Any more posts like this and we might have to change our website's name to xlr8rpresentsjimmyedgar.com. But there's obviously a reason the prodigious producer keeps showing up in our webpages, so we'll happily continue with our Edgar-mania, including this excellent remix of his new album's first single by UK DJ/producers Instra:mental (pictured above). This version of "Hot, Raw, Sex" (anyone else curious about that second comma?) makes the tune less of a celebration of pulling an all-nighter with a special someone and more of an exploration into the depraved longings of an extremely lonely sociopath. Edgar's chilly production aesthetic is still intact, but Instra:mental turns the original's '80s-funk vibe on its head—transforming it into an ominous, churning bass tune propelled by skittering beat and synth work. You can catch Jimmy Edgar touring North America in support of XXX, next month.
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8-bit sampling has been done. 16-bit and 32-bit sounds are okay, but we're gonna side with Eliot Lipp on this one and say that going for the 64-bit gold was the right choice. On this exclusive one-off track from the NY producer, a piece of the soundtrack from one of the best first-person shooters of all time, GoldenEye 007 for Nintendo 64, is reworked into a slow-swaggering dance jam that wouldn't be the least bit out of place in a darkly lit nightclub scene featuring a tuxedo-clad Pierce Brosnan with some doe-eyed European knockout. Like the smokey vixen, Lipp's beat is a purely sexual beast, but those ominous synth melodies and sound effects give off the air of an insidious double agent waiting for her chance to pounce.
One of the exclusive free tunes featured on the Autumn Feelings sampler from London's Merok label, the remix of Rihanna's "Rude Boy" hit by Brooklyn's Blondes proves the two entities to be quite the match. The house-referencing synth hook from the original single sounds like it could've been written by the Blondes boys themselves, so when they based their jackin' remix around that melody, the results sound nothing short of predestined. And we're not too worried about Rhianna's vocal work not making the cut because they've brought in a bigger diva on the mic, Mariah Carey. Her sampled contribution, along with the cosmic synth arpeggiations and booming house beats crafted by the remixers, helps elevate the "Rude Boy" remix into levels of ecstasy rarely explored by pop or dance music of our current era. We're grateful for Blondes, Rihanna, and Miss Carey for crossing paths on this one, and working together to take us there. You can download the rest of Merok's label sampler here.
It seems not even the indie-pop songstresses that briefly grace Southern California's vast landscape can escape the rhythmic essence of that region's music scene. Like on "Home," our first peek into the much-anticipated debut album from former LA resident Glasser, Ring, the first sounds heard flesh out a rolling beat reminiscent of something from Flying Lotus' early work before the chanteuse's airy falsetto floats gently into the mix, nimbly executing vocal gymnastics in the most sublime of ways. And it's no wonder singer/songwriter Cameron Mesirow, who now keeps a Brooklyn address, called this welcoming song "Home"; once those synths commandingly charge in underneath her densely layered harmonies, you immediately get the sense that Mesirow is dreaming of returning to her own native lands (wherever those may be), or is already there, celebrating its wonders. This song couldn't excite us more for Ring's release on September 28.
Apparently, this song is inspired by Teebs' time spent in Japan around November 2009. Expounding on that information, the producer said, "The weather was just starting to get cold [in Japan], but the sun was still out every morning around 8 a.m. ... When I came home, I made 'Personal Winter,' and instantly got sucked back into those early mornings." And you can feel that scene in his song, too; the bright guitar strums feel like rays of sunshine on your face, the thick atmosphere like your breath wafting from your mouth, and the rumble of the bass and beats like the sounds of the city surrounding you. The ability Teebs has to invoke those images within the passing moments of this brief track is just more evidence of his strengths as a creative and moving beatsmith. (via VTech)
Excuse the potty humor, but we've been more or less shitting ourselves (rimshot!) over the debut record finally coming from Dublin's DFA mainstay, Shit Robot. We shared TBD's remix of "I Found Love" just last month, and now we are pleased to bring you the original version of that cut from From the Cradle to the Rave. Shit Robot's track is a straightforward disco-leaning burner with a host of synth timbres that all harken back to the soundtracks of late-'70s sci-fi flicks. If this is just how producer Markus Lambkin's long-awaited album gets started, we're sure to have plenty more solid dance tunes to work with come September 21.
Four-piece production outfit C.R.S.T. (pictured above) has been getting its fair share of spins in the XLR8R offices lately (maybe you caught the Girl Unit remix of the quartet's "The Bells" track in our Celebration of Curation mix?), so we were pretty excited to see that the Welsh music makers were included on the remix EP for "After Dark" by The Count & Sinden. Preceding the release of that duo's debut full-length, Mega Mega Mega, which you can actually stream in full right now over on FACT, C.R.S.T. re-oriented "After Dark" from disco-inspired house-party music to a burning UK funky number built almost entirely of bass and bounce and demanding the finest in nightclub soundsystems. More remixes of the track from Buraka Som Sistema and Oliver Twizt are also featured on the After Dark Remixes EP, out now.
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