Like the iPhone every year, this is our best playlist yet! It really is.
House has been my obsession for the past few years and my favorite kind is the mid-tempo, upbeat summertime jams. Which may or may not turn out to be called Tropical House. Or Summer House. Or Horizontal Disco. It’s up in the air really.
A few tracks do stereotypically incorporate the steel drums, but we did cover more ground than that. We also decided this should be more comprehensive than our usual playlists because we wanted to get all the trop house personas in one place. There are quite a few interesting characters.
Looks like these Game of Throne remixes are keeping up with my taste in music. First with Rameses’ GoT dubstep remix back in 2012 and now with Steve Duzz’s 80’s disco theme.
It would’ve been nice if it played out for a little longer, but it’s a great reinterpretation of one epic theme song, especially with the fitting intro theme to accompany it.
I like what these house producers are doing with that cheesy 90’s R&B. Mainline Mussy pitches the vocals high on Avant’s original ‘Separated’ and throws in some Caribbean styled house for a fresh update. Or at least it will be until it’s as cliche as the original is now. Give it another 20 years.
One thing I’d cut out are the two interludes that split up the vocals. I’m here for the vocals, as always. The beats just here for fun steppin’.
I didn’t quite listen to the lyrics on Phonat’s ‘Never’ at first, it’s all about the sound at the start, but they’re my favorite thing about it now. The sound however is something to talk about, especially in Icarus’s version. We’re trying to lay off the remixes right now and save ‘em for a collection, but Icarus speeds up the tempo and lays in some disco-house synths to livin’ this one up to where it’s needed.
This is for sure my 420 anthem for the time being. At first I thought SUPERSEX420 was going a little overboard with their ‘420’ title, but once I heard Chi Lites chorus from the original ‘Stoned Out of My Mind’ I knew it was aptly named. SUPERSEX turns this R&B classic into a big brass romp around.
I may be a little late to this year’s 420 celebration, but it’s still technically 420-6. It’s better off as a 10-day celebration anyways.
And now we’re posting disco with anime in it… if we only knew what this blog would turn into.
I wasn’t much for the overly cheerful vocals in some of my favorite anime movies, I choose the English dub, but it sure does sound good stylized to disco-house. Hopefully more foreign tracks fall into our laps like this, but any other language is a hard sell — only other one I know of right meow.
Also, check out YEARS’ rainbow vector thrill ride if you’re into this.
Malinchak was my man in 2012 with his deeply touching ‘So Good To Me.’ And although his 2013 was far better than most, it took til 2014 for us to realize the massive amount of hits he has. Malinchak supplies some melancholic disco and there’s really nothing we love more right now.
Like Jessie Andrew’s Drake remix or Solidisco’s Kanye remix, 95 Royale chose to ditch the main vocals from ‘Salsoul Nugget‘ for a pure chorus mix. ‘Bend the Rules’ may not show any signs of a remix or edit in its title, even though it clearly is, but when ya cut something up better than the original I can’t blame ya too much for your lack of association.
I can’t figure why Moon Boots would put this subconsciously disturbing ‘I hear voices’ sound bite in at :39 but for a little fun. Apart from that it’s all smooth disco from there. ‘C.Y.S.’ samples the three Total girls from the 90’s hit with B.I.G., ‘Can’t You See.’ And instead of calling this a remix of the original, Moon Boots has gone for the slightly polished look, removing any sense of sampling in the title.
I don’t always agree with removing any clue of where the samples come from, but as long as it’s easy to find it some other way I can understand why producers are straying away from the title of remix artist. People don’t respect the remixing community in music for reasons I doubt they can even articulate.
I just caught a documentary about the good & bad of being a backup vocalist, called ’20 Feet from Stardom,’ and it made a point about what makes a song so memorable. The chorus is what people usually take home at night, bouncing around their subconscious, popping up at the most random times.
I would have mistaken Karma Kid’s ‘In My Arms’ for a pop hit because of its chorus, but the odd electro bits and trip hop samples make it more of a hit for later. I do wish I had an edit that would cut this down to the juicy parts, namely the chorus, but I’m always too impatient for the best of it. Internet generation.