Brooklyn trio These Are Powers has certainly changed a lot over the years. While the band was once known for angular guitar squall and dense post-punk percussion, "Anything Above Nothing" finds them adeptly combining a galloping, almost tribal drum beat with catchy R&B melodies. And frontwoman Anna Barrie's singing... it's actually, like, sweet and pleasant, albeit with just enough sass to keep things interesting. With percussionist Bill Salas (a.k.a. XLR8R fave Brenmar) taking a greater role in the group's production and recording, we're excited to see where These Are Powers' new direction leads. However, we'll probably have to wait until later in the summer to hear more, as the trio is about to embark on a European tour for most of July. Peep the dates at the band's myspace page.
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One of the many uncredited Fischerspooner ensemble members, Michael Cheever is Le Chev, and this is his remix of Lemonade's (pictured above) "Lifted," which originally appeared on the band's Pure Moods EP. The song already dripped with bright, syrupy emotion, but this rework commissioned for the recently released single—which also features remixes from Shortstuff, Hackman, Ghosts on Tape, and others—is absolutely soaked in lovelorn poignance. Le Chev's track is a slow-grooving number rooted in many of the ideas pushed by future-boogie producers like Onra and Devonwho. But around the three-minute mark, his version hits a higher level of heartfelt-chest-beating, singing-with-your-eyes-closed, pleading-to-the-unknown-with-every-bit-of-your-soul balladry usually reserved for our favorite R&B classics. (via Gorilla vs. Bear)
Here, two dubstep juggernauts come together for a track of epic proportions. From his just-released mix album for !K7's DJ-KiCKS series, Kode9's "You Don't Wash" was turned over to Martyn (pictured above) for another forward-thinking take on the tune. Martyn heaped on some of his trademark tumbling percussive beats, warped vocal loops, and sub-rumbling bass melodies, along with a fresh addition to his repertoire: a melody from something that sounds like a synthetic violin or fiddle. His track grows steadily with intensity until its midpoint, where the beat drops out and makes way for the new synth sounds to find their legs and carry the song into its final half.
Another act from the burgeoning witch house scene, Brooklyn's Creep just finished up this rework of "Green Knight," from Memory Tapes' Seek Magic album. The song is transformed into something far more orchestral and pared-down by Creep's two members, who inject their own ominous electronic hums and plinking, reverberated melodies into the mix. There have certainly been a lot of remixes done for Memory Tapes since his debut dropped last year, yet this latest from Creep stands high above many of them thanks to its simultaneous dedication to the original sound and fresh ideas. (via Gorilla vs. Bear)
If you're going to go about slanging tracks under the name Totally Enormous Extinct Dinosaurs, you had better make sure those jams are legit. Really though, if it wasn't for the high caliber of tunes coming from the young UK producer, the whole neon-colored dino motif and hopelessly unbearable moniker would be utterly laughable. But it's tracks like the shining "Move On" that help transform something ridiculous into something uninhibitedly joyous and brilliant. Rhythmic bass rumblings, indiscernible vocal blips, and tropically influenced future-garage beats all create the backbone of this tune, allowing bright synth stabs, uplifting melodies, and all sorts of sonic textures to have their way with your eardrums. File this one under the 'poorly named artists with great music' category. (via FADER)
Kanye West is going to be kicking himself. One day, not far from now, someone from his entourage will lean over to him, and say, "Kanye, man, we just got this disc of these three white kids from Michigan making crazy weird beats. Shit is even sadder and more ominous than anything you've done." Perplexed at the claim, Kanye will ask to hear said beats, and his friend will pop in Salem's debut album, King Night. After the intro for "King Night," the title track's massive, blown-out bass synth, cinematic choir vocals, and crunk-inspired hip-hop beat will drop. About three minutes later, when the song ends, Kanye will look to his friend with a single tear slowly rolling out from underneath his sunglasses, and say, "Damn, those beats are dope." King Night will be released September 28 via IAMSOUND. (via Stereogum)
Ecstasy, a blog ran by Honey Owens and her Miracles Club cohorts, just posted this cover of Moodymann's "I Can't Kick This Feelin When it Hits" by blog contributor Leech. The producer was inspired to do his own take on the track after checking out a reggae cover of the song Moodymann's original was built from, Chic's "I Want Your Love." Leech's cover of the expansive old-school techno track is a dubby affair, as it borrows its samples from that reggae version of "I Want Your Love," but stays true to the original's deep grooves, funky bass work, and slow-burning dancefloor vibe.
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