It makes all too must sense that Ghostly International’s resident minimal house don Fort Romeau would take on similarly left field act Holy Other’s “Held” and the results do not disappoint. The track is the result of a tour the two embarked on last year and features the mysterious R&B acts ethereal vocals superimposed over a simmering bassline that operates in a similar fashion to John Talabot & Pional’s “Destiny”. Transcendent collaborations like this don’t come around all that often, so download below and maybe even give the two artists a shout on the cloud of sound.
The fact that Fatboy Slim endorsed Maribou State to officially remix his 1999 hit “Praise You” probably doesn’t mean all that much to our readers (and honestly, it doesn’t mean much to anyone on a critical level), but it does represent the leaps and bounds that the London duo has grown since the release of the Scarlett Groove EP last November. The remix transforms Slim’s original from big beat mediocrity to a moody house groover that has become one of the act’s biggest hits to date in less than a week. These guys are on the brink of something huge and we can’t wait to hear the next incantation of their sound. Stream below and look for a release on Skint soon.
Let’s take a break from our regular programming to bring you something stupid hype. For the past few months The Motherfucking Gaslamp Killer has been rinsing an unknown remix of Kendrick Lamar’s “M.A.A.D. City” and absolutely detonating dancefloors across the world. Today, Eprom has let the remix loose on the general public and madness has ensued. This is an unadulterated “banger” so step off if you give fucks about something like “subtlety”. Stream below and download here.
Sometimes it’s really difficult to respond to a piece of music critically, or with any other response than “hey, this is really pretty”. That was my reaction after hearing Djrum’s remix of Haraket’s “Taint” and it still hasn’t changed. It’s easy to get caught up in the mesmerizing kicks, the melancholic chords and the wafting found sounds (and that isn’t necessarily a bad thing), but Djrum offers a real depth (check out his Seven Lies LP if you haven’t already) that most “beat” and/or “electronica” producers rarely attain. Instead of using percussion as a means of propping up a vocal performance, Djurum’s drums pulsate and mutate, drawing as much attention as the angelic vocals. Stream below and look out for Haraket’s upcoming single/12″.
After piquing interest with a Sun Raw remix EP last month, Red Bull Music Academy alum and (apparent) R&B mega-fan Naphta is back with another remix package. This time around, the Polish producer has put forth his oddly slurred take on some of the most critically acclaimed R&B cuts from the last year, drawing from Autre Ne Veut, Shlohmo & Jeremih, and Tinashe. Naphta also draws quite a bit of his sound from regional American staples like Jersey Club and Three 6 Mafia-style, hi hat heavy beat work. The package is highly entertaining, if not spectacular, but few remix packages are at that. Stream two choice cuts from the EP below and download the entire thing here courtesy of Freshmore.
Jersey Ciub and Ballroom are often referenced in the same sentence. Whether that’s due to their geographic proximity, organic development, or relative insularity, I don’t know, but it’s undeniable that both sub-genres have taken off in recent years and are very much in the public eye today. MikeQ is one of the most prominent Ballroom artists having founded Qween Beat Productions and released an EP on Kingdom’s Fade To Mind imprint. J Heat is an up-and-coming Club artist out of Sea Side Heights who’s already getting love from esteemed Pelican Fly boss DJ Slow. Recently, the two got together to meld their respective styles and take on Rocko’s “U.O.E.N.O”, an early candidate for track of the year despite the “controversy” surrounding Mr. Rozay’s verse. To say that the sleepy original is infused with a blast of energy is an understatement as J Heat’s signature Jersey vocal chops are combined with the off-kilter house stylings of MikeQ. It’s brilliant, it’s free and it’s sure to get any and every dancefloor moving.
If you weren’t already tingling at the prospect of Anticon’s remastered re-release of D33J’s Tide Songs, then this will surely get your toes curling. Jerome “LOL” Potter is back once again to add his wholly organic melancholy to D33J’s “Park” and he performs his duties with aplomb, measuring out equal doses of comfortable pop pastiche and forward-thinking melodic structure. I don’t think I’ll ever get sick of this crews cross-pollinating ways. Stream below and via the above link.
London-resident Romare has never had a problem with taking a left-field stance on rhythm, whether it be the overt West African influence on his Meditations On Afrocentrism EP or the more Chicago-inferred style that permeates his most recent Love Songs: Part One extended player. His latest effort, a rework of The Children Of Lov’s “Fly”, falls in line with his juke fascination and features some eardrum splattering sub-bass. The fact that the remix falls into a hip hop crawl two minutes in shouldn’t surprise any longtime fans and the jarring tempo changes are more than welcome in our book considering the paint-by-the-numbers character of much of today’s dance music. With a huge set of Summer tour/festival dates coming up and new material on the way, expect Romare to come out of 2013 a major player.
There’s a lot to love about the explosion of half-step dance musc that has emerged in the past five or so years. That is quote-on-quote dubstep that appeals not just to the heads and candy ravers, but to electronic music fans of all shades and stripes. Ohioan Druid Cloak is among the best and brightest when it comes to crafting this type of music and is/will be making quite a splash for the remainder of 2013 with forthcoming work on Infinite Machine and Hot ‘N’ Heavy. Lately though, the cloaked crusader has been getting his toes wet in the remix game, most recently taking a stab at the likeminded 123Mrk’s “Invisible Colors”, which will be released on May 6 via Infinite Machine. If you don’t know, now you know.
Both Maths Time Joy and Karma Kid represent a trending scene that has essentially bull rushed its way into the United Kingdom and America’s pop consciousness. Whether you call it rhythm and bass, future garage, house or post-dubstep, it’s impossible to ignore the fact that the Disclosure’s, the Duke Dumont’s and the Kastle’s are relevant. Of course, these artists come from a wide range of musical traditions and their music doesn’t even sound all that similar, but that’s irrelevant for this narrative device. Karma Kid trends towards the pop radio side of the spectrum while Maths Time Joy’s music is slower and more bedroom- vs. dancefloor-oriented. Sometimes though, all it takes is a little sensuality to reign in a piece of floofy pop and that’s exactly what happened here.