What's so enjoyable about French producer Canblaster's (pictured above) remix of Wafa's "Pop Up" track, which is taken from his Ewid Disco 12" for Sinden's new Grizzly label, is the many forms the house-inspired number takes while always remaining focused entirely on the dancefloor. This new version goes through a few movements with its five-minute runtime; an energetic synth melody and pumping future-house beat kick off the tune before the rhythm cuts into halftime and some massive bass tones are introduced, which is then followed by a fresh marimba melody and more pulsing synth sounds and spaced-out effects. As much as it seems like Canblaster's remix can't decide exactly which direction it wants to take, the quick changes in trajectory blend well with the track's other moments—making for not only great get-down possibilities, but exciting headphone experiences, as well. (via FACT)
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Here is a new take on London-based outfit Allez-Allez's "Weird Science" track, from its recently released Hideous Racket EP. The distorted, warbling dance number is fairly lo-fi and psychedelic in comparison to most club music that comes from the duo's home turf, but still manages to carve out some relatively sluggish grooves. The original is a bit more clear-headed and dancefloor appropriate, but we could still imagine hearing the alternate version close out—or maybe even slowly open up—a DJ set or two.
The UK's Throwing Snow (pictured above) put together this hard-hitting remix for fellow countryman Greymatter and his "Mind Over Matter" track. After a brief intro, the remix's elements are slowly introduced one at a time; beats, synths, sound effects, and bass all step into view at their own leisure, and eventually work out the best way to lead Greymatter's original number into new territories. It's an understandably typical build into a well-produced dubstep tune, one which is bolstered more so by the sounds chosen by Throwing Snow than the directions they head. The Mind Over Matter Remixes Part 2 EP is out July 12.
It's starting to seem that Dâm-Funk releasing a two-disc/five-LP/24-track debut album last year really wasn't that big of a deal for the SoCal funkster. Judging by the extended run of new music Dâm's been doling out at will, dude could probably deliver us a few more Toeachizowns before the Mayan calendar expires. Luckily, each tune added to his repertoire is as consistently rad as those before it, and this one for the Proximal label compilation, Proximity One: A Narrative of a City (out August 10), is no different. "A Day at the Carnival" rocks a particularly high-tempo and upbeat rhythm that are somewhat uncharacteristic for Dâm-Funk, but his standard collection of vintage synth tones and G-funk basslines are as warm and groovy as ever. Dâm-Funk may not be trying out new hats, but at least the one he's got on won't go out of style any time soon. (via Pitchfork)
Lots of bands and producers seem to use the whole 'elusive artist' schtick as a crutch, trying to add an element of mystery to music that's nothing particularly out of the ordinary. Hidden faces, uncertain origins, and poorly defined band line-up aside, ceo makes music that is actually unfamiliar and blurry enough to be called mysterious. "Everything Is Gonna Be Alright," a bonus track not found on the outfit's debut, White Magic, carries a mixed bag of influences—dubstep bass and rhythms, Balearic fuzz and buoyance, tropical instrumentation, simple pop harmonies, and club-inspired vocal sampling—that mesh into a sound as ambiguous as it is inviting. The song is a standard length, but feels like an all-too-brief glimpse into a realm of new musical possibilities.
It probably goes without saying, but MIA's upcoming quasi-self-titled third album, /\/\ /\ Y /\, is sure to be oddly accessible, completely meta, and predictably off-center; so it's no surprise that those three phrases go a long way toward describing this extended version of "Tekquilla," the latest cut to creep out from the tightly guarded new record. The track features rap star Nicki Minaj for a quick verse, which, despite being totally tacked on at random, proves a solid wingman for Maya's sing-song vocals. And though they were never mentioned as possible production contributors, we wouldn't be entirely shocked if Basement Jaxx were credited with the instrumental, as it's overwrought with innumerable micro-samples, blaring synths and sound effects from the repertoire of the re-emerging rave era, and an all-around air of bombastic noise pollution. Still, this is pop music at its most modern and innovative form. (via FADER)
We usually don't get much in the realm of "downer" music here at XLR8R, so hopefully you'll appreciate the brief change of pace. This somber tune was produced by RJD2 for Ohio-born MC Copywrite, who penned the lyrics for "Forever and a Day." Copywrite wrote the song in remembrance of those who have passed on—specifically, his friend and musical partner Camu Tao and his father Peter James Nelson. It's a sentiment which meshes ideally with RJ's slow-grooving, tastefully mellow instrumental, and even the softly sung chorus from D.C. indie band Middle Distance Runner. "Forever and a Day" will be released on Copywrite's forthcoming full-length, The Life and Times of Peter Nelson, in October.
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