The killer combo of Gudrun Gut and AGF, known together as Greie Gut Fraktion, do a fascinating rework of Palais Schaumberg's 1981 classic, replacing angular bass and guitars with dubbed-out synths and high-frequency meanders. What's most interesting about the duo's work, though, is that they keep the original's death-disco beat almost intact, and the vocal phrasings are equally similar to those of the original. There is only one major departure from Thomas Fehlmann and Holger Hiller's masterwork, and that is the inclusion of bizarre and menacing English lyrics towards the piece's end. It is safe to say, though, that this alteration does not taint the end product, which is a lovely updating of what should be a better-known song.
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Mix a bit of Jamie Principle with some Shalamar-style '80s synth-funk and you might have the first single from Jimmy Edgar's upcoming album, XXX. "Hot, Raw, Sex" features a nice main melodic loop, cutting synth stabs, and a bass that's funky and deep enough to really get asses shaking. The vocoded vocal line is somewhat cheesy, but in the way that makes the listener smile, and with a killer synth break in the middle of the track, this small sin is easily forgiven. XXX will be released digitally on July 27, with physical copies due to appear on September 14.
Canadian music maker Teen Daze took a stab at this song by fellow hazy pop outfit Twin Sister, from the NY band's recently released Color Your Life EP. The young producer has been lumped in with the rest of that whole "chillwave" scene, and it's easy to see why; his remix of "All Around and Away We Go" smothers singer Andrea's nuanced vocal performance with blankets of squishy synth sounds, but not before he soaks it in a pool of reverb and places it atop of a muffled dance beat. (via Gorilla vs. Bear)
As his productions often do, Prins Thomas' remix of "En Vill Hest" by Norwegian indie-pop quintet Casiokids takes its sweet, sweet time to really get cooking. After spending nearly half of the song's run time layering percussion upon bass licks upon low-register chants upon guitar strums upon synth flourishes upon more drum sounds, a smooth falsetto vocal is introduced to the mix, and moves the track from slow-burning Balearic disco to upbeat beachfront pop. In the hands of someone other than Prins Thomas, a nine-minute exploration of hypnotic live instrument grooves could be a drab listen, but somehow Thomas manages to make his remix coast by without us having to glance at our watch.
People like to throw around the "'80s" tag all willy-nilly when talking or writing about more electronically based pop acts (M83 and The Juan MacLean come immediately to mind), but here's one that truly sounds as if it had been born of and imported from that neon era. Brooklyn's Light Asylum is the duo of singer Shannon Funchess and producer Bruno Coviello, who together write desolate pop songs that simultaneously evoke Kate Bush, Grace Jones, and the early days of New Order. This demo of the song "A Certain Person" showcases Funchess' low-register voice subdued beneath an array of vintage synth tones, classic drum-machine sounds, and an oddly fitting sample of a braying horse—making the moments when she breaks through the mix especially ear-catching. (via FADER)
One may think that making spatially amorphous, rhythmless washes of soupy synth tones and blurry aural textures would be relatively easy, and they'd be right. However, making those same sounds interesting proves a task few are capable of. Alongside the likes of Brian Eno, Tangerine Dream, and Mike Oldfield stands Oneohtrix Point Never: Brooklyn's Daniel Lopatin manning the station of formless electronic music (whom XLR8R featured in its pages not long ago). This slice of interstellar sonics is taken from his latest release, Returnal, and is as equally indescribable as the Lopatin's confounding moniker. "Pelham Island Road" starts off with what sounds like the tail end of another instrumental suite heavy with Juno-60 patches, and cuts off abruptly on its way to another floating point somewhere further into Lopatin's psyche. (via FADER)
While Poirier continues his global bass assault, Mungo's HiFi dubs "Let Them Hate" down a few notches, transforming a pummeling slice of bass into a fast-paced reggae jam that Lee Perry would get down with. Of course, YT's vocals are as fierce as ever, and keep the remix—which appears on the second disc of odds and ends that comes with Poirier's new Running High album—as sizzling as the original. And if you're on the West Coast in the next week, check out Poirier's Myspace page for dates in LA, Vegas, and the Bay Area.
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