The Madvillainz Beat Crew might remain an anonymous cast of producers, but their remix of "Gazzillion-Ear" is anything but shadowy—the dusty, warm beats of J Dilla's original production are transformed into cutting stabs of bass, rim-shots, and a triumphant sonic atmosphere that nicely compliments DOOM's rich, confrontational rhymes. In a nod to the original's beat-switch, Madvillainz does the same, paying homage to one of the best beat-makers of our times.
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The original of "Cathedral With No Eyes" sounds a bit like Rob Barber (from High Places and the Urxed) channeling Primal Scream at their most apocalyptic and noisy. How Adam Forkner (a.k.a. White Rainbow) turned this railcars piece into a spacey, blissed-out carnival ride is slightly beyond comprehension. Nonetheless, the original's near-industrial percussion becomes bouncy and playful, its strained vocals replaced by Forkner's trademark cooing, and its hissing distortion is toned down to a cool sonic wash that builds to a roar by the piece's end. This excellent remix is taken from an upcoming digital and cassette release featuring Lucky Dragons, Panther, Former Ghosts, and others remixing "Cathedral With No Eyes." Look for that in February!
It seems the world's current vampire craze hasn't limited itself to film and television. Swedish electro-pop songstress Josefine Jinder has used the iconography to make the backdrop of "Youth Blood," her ode to late-nightstalkers on the prowl for a good time. From the single's second remix EP, entitled Youth Blood Scandinavian Remixes, tech-house duo Boboes Kaelstigen give the track a filtered gloss-over suitable for ending the night's adventures. The release is out now on Trouble & Bass, who have also offered up a special promo mix from resident DJ The Captain.
German house and techno producer Rainer Weichhold throws a bit of a twist into his repertoire with his latest single, "Infernal." The veteran DJ seems to try something new—making techno beats with the sounds of classic disco. Instead of hypnotic synth and drum machine loops, Weichhold used samples of live drums and percussion, bass guitar, and string sections to bring his grooves to life. The affect is still as chilly as any run-of-the-mill techno track, but "Infernal" stands apart thanks to its unique sonic lineage.
Kid606's latest EP is a medley of sorts, featuring odds and ends from the Kid himself as well as remixes from Tigerbeat6 cohorts Eats Tapes and Baltimore weirdo Cex, among others. But perhaps the most proper techno track on the laughably titled Dance With The Chorizo EP comes from San Francisco's C.L.A.W.S.. Just imagine dub-techno minus the warmth, with some jackin' percussive bits propping up synth stabs and a retro, minimally inclined bass line. With some similarities to recent output from Chris Fortier's Fade label, this remix is the highlight of the EP, which comes out today.
The first single from Alex Smoke's upcoming third album sounds a bit like Thom Yorke doing gloomy microhouse—ultra-processed cyborg vocals, dry percussion, and some foreboding orchestral strains ride over a loping house beat. Mysterious UK producer Automaton destroys the piece in the best way possible, transforming it into a sputtering, grinding trek through the wasteland of a post-apocalyptic landscape where androids manage to dance to experimental dubstep. Though human dancefloors might not be ready for the remix of "Lux+," it's certain that somewhere, robots are getting down to this business.
Seven Fields of Aphelion might be a member of psychedelic freak-pop outfit Black Moth Super Rainbow, but on "Mountain Mary," she channels a more gentle soundscape filled with tiny bells, grainy piano lines, and soaring synth harmonies. This is music for running through fields of tall, golden grass in the fading afternoon sun. Sentimental as it is, the piece also contains a layered, dusty elegance that is quite breathtaking. Look forward to February, when Seven Fields' Periphery comes out just in time for lazy spring days.
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