The epic opener of Etienne Jaumet's Night Music is cut in half by Jaumet himself. The looped, occasionally acidy arpeggiations of the original are kept in place, as are the synthesized saxophone melody and the track's pastoral ending. Really, all that's changed is the length. Whether the edit is a nod to the dancefloor or those listeners with short attention spans, it is a welcome bit of editing from the French loop-master. For more on Jaumet and his influences, check this feature out.
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If Yay Area native D-Lo hadn't proved he knew how to get dumb with his smash hit "No Hoe," he'll definitely prove it with this new joint. With DJ Fresh's nasty, non-traditional rhythmic structures providing the track's backbone, D-Lo spits about hoes, guns, and fucking your girlfriend behind your back. Mr. Tower provides the strongest verse on the track, but generally, this is some dope hyphy business that'll definitely be blasting in your 'hood in the coming months.
What starts out dark, ominous, and sounding like ESG's "UFO" re-imagined by The Knife slowly evolves into a lonely ballad on "Blinking Pigs," a poignant piece of electro-pop from Swedish outfit Little Dragon. The song, taken from their recently released Machine Dreams album, features the band's trademark bass squelches, pattering drum beat, and swirling synth work all coalesced under singer Yukimi Nagano's subtly soulful vocal delivery.
Young Harlem transplant Mike Slott crafts glitchy, futuristic beats that fall somewhere between dubstep, hip-hop, and old-school breaks. What's most interesting about "40 Winx," then, is that it is so soothing, featuring bass sounds that recall Ellen Allien, and shimmering high frequency loops that can best be described as dreamy. Fresh off of a collaborative effort with Hudson Mohawke, the rest of Slott's latest mini-album, titled Lucky 9teen, is an exercise in creating ambient music from a jazzy, hip-hop perspective; in other words, the Irish native proves himself to be one of the more versatile and interesting producers working right now.
Given the success of The Juan Maclean's "Happy House," it's no surprise that the DFA decided to release a load of new remixes of the disco-house banger. Dance-pop auteurs VHS or BETA actually disco up the track a bit more, making the handclaps chunkier, adding some laser-synth stabs, and inserting a violin run that screams 1979 at Studio 54. While the remix doesn't really alter the original enough to make it a great departure, it adds an element of campy disco fun to an already excellent piece of dance music, and with other remixes from Will Saul & Mike Monday, Chateau Flight, and Lazaro Casanova, there are plenty of reasons to check out this new remix package.
If you thought the original of "Baby Can't Stop" was massive, then the Aeroplane remix will seem earth-shattering. The early-'80s disco-funk sound of Lindstrøm & Christabelle's original is transformed into a stomping disco-house number, filled with cosmic synth flourishes, acoustic guitar strums, chunky handclaps, and high-frequency washes accompanied by some out-there arpeggiations. While it may be hard to imagine another artist sounding more Lindstrøm than Lindstrøm, Aeroplane succeeds in the best way possible, giving us one of the best remixes of 2009. Lindstrøm & Christabelle's Real Life Is No Cool comes out on January 19, 2010.
This remix is simply down 'n' dirty. Aptly, too, as it features Australia's own Bertie Blackman, with a voice seductive enough to woo even the most celibate of Vatican priests. Here, the UK's Marco Del Horno—who you may recognize from his stints on pirate radio powerhouse Rinse FM—oversees a splendid transformation of the original's electronic pop sensibility into a bass-heavy dubstep tune. Stamping the song with characteristically grimy stabs and stringy synths while Blackman's silky voice floats atop the mix, Del Horno keeps the track from becoming a faceless wobble-bass workout.
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