This track—originally by UK chanteuse Marina & the Diamonds, remixed here by San Francisco bedroom tunesmith oOoOO (pictured above)—was once a catchy, piano-led chamber-pop diddy, likely meant to simultaneously invoke feelings of love, happiness, and a touch of bewilderment with its thoughtful lyricism and upbeat ivory tickling. But producer Christopher Greenspan has made his version of "Obsessions" an ominous, bass-driven lament, as he managed to turn snippets of the original's upbeat piano melodies and vocal utterances into key elements of his brooding soundscape. As past oOoOO releases have already proven, Greenspan is deft with sampling the voices and sounds of soulful pop music for use in his own sad, spooky synth-pop compositions. It's an effective method, and now, he's just calling it a remix. (via Pitchfork)
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Now, here's a fresh slice of boogie-flavored club music that leans heavier on the vocal-pop side of the spectrum. Producer Henry Maldonado (of House 2 House and Rhythm Section fame) delivered the tune courtesy of his brand-new Native Underground project and its debut EP, Till it Hurts, which is out now on NYC's Wurst label. Maldonado's title track sparkles and shines from the get-go with filtered piano flourishes and arpeggiating synths, and doesn't waste any time introducing the bulbous bassline and solid beat of its classic-sounding dance groove. In the midst of it all, the vocals inundate the production with an almost endless string of melodies and hooks—giving "Till it Hurts" an irresistibly infectious sheen. This one has late-night disco inferno written all over it.
Danish four-piece When Saints Go Machine (consisting of a vocalist, drummer, and two keyboardists) is the latest act to sign to Berlin's !K7 imprint. "Fail Forever," the title track from its forthcoming EP, is an uptempo adventure into the possibilities of combining orchestrated, melancholy pop with a dance music bed. Driving from beginning to end, the song features rhythmic keyboards pulsing rapidly along with a consistent four-on-the-floor disco beat. The melancholy comes courtesy of frontman Nikolaj Manuel Vonsild's haunting, almost Arthur Russell-esque falsetto; layered with harmonies, it combines with the slow-moving bass and cellos to make for an incredibly lush track. Apparently When Saints Go Machine have been making some pretty big waves in Denmark, winning the Danish National Radio Talent Of The Year Award and opening the country's Roskilde Festival earlier this year, but even without that knowledge we'd still be looking forward to their upcoming January EP and the band's eventual LP expected later in 2011.
Barcelona producer John Talabot (pictured above) only has a handful of productions to his name, but it's hard to think of another artist who's making better slow-motion house music right now. (That's why we featured him in our Bubblin' series earlier this month.) Granted, when we say slow motion, it's not to imply that his tracks can't get a dancefloor moving, and Talabot certainly has nothing to do with the current screwed-music craze; it's just that his productions are nothing if not deliberate, slowly building from just a few bits of percussion to a euphoric, melody-filled release. The formula works to perfection on this new, nearly eight-minute-long remix of french outfit Tahiti 80. "Darlin" is the band's latest single and the original will appear on the upcoming The Past, The Present & The Possible album, set for release next February.
Featured on the forthcoming 12" release for Primary 1's "Never Know" single, this remix by UK bass excavator Submerse (pictured above) is a poignant 2-stepper rife with forlorn string sections, heartwarming pads, distant-yet-piercing synth melodies, and a mess of lovelorn vocal samples. But those are just the parts tugging on your soul; it's the all-encompassing bassline and skittering dance rhythms that carry those touching elements to the place where Submerse's production belongs—your next club mix. Score this version of "Never Know" today, but look for more remixes of Primary 1's track from The Shoes and Gucci Vump when his record drops on December 6 via Atlantic.
The elusive Jatoma trio (pictured above) released its self-titled debut full-length of precious, intricately made ambient house music earlier this month via Kompakt, and here, we're treated to a remix of the album's bubbling opener, "Little Houseboat," from Copenhagen's Kenton Slash Demon. The production duo remains true to the percolating vibe of Jatoma's tune, as they leave the softly boiling synthscape to froth under the surface. However, Kenton Slash Demon opts for a more crisp dancefloor beat—and tosses in a bit of tasty percussion around the edges, too—rather than maintain the muffled pulse of the original, and it serves the track well. In fact, once things really get cooking past the three-minute mark, you might find yourself torn over which version of "Little Houseboat" ranks highest in your book.
Most of us first heard of producer XXXChange (a.k.a. Alex Epton, pictured above) as the young fella behind the bedroom-born party tunes pulsing underneath the filthy raps of Baltimore MC Spank Rock. He's since gone on to carve a name for himself with one-off remixes for high-profile acts, like Thom Yorke and Björk, and the indie elite, like Yeasayer and Panda Bear, but Win Win is the first collaborative project XXXChange has taken on since Spank Rock. Along with DJ/producer Devlin (of Devlin & Darko), Epton worked out the psychedelic, electro-tinged tropicalia of "Releaserpm," the first leak from Win Win's forthcoming self-titled debut album for Vice. The bouncing track also features the impish singing of Gang Gang Dance's Lizzi Bougatsos, a vocal delivery that floats freely over the skittering club rhythms. We'll be able to hear Win Win pair its tracks with the likes of Andrew W.K. and Hot Chip's Alexis Taylor when Win Win drops on February 15, 2011. (via FADER)
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