Last week, we premiered the first goods to surface from a remix trade-off between Montreal tunesmith Ango and his Bay Area counterpart Salva (pictured above). The "Part Time (Salva Remix)" track exhibited what the SF-based producer could do with his buddy's beats, and now we have the flipside of that exchange, "Mag Clips (Ango Remix)." Salva's original tune is described on his Soundcloud profile as "Toaster Oven Juke," and while we couldn't quite explain exactly what that means, we'd say Ango's remix could loosely fit the description as well. But while much of the original employs a slow groove with skittering percussion and bass wobbles dancing over the top, this version bounces hard and fast with light-footed dance beats while the deep synth washes waft undisturbed in the background. Read more »
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Since Lemonade's Pure Moods EP dropped earlier this year, we've heard our fair share of remixes for songs from that release—many of them good in their own ways, but none that stood out as the one. And then yesterday, we came across this gem on Stereogum. Chicago DJ, producer, label head, and unofficial juke/footwork spokesperson Chrissy Murderbot (pictured above) took to Lemonade's "Remain in Jah" like DJ Rashad to an R&B hook, splicing the steel drums, new age synth pads, and airy vocal melodies into the flitting hi-hats, breakneck kick patterns, and smashing claps that make up his juke rhythms. All in all, it could very well be the best reworking of a Lemonade jam out there, but is certainly a wonderfully unconventional application of juke's hyperactive beats. You can check out Lemonade's upcoming tour dates after the jump. Read more »
Now that Daft Punk seems to be going the way of its Parisian brethren Justice (really, have you heard this "Derezzed" business?), maybe we can all stop waiting with bated breath for anything resembling the funky, fun-loving tunes we first loved from the duo, and continue looking elsewhere for our fix of infectious French house. You can get started with Ghosts of Venice's just-released jam for the Solid Bump label, "Her," and its accompanying remix by Chicago's Bit Funk (pictured above). Rarely does a producer's moniker fit their sound so well; Bit Funk's "Her" remix is certainly full of funky house grooves, with just a tad of lo-bit synth energy to give it a special edge.
The fella behind our most recent podcast, Bristol producer Hyetal, also took the helm for this skittering remix of Ratatat's "Neckbrace." That duo's trademark sound arsenal—scraping grooves, layers of live instrumentation, and reversed synth/guitar swells—is re-fixed to fit the UK tunesmith's club-ready format, sounding like something more along the lines of Giorgio Moroder trying his hand at bass music. Surprisingly, it all meshes well, even when Hyetal isn't pushing his shuffling dance beats in the mix, and during lulls in the hyperactivity, Ratatat's melodic soundscapes are appropriated for touching vibes unavailable on the band's own records.
Doing remixes of high-profile artists is certainly one way to make sure people take notice of your work. Obviously, it also helps to make those remixes good, but it's equally important to make your own production style stand out in the mix of familiar sounds. And that's exactly what Barcelona's My Dry Wet Mess (pictured above) does on his rework of Flying Lotus' Pattern + Grid World cut "Pie Face." The playful bleeps and bloops and lighthearted swagger of producer Steven Ellison's original track are still intact, but the Spanish beatsmith tweaks those sounds into a jam with a tad more textural atmosphere, stuttering bounce, and cluttered sound palette. My Dry Wet Mess' remix quite expertly rides the line between respecting his source material and flexing his own style, and stands up well next to his own tracks from his just-released debut album on Magical Properties, Irrational Alphabet. (via LA Times)
Lately, it seems like all a producer needs for a solid track is one really good idea, coupled with a small handful of complimentary sounds. For "Ice Job," by San Francisco producer Roche, that one good idea is a ghostly descending melody looped ad infinitum, paired with some subtle bass tones undulating underneath it and the accompanying polyrhythms. The ongoing loop (we can't quite tell what instrument it is exactly) seems like it'll never stop, but somewhere around the 4:20 mark (go figure!), it takes a reprieve and wafts about in a brief limbo while the beat and bass continue to groove like nothing's changed. Roche's mesmerizing proto-house cut is the lead song on his recently released four-track Degage EP, which you can nab for a decent price here.
For the third release from Glasgow's Phuturelabs imprint, fellow Scotsman S-Type hooks up a few purply, nod-worthy cuts, which include this mid-tempo jam, "Terry Nutkins." The tune starts grooving from the get-go with a stuttering melody and a hip-hop beat bouncing in half-time, occasionally peppered with some warped vocal exclamations, and takes no time joining up with an arsenal of keys—organs, lead synths, pads, wobble bass, etc.—that grows larger and larger with each passing minute. At times, S-Type's production is a bit anthemic, a bit grimy, a bit wonky, and a bit (as said before) purple, but no matter which sound "Terry Nutkins" pushes, it remains ready, willing, and able to move you at the push of a play button.
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