Italian club lover Congorock has always promoted the more playful side of electro, in contrast to his more sinister peers like The Bloody Beetroots or, in this case, Fukkk Offf. On his remix of the second single from Fukkk Offf's Love Me, Hate Me, Kiss Me, Kill Me Congorock uses a blown-out, four-on-the-floor beat to carry the track's hyperactive synths, choppy vocal loops, and frantic percussion into a raved-up oblivion.
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Somewhere between the tenacity of Ratatat, the cinema-scope of Mogwai, and the experiments of Tortoise you'll find Milwaukee's Cougar. XLR8R recently took a closer look on the quintet, and now we're happy to bring you a cut from their latest album Patriot, the choir-led "Rhinelander." The track builds slow, eventually coalescing vocal melodies and dueling guitars with heavy beats and distorted basslines into a transcendent post-rock sound.
Apparently the robot baby from Daft Punk's "Technologic" has found itself a full-fledged singing career, as it croons the chorus for Dre Skull's latest single, the shimmering club ballad "I Want You." On his remix, Brooklyn's AC Slater turns the track on its head and cranks the hype to eleven with a plethora of cut-up vocal work, breakbeats, and swelling bass lines. Slater's offering isn't even the best of the single's remixes—he's got plenty of competition from Alex Gopher, Bok Bok, Bobmo, and Dre Skull himself—but it's certainly the most energetic. The original version's not-to-be-missed, Tron-inspired music video is below.
The UK's Rival Consoles reminds us of another time in electronic music, when Ableton wasn't an option and hardware was an absolute necessity. Taken from his debut full-length album, the favorably reviewed IO, "1985" is a darkly anthemic piece of antique-sounding electro that slowly rises, falls, and twists upon itself while always harkening to a simpler time in dance music history.
Analog enigma Redshape is finally presenting his long-awaited first full-length on the fledgling Delsin label. The Dance Paradox is a collection of dark, atmospheric techno that is certain to be blasting out of speakers during late-night sessions during the coming months. One of the record's strongest tracks, "Garage GT," features deep kicks, tight tech-funk percussion, high-frequency synth washes, and a propulsive bass. With a regally creepy synth line worming its way in front of police sirens during the track's middle section, the piece recalls slo-mo Detroit techno and Italian horror soundtracks. An exemplary slice culled from a faultless deep techno album, "Garage GT" will definitely get you doing your 4 a.m. shuffle.
Culled from the third installment of Asthmatic Kitty's Library Catalog Music series, "Big Moth" is a jamming example of a hi-tech take on the old school hip-hop breaks aesthetic, replete with intense polyrhythmy, sudden tempo changes, and the sound of record hiss. Though Foubert is most known for his collaboration and engineering work with indie juggernauts like Sufjan Stevens, and McAlister is well-noted as a member of Ester Drang, the two have created a piece that would be well-suited to hip-hop and breaks DJs for years to come.
After a weekend filled with Indian summer sunshine, we here in San Francisco were greeted with a grey autumn Monday morning, the kind of weather perfectly soundtracked by the cinematic post-rock of bands like Codes in the Clouds. Sure, the UK quintet owes a serious debt to bands like Mogwai and Explosions in the Sky, but sometimes it's okay to forget about originality for two seconds and just get all pensive and moody.
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