Given DFA staple Gavin Russom's rap sheet, a remix from the producer clocking in just under seven minutes is more like a quick sketch than a fully formed idea. Still, the shorter format seems to work well for him. Russom gave "Monodrama"—by fellow analog space-disco enthusiasts Chateau Marmont—that special proto touch we've come to love from his Black Meteoric Star and The Crystal Ark projects. Wavering staccato synth melodies waft above a simple reverberated drum-machine beat as pulsing bass lurks somewhere in the middle of it all. The original version of "Monodrama" is featured on Chateau Marmont's forthcoming EP for Institubes, Nibiru. You can also check out the release's title track here.
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Though most have heard his work through remixes from the likes of Joker and L-Vis 1990, the original of "Princess" shows that UK songwriter Primary 1 certainly knows how to craft a pristine electro-pop love song. Utilizing the track's melodic synth stems that are perfect for a remixer, 2-step legend MJ Cole attacks the original with much aplomb, transforming the synths into punchy, squelchy melodies that ride above a nice garage beat. Primary 1's vocals are cut up just enough, and breakdowns are in all the right spots. Sharing some sonic similarities with records from Ed Banger and Kitsuné, this remix is sure to get lots of love from a diverse range of DJs this summer. (via FADER).
The new single lifted off LP4, the forthcoming fourth album from NY guitar/beat heads Ratatat, doesn't quite sound like the kind of celebration its title implies. Sure, there's a party going on, but it's less with children than with copious amounts of stringed instruments playing an anthemic melody over one of the band's coolest beats since "Seventeen Years." "Party With Children" is an upbeat number filled with that trademark guitar sound Ratatat loves so much, along with other familiar sonics from its eclectic repertoire, and headlines the band's batch of new tracks set for release on June 8.
Wolf + Lamb's Lee Curtiss leads us through dark, narrow sonic passageways on "Life Lessons," his contribution to Spectral's Document Pt. 1 mix, compiled by label head Ryan Elliott. Deep kicks and a frothy bass form the minimal track's backbone, contrasting nicely with mid-range, bell-like synths that still manage to create an ominous atmosphere. Perfect for late, late sets.
Though he grew up in rural Switzerland, Dimlite has more in common with the tastemakers of LA's contemporary beat scene than many of his more techno-inclined countrymen. "Can't Get Use to Those" is a short little gem of a track, featuring an infectious flute loop, some bossa-style percussion, and a faded vocal that just melts into the piece's sonic texture. With a new album out on Stones Throw now, Dimlite's sound is comparable in scope and eclecticism to XLR8R favorites Baths and FlyLo, making him one of the beat genre's most interesting practitioners.
Usually more minimal in his approach, the opening track from Danton Eeprom's latest album sounds like it could have come from a mid-80's Bowie-produced Iggy Pop track. Etienne Jaumet's remix of "Thanks for Nothing" transforms the track with his signature analog synth approach while maintaining the original's catchy melodic core. The washed, echoing vocals of the original are also left intact for the most part, with a lovely loop riding over the piece's plodding beat towards its end. Moments of squelch and overdrive make for some great peaks and valleys, giving the feeling that Jaumet has out-housed Eeprom himself, which is a pretty amazing feat.
Judging from their latest single, Belgium's Arsenal might have drunk too much of MGMT's sweet liqueur, but Gui Boratto does a great re-working of "Estupendo," taking the original synth stems and transforming them into a darker, more stabbing melody. With the breathy vocals (courtesy of Scott Mason from Offrice) left intact along with some melancholy guitar lines, Boratto's "Estupendo" is a deep, dancefloor jam that would work well in any DJ's tech-house set.
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