The hazy sounds propagated by so-called "dream-pop" bands are a perfect fit for their like-minded counterparts in the "chillwave" and other similarly lo-fi electronic scenes. Canadian duo Memoryhouse (above) lent the elements of its song "Lately" to Oberlin-based Teengirl Fantasy for a remix turn around, and what came out the other side isn't much like the budding duo's usual output. Layers of bucolic field recordings set the backdrop for a soft-hearted mix of melodic electronics that swirl around a quietly undulating beat before the boys wash over the mix with a slow-moving filter. It's not "dream-pop." It's not "chillwave." It's just cool music. (via Pitchfork)
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From Horse Meat Disco II, the forthcoming second compilation curated and mixed by the fellas of the UK club night, comes this gem of flamboyant diva disco, "Cherchez Pas" by Madleen Kane. The Swedish model-turned-singer recorded the burning dance tune—complete with horn stabs, octave bass lines, and all sorts of pattering percussion—with Jean-Claude Friederich back in 1980, but the song still sounds just as fun and club-appropriate today as it did then. The classic number resurfaces towards the end of Horse Meat Disco II amidst equally old-school grooves from Bravo, Kasso, and El Coco, to name a few, and fulfills its duty to keep the party mix going strong throughout its entire six minutes.
Brooklyn live-electronics outfit Blondes is set to make good on the large amount of hype and attention it has received lately with the release of the duo's debut EP, Touched, available June 28 via Merok. The original version of "Spanish Fly" will be part of the record's five tracks, but this remix from These Are Powers member and hotly tipped producer Brenmar (above) is an entity all unto itself. He warped Blondes' distinct proto-acid-house style into more of a rubbery future-house/UK funky tune tailor-made for the world's more bass-minded dance floors. (via Discobelle)
An exclusive track from Jimmy Edgar, "JNS-2000" leans more on the 27-year-old producer's instrumental techno side. Sure, the globe-trotting music maker throws in some chopped-up, tweaked vocal sounds, but they are only present to serve as more of a loose melodic element to weave between his track's slow-grooving bassline and repetitious, hard-knocking dance beat. The tune is a great predecessor to Edgar's upcoming "Hush" 12" for GLASSTABLE, and his new full-length album, XXX, coming June 21 via !K7.
On this upbeat remix, Brooklyn's tropically minded dance-pop duo Tanlines (above) have rearranged the pieces of Memory Tapes' Seek Magic single "Bicycle." A bouncing 8-bit dance beat kicks off the track before loads of percussive sounds and the original vocal melody are introduced. A booming percussion noise slams from one ear to the other throughout the song's four minutes, initially sounding a bit out of place and overbearing but ultimately fits better in the mix once Tanlines' rework turns into a joyously straightforward club tune. (via Gorilla vs. Bear)
This bit of future-boogie brilliance from SF-based producer B. Bravo is catching a re-release on a forthcoming compilation from BBC Radio 1 personality Gilles Peterson's Brownswood label (who also had Bravo interviewed recently on his website). Brownswood Electric is a beat-centric affair focusing on up-and-coming producers from across the US and UK's satellite electronic music scenes, which also includes tracks from the likes of DevonWho, Shlohmo, Mount Kimbie, and Mosca. B. Bravo's contribution, the title song from his previously released second EP for Frite Nite, Computa Love, opens the 15-track release with a thick, confident bass groove, slow-knocking beat, and loads of shimmering synth tones floating all around the smooth rhythm.
We Are Standard (pictured) may be stuck in a time when Franz Ferdinand ruled the hearts of indie kids, but John Talabot performs a breathtaking and new turn on this remix of "Don't Give Up." The track is slowed and given a nice proto-house kick along with pulsing synths that recall KZA, or even the early lushness of Luciano. The original's vocals are almost nowhere to be found except in a pitched-up recurring snippet, and shimmering harmonies cascade towards the piece's end. Quite impressive work from one of Spain's best new exports! (via Pitchfork)
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