The UK's Actress (pictured above, we think) takes Kode9's "You Don't Wash" down a dubby, tropical path on his addition to the incoming remixes of the track. Marimbas, whistles, quick yelps, buzzing synths, assorted percussion, and a thumping four-on-the-floor beat make up the meat of the production, which would seem to continue on endlessly were it not for an eventual fade out. It's quite a stretch from Martyn's rework of the song, or even the original itself, but still manages to stick to Kode9's initial vibe thanks to its dedication to non-stop polyrhythms and bulbous low-end.
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In his write-up for DJ Elmoe's "Whea Yo Ghost At, Whea Yo Dead Man", XLR8R Managing Editor Shawn Reynaldo wrote, "More songs like this, please." It seems at least one producer, namely South London's Becoming Real, might have taken heed. Though the producer (born Toby Ridler) isn't making footwork/juke tunes per se, the same blend of house/techno influences, hip-hop rhythms, and tendency to drench beats in wonky sounds (vocal sample, percussion, synth, or otherwise) is at the center of his music. "The Thing" takes those ideas and applies them to the production aesthetic touted by forward-thinking dubstep producers, creating a style Ridler haphazardly coined "ghost step." Really, Becoming Real's production is a huge mess, though beautifully so; the song changes trajectories multiple times through its three minutes, sounds seem like they're tossed in because he just wanted to hear what would happen, and at the end of it all he's left you so confused you can't help but go back to the beginning and try to make sense of it again. (via FACT)
Gustavo Lanzas (pictured above) doubles as the Nude Photo Music label head and Audioelectronic, veteran techno producer extraordinaire. His latest release, the Two Trains Running 12", comes out July 14, and features remixes from DJ Caltrop, Chris Firenze, and here, Swayzak's David "Brun" Brown. Brown's dub of "Two Trains Running" is an expectedly thumping, bass-heavy slow-cooker covered in distant synth melodies and sound effects, all delayed into hypnotic oblivion. The energy of the track ebbs and flows through its seven and a half minutes, but never loses its interplanetary traveling vibe.
For his remix of Brooklyn trio Au Revoir Simone's "Another Likely Story," young producer Alan Palomo delivers a patently lo-fi rendition inspired by driving, cosmic Italo-disco under his Neon Indian moniker. A motorik synth bassline soaked in phaser effects and hyper-compressed drum beats provide the track's backbone, providing enough stability to allow the warbling melodies and thinly layered vocals to waft about at will. It all adds up to a much darker sound than usual for Neon Indian, but it's particularly nice to hear him back to his old tricks after that strangely 'well-produced' number he did for Green Label Sound. The Night Light remix album, which also contains productions from Aeroplane, Clock Opera, Bass Clef, and more, is out July 5.
A couple of Fridays ago, we posted the premiere of the second of Sharkslayer's annual DJ mixes, entitled Dead Men Tell No Tales. The Finnish duo included a few of its own productions within the mix of club-ready tunes heavy with low-end, including this remix of Egyptrixx's (pictured above) "Phones." Rubbery bass melodies, crunchy four-on-the-floor beats, wonky noise explosions, and sparse percussion all work together with precision and tenacity in Sharkslayer's treatment, which is essentially a slightly tweaked, lengthy edit of the tune on all kinds of performance-enhancing and psychotropic drugs. (via Discobelle)
Sounds like the whole future-boogie movement is making its way into the hip-hop game, too. Californian producer Terrace Martin produced this number from Frank Nitt's recently released debut solo EP, Jewels in My Backpack, which also features flows from DJ Quik and J. Black on the track's chorus. The soulful jam, "L.O.V.E.," tackles jealousy, fidelity, disagreements, and all the various relationship issues in between. Nitt and Quik both declare their frustrations with and devotion to a special someone simultaneously over Martin's funky instrumental, making for an unusually heartfelt hip-hop tune.
Admittedly, if we keep posting material from Teen Daze we'll probably run out of poorly Photoshopped images from the anonymous Canadian producer's MySpace page to run with each story. But still, the more we hear, the clearer it becomes that this guy's forte is melody above anything else. His beats are appropriate, though safe, and the production is relatively amateur, but damn, if Teen Daze doesn't know how to tug at your heart strings with a host of memorably poignant melodies. For this remix of "Wide Eyes," originally by new indie-rock favorites Local Natives, the music maker transforms the song's guitar work into a thick bed of wafting, reverb-heavy synths, romantic melodies, and twinkling textures—creating a perfect mix between beautiful swirling ambience and ecstatic dancefloor rhythms.
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