This two-piece, electro-remix EP bounces glitch heavy, but it’s not until the second remix, ‘Twitch,’ where KrossBow does just about everything right. ‘Twitch’ borrows vocals from Jay-Z’s ‘Public Service Announcement,’ but unlike most, chops ’em up just right. A good something for all you glitch fans.
Earlier this month the timelessness of Girl Talk’s appeal was again reinforced by Houston’s OG Ron C who delivered a ridiculous chopped and screwed version of 2010’s All Day with his Purple All Day reinterpretation. For fans of the original, Purple is a must listen. But perhaps more satisfying than its syrupy sounds might be its call for fans to rediscover other works which have utilized the source in creating something unique and exciting. My memories quickly led me to a variety of video mashups that have surfaced in the 20 or so months that have passed since All Day‘s release (BDLFilms’ is rather fantastic), but the derivative project that remains a standout is the performance art piece developed by director Jacob Krupnick titled Girl Walk // All Day.
The story of how the 70+minute film was developed revolves around its position as another of Kickstarter’s many success-stories, but in brief it happened like this: In the span of about five months beginning in December 2010, the full-length feature project was conceived and the $4800 needed to produce it was fully funded (the online support following the release of a demo trailer was massive, eventually bringing in nearly $25k). The entire production was filmed and produced in the following seven months before the first chapter was released via Gothamist, with new installments coming quickly before the complete film eventually screened in its entirety at such events such as Bonnaroo, SXSW, and the Munich Film Festival […]
This first time I caught wind of K Theory’s Welcome to K Theory was on SoundCloud and I pretty much passed right over it. See, the problem with SoundCloud is I get inundated with new tracks regularly, so when I see an album release, I listen to one track and move right on. SoundCloud also doesn’t organize the multiple uploads very effectively, though I’m guessing the NEXT SoundCloud will improve on it. Thankfully, however, the good ol’ guys at The Untz highlighted one of the best tracks for me, resulting in my indulgence with the rest of the album.
Welcome to K Theory sports six breakbeat tracks that are beside the best. Wolfgang Gartner is actually who came to mind first, one of my favorites, even though he’s all over the map, style wise. The electro bass is clipped clean with a hip-hop mantra that reminded me of PL, as well. Unfortunately, not all the tracks carried the same weight, but they usually never do.
Check out my two favorites, ‘Warrior’ for it’s south-western swang and The Untz inspirer, ‘Magic City.’ Oh, and ‘Midnight Girl’ for its electro HIGHlights. Then move on to the rest, they’re well worth a one time run through.
I found these three a week or so back and planned on featuring them separately. While deciding which one to feature first, I thought why not just throw ’em all up at the same time. But like I always do when finding three or so songs with the same theme, I started to stir up ideas on how to make it into a grand post… except this time I thought, fuuuuck that.
My back and neck are Killin’ and I’m not really up for spending hours researching the best dozen or so, so I’m gonna let these three standalone. Anyways, I think they’re best together by themselves, it just feels meant to be.
The Indian dialect is one of the very few outside the US that I actually enjoy listening to musically. I guess it comes down to the beat and how they flow to it that gives ’em their charm.
In Bobby C Sound TV’s latest, ‘Yogi Fire’ has that Indian-style finesse with the ghetto bass Bobby C helped make so popular, at least on here. And although the vocals on the track may remind me too much of the Bollywood stereotyped song & dance, once that bass kicks in, all things go good!
Most of the time I’m spouting off about a track’s vocals and declaring that 99% of producers can’t pull it off without ’em. Well, Madeaux is of that very few that can, and even though there is a bit of chorus transcendence in ‘Circe,’ the beat could sure as hell carry itself alone. I also gotta point out my appreciation for the change up in style Madeaux put on here. Going for a midtempo, kick bass heavy beat, ‘Circe’ is a slight enough shift in style to keep Madeaux fresh. + I love the slight touch of brass.
I’ve heard a few dubsteppers use old school singers in their set, but none have pulled it off like The McMash Clan. Taking Julie London’s classic ‘Sway’ and speeding it up just a touch (right on the border of that chipmunk sound), the trio puts a heavy load on London’s classic voice, updating it into this glorified dubstep era.My only issue with the song is that they hit a little too hard after London’s intro. But, from then on this shit sails over her voice in a glitch infested, bass possesed hell of a song.
Half of what a producer does is finding the right vocals. Vocals are what carry a track forward and if they fall short, everything else will crumble. TIP may be onto some next level lovestep, but the vocals he provides are even one step higher.
I first fell for TIP in his remix of Birdy’s ‘People Help The People’ (with a passion) and now I’m
struck by ‘Moon Struck.’ It’s just that organic lovestep is so.damn.charming. It really is far beyond where most music is at today. I do wish he would provide where he got the vocals from, though…
Voodoo Farm is my main man for those raunchy dubstep remixes and now we get ’em all packed up neat in his official VOODOO FARM REMIXTAPE. With newly-mastered versions of 15 remixes + 7 unreleased ones, you’d think we have some new shit to romp around to for at least a few weeks, but the only way it falls short is in bringing anything fresh.
Voodoo’s included all the remixes that made him so special to me, but all the new shit is small compared to this behemoth of a mixtape. Still, this is a collection definitely worth keeping.
Usually I’d be praising Tracey Duodu’s vocals right now, but Vindata’s beat is what captivated me here. I love the electro // female vocal combo that’s been gaining attention over the past year, but usually the vocals top the track. This time, however, Vindata remixes 14th’s ‘Hide Yourself’ with such charming breaks that not even Duodu’s vocals comes out on top.