Already anticipating the next album from Stars of the Lid? Perhaps It All Falls Apart, the upcoming album from which "Fervent" is taken, will whet your appetite for a while. With its light, glassy synth drones moving glacially behind a high-frequency melodic loop and dusty scratches here and there, The Sight Below crafts perfect ambient squalls to soothe the ears and mind.
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Here at XLR8R, new genre and sub-genre names cross our desks all the time, but rarely do the tunes have the heft to warrant major attention. But when it comes to moombahton, weight is something the music is definitely not lacking. Dave Nada coined the term after playing some pitched-down Dutch house for his bachata- and reggaeton-loving little cousins and their friends—check this FADER interview for the full story—and decided to start making some proper edits for his DJ arsenal. Check his thunderous "Riverside" edit, which slows down the Afrojack remix of the Sidney Samson tune and also mixes in a bit of Bay Area hyphy prodigies The Pack. The entire Moombahton EP is actually available for free download, and if these heaters are any indication, club DJs may no longer have to live and die at 130 bpm. Moombahton can rock the dancefloor at 108.
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.
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.
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.
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