vatican priests. Here, the UK's Marco Del Horno—who you may recognize from his stints on pirate radio powerhouse Rinse FM—oversees a splendid transformation of the original's electronic pop sensibility into a bass-heavy dubstep tune. Stamping the song with characteristically grimy stabs and stringy synths while Blackman's silky voice floats atop the mix, Del Horno keeps the track from becoming a faceless wobble-bass workout.
If Jan Hammer and Danny Wang got together and embarked on a drug- and sex-fueled drive from Key West to Tijuana, Worst Friends' "I Wish I Don't Drop Dead" would make for the perfect soundtrack. Lush, delayed synth loops ride above a slo-motion disco beat, and eventually, sentimental piano harmonies emerge, making the track too resonant for Miami but just right for motoring through the greenery and dust of the American south. Taken from the new Ghostly Presents Moodgadget: The Nocturnal Suite compilation—for another sampling, check out the Mux Mool track we posted earlier in the week.
As we discovered in our recent feature, Philadelphia's main attractions aren't so much cheesesteaks and cracked bells but refreshingly cutting-edge music and art. The bittersweet tunes of Cold Cave are no exception. Here, we're treated to a new track thanks to indie giants Matador giving the goth-inspired quartet's Love Comes Close, a re-release with three bonus tracks. "Theme From Tomorrowland" is one of the extra tunes, not to mention an excellent addition to Cold Cave's already solid repertoire of dark, no-wave pop à la OMD and classic Factory Records.
Vancouver native Laberge likely has a stack of Cassius and Daft Punk singles at home, but he probably also has a fairly large collection of West End Records' disco-house repertoire from the early '80s. Though many have claimed to be inheritors of the French Touch sound, "We Don't Know" shows that Laberge is in the running to be the genre's new prince. Recalling Room 5's monstrous "Make Luv," but with more strings and a less prominent vocal, the track sizzles with deep kicks and a funky little bassline. Is disco-house moving back to the club's main room? Time will tell, but with all of the fantastic disco being made right now, it seems likely.
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