We're just going to come out and say it: we're not exactly big fans of Tahiti 80 (pictured above). No offense to the French pop band—their tunes are perfectly fine, they're just not very XLR8R. That said, there's no denying that the group has impeccable taste when it comes to remixers. Back in November, we posted a stellar "Darlin" re-work by Barcelona's John Talabot, and now Tahiti 80 has extended their recruiting arm to our side of the Atlantic and enlisted Jimmy Edgar to have a go at the track. As those familiar with Edgar might expect, he's sexed up the proceedings with some throbbing electro beats, crunchy synths, and a seriously sleazy vibe. If Tahiti 80 keeps this up, perhaps we'll be more inclined to check out the Darlin EP when it drops next week, or the band's upcoming full-length, which is scheduled for later in the year.
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It's easy to think of the whole post-dubstep scene as a UK-centric phenomenon, but new artists continue to pop up all over the globe. Just yesterday, we posted a tune from Lithuania's Brokenchord, and now New Zealand is getting into the act, courtesy of Johnny Sable. The young producer isn't reinventing the wheel, as "Made in Taiwan" relies on skittering garage beats, emotive pitch-shifted vocal snippets, and subdued rave synths. Yet despite the familiarity of the song's building blocks, Sable's construction work is the key here, as he effectively fills the track with negative space, which keeps things light and restrained, even as the tune picks up steam over the course of its five minutes. It's an impressive offering, and one that makes on wonder what else the Kiwis have been brewing up on the club front.
This warbling, beat-heavy track from Lithuanian (yes, "Lithuanian," we double checked) producer Brokenchord may seem a bit all over the place at first. "Dribble Drift" starts out with crisp synth tones swelling into the forefront, sounding like it's about to drop into a poignant club number or maybe even a bit of synth-pop à la M83, but instead, the touching melodies give way to a somber soundscape made of woozy guitar plucks and subtle rhythmic sounds that twist and turn in their environment. Brokenchord continues to inundate his track with ominous bass frequencies, head-knocking beats, and a plethora of other adventurous sonic elements—further proving him to be a strong musical force worthy of keeping a watchful eye on. So it should go without saying that we're also digging on his just-released "A Girl of 13 Summers"/"Orion" single for the Black Acre label, which you can preview here.
Last summer, LA's Proximal crew made its mark on the burgeoning beat scene with the release of the Proximity One: Narrative of a City compilation, which showcased a new crop of leftfield beatsmiths alongside a number of the genre's more-established artists. On February 22, Proximal will be serving up another helping entitled Proximity One: Narrative Remixes, a five-song remix collection that pits a few of the label's up-and-coming beatmakers against the likes of LA heavyweights like Dam-Funk, Daedelus, and Tokimonsta. Here, newcomer BearClaw (pictured above) tackles Teebs' "Wind Loop," taking the original's pastoral, sun-drenched sounds and weirding them up a bit with the help of some chimes, a warbling synth, and some subtly clicky percussion. Even with all the additions, the end result is similarly chill, earning BearClaw some serious points for cranking the sonic complexity without prompting the listener to hit the panic button. Check the artwork and complete tracklist for Proximity One: Narrative Remixes after the jump. Read more »
Seattle's Beat Connection will be releasing a brand-new single called "Silver Screen" via Moshi Moshi's new sub-label, Tender Age, on March 1. The forthcoming EP (pictured above) will feature the title song, a b-side, and two remixes from the likes of British producers Dreamtrak and Young Montana?. Here, we have the latter of the two re-works, this one morphing the North American duo's original synth-pop song into a bubbling, body-moving bit of melodic beat music. The result is something akin to Prefuse 73 having a go at writing a precious tune for the Morr Music label back in their early-'00s heydays, and then maybe some Brainfeeder-signed MPC twiddler giving that jam a remix. And there's nothing wrong with that at all.
If there's one thing that Brooklyn duo Light Asylum can do with grace, aplomb, and tenacity, it's invoke the same sort of desolate soul and alienated desperation that inhabited so much of the music from the '80s. This epic, shadowy pop song in particular sounds inspired equally by Italo horror-film soundtracks and Factory Records' most brooding material. While producer Bruno Coviello works out a motorik drum-machine beat and a host of arpeggiating synths alongside his bare-bones bassline, singer Shannon Funchess exhibits the unbelievable range of her voice; gravelly groans, baritone croons, falsetto squeals, and every utterable tone in between all make appearances. Though "Dark Allies" was featured not long ago on last year's In Tension EP, Funchess and Coviello reignited interest in their driving, almost club-specific jam with an excellent new video (watch that here), and we're happy to see more people taking note. (via Pitchfork)
Quite possibly the strongest dancefloor burner on her recently released, self-titled EP, Ana Helder's "Next Club" is a non-stop groove driven by stuttering basslines, bouncing house beats, seductive flute melodies, and animalistic wails. The young South American producer sets her sounds into a hypnotic loop for seven minutes straight—occasionally giving or taking an element of the piece seemingly at whim. Infusing Latin sounds into pulsating proto-house, Helder solidifies her rightful place alongside the likes of Matias Aguayo and Rebolledo on the burgeoning Cómeme roster, and "Next Club" is just one of several fine examples from the Ana Helder EP that illuminate why she's deserving of such a sought-after position. You can also check out a funny little video of Helder set to a clip from this song, below. Read more »
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