It's not just the name of the track that makes "Curtain Call" sound like the last salvo from Little Brother's final album, LeftBack. Amidst shimmering synth flourishes, a boogie-indebted bassline, and a shuffling drum-machine beat, Phonte and Rapper Big Pooh declare, "this is it, the last monologue/last act in the play, you could say the epilogue," and then list off their thank-yous as the track fades out—sounding less like an acceptance speech than the end of a memoir. LeftBack is out April 20 on Hall of Justus.
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The grimey garage of London's Jammer gets seriously pumped up in this remix from Milwaukee's Lorn, whose reputation as a member of FlyLo's Brainfeeder crew precedes him. The crunchy bass stems of the original are brought way up in the mix, frenetic secondary percussion is added, and the backing beat is more in line with contemporary bass than the danceable grime of the original. With its truly sick breakdown that artfully incorporates the epic strings of Jammer's track, Lorn's remix is bound to get clubs burning this spring.
The sweet soul sound of The Phenomenal Handclap Band's "Baby" is definitely contrasted by the track's dark video, but London's Clock Opera artfully combine both the video's menace and the track's throwback sunniness in this remix. Beginning with pulsing kicks, deep bass, and jagged guitar riffs, the song builds to a shadowy apex, then suddenly becomes a dreamy near-disco track replete with lush synths, softer guitars, and flute flourishes. Taken from the upcoming Gomma release, which also features remixes from Black Strobe and Daniel Haaksman.
Get ready to surf over to Discogs, because this track is The Very Best's African pop take on The xx's shuffling remix of Florence + the Machine's cover of The Source and Candi Staton's 1986 disco-gospel hit. Luckily, the increased distance from the original doesn't diminish the quality of this fine reworking, which leaves The xx's interpretation intact while adding African vocal harmonies, sweaty tropical percussive elements, and a healthy amount of delay. Candi Staton should be proud.
On "Bermuda," LA's KISSES deftly combine the clean, synth-driven throwback disco of some Morgan Geist productions and the male vocals that helped define the '80s New Romantic sound. Vintage synths, bright jangly guitars, and dusty beats ride below a voice that recalls a more full-throated Tony Hadley (of Spandau Ballet). With a sound that sits nicely next to the Smiths as well as Geist's recent collaborations with Jeremy Greenspan, KISSES' upcoming full-length just might lead to a new New Romantic revival.
After more than 10 years in the DJ game, Mike Monday offered his latest single, "Your Body," to frequent DJ-partner-in-crime and Veryverywrongindeed label head Tim Sheridan. Sheridan's beat takes a more motorik approach than Monday's original, though his warbling bass and reverb-laden vocal samples sound straight out of the dubstep playbook. It all abruptly cuts out around the halfway point—giving Sheridan a chance to rebuild the song's subtle energy into a flourish before retreating back to the initial beat.
German techno vet, Oliver Huntemann delivers one of his trademark reworkings on this single from Abe Duque's '09 full-length, Don't Be So Mean. The original version of "Following My Heart" was centered around the guest vocal from diva Virginia Nascimento, a slow-pulsing bass tone, and loads of delayed synths. Huntemann pitches Virginia's vocal down, just about doubles the BPM, and trades in melody for all sorts of dark, industrial-sounding percussion on his interpretation—the final chapter in Duque's Don't Be So Mean remix series.
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