I usually try to wait at least a week before featuring something new, I’ve got good reason, but when two of my favorite sounds team up, officially or not, I can’t help but celebrate prematurely. Time will tell (about a week) if this is a keeper.
Remixes are more subjective than their original. What I mean is not only is the sound important, but the sound relative to the original as well. How good, how different.
So not everyone is going to like every one of these. Sometimes we’re all just too wrapped up in the original to enjoy it at a new angle and sometimes they’re just not perfectly mastered. Most of these producers haven’t hit big enough to have the resources for that, but it doesn’t mean they don’t know how to put sounds together.
In only two months we’re on our second best of remixes for 2014 (vol 1) and there are too many good ones to count (21). It’s mostly on the electro-house | disco-soul spectrums, but when is it not on here (we love our disco-soul). We also threw in some Ghetto Funk to bring it back.
One thing we’re finding with these 2014 remix lists are the mashups are lacking. I don’t know if my ear is getting uptight or what, but I still can’t find a single damn good mashup in 2014. Well, one of these are technically a mashup, but I bet you can’t spot it.
Sometimes I just cannot handle these downtempo producers. You know what I want to hear. So stop teasing me and get to the good stuff. Though I guess the tease is part of the trick. I’m just trying to say I like radio edits. But let’s be honest, I’ll never be happy, I’m a “critic” Ha.
SevnthWonder may only be taking on some already gorgeous vocals from a 90’s semi-hit, but I don’t see anyone else trying to top him. Vocals need updating every generation or so, so stop bitchin bout it and let’s actually do something for once. [note to self] And I’m not just talking about this song.
Check this out tomorrow in our Remixed Right 2014 (Vol. 2) (Vol. 1). I just wanted to preview a track from it, don’t mind the scrambled ramblings from above.
‘So High’ was originally released bout a year back but needed the mastering this latest release brings. Still does nothin for me compared to her ‘Nunchucks,’ now I’d love to see some fuckin around with that. But with this accompanying music video, ‘So High’ will do much more for her mass appeal. It’s Doja’s first fully produced track and it’s a polished prize to showoff that cunning lip of hers.
I don’t know if you’re gonna like the chorus, I didn’t, but listening to the full thing through gives a good story to picture. Steven A. Clark has some smooth southern draw to his R&B, which ranges into some sort of indie.
Better question – not that there was a question before – who the hell is the gal? I really don’t understand why musicians don’t give proper credit to their features… [ frustrating ] She does only make a small appearance a minute in and one other on repeat, but somewhere on SoundCloud is not asking much.
Like so many other artists in our list to serve up, Duke Dumont should have been out months ago, but we’re trying to have alotta alone time with the music before pushing it to you. It’s just as important what we don’t put up on Silence as what we do. So excuse our tardiness sometimes, especially with acts as well known as Duke.
Duke Dumont like Disclosure has taken the electronic sound we love to the mainstream. A good handful have done it before, but these two acts are doing it now and turning EDM into a positive acronym. They not only create a sound in their own right that’s becoming a standard in electronic, but switch it up just enough to keep it fresh every time.
Check out a few from Duke Dumont Hope he starts collaborating as much as Disclosure does, or with Disclosure.
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 try to think of my father listening to music like this and I’m sure he wouldn’t really get it. I actually remember showing him some ghetto funk and as much as he tried to get where I’m at, it seemed like it sounded broken to him, it does to me sometimes (ghetto funk specifically).
Even electro funk like this can sound like it’s a little too rich at times, Toxo’s ‘Need Your Love’ especially needs a little tightening up, but garish electro like this is the future of dance music. Although I have a feeling it’ll break off in two with a not so electro style… basically not so lazery.
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.
The SF MusicTech Summit is exactly what it sounds like. A gathering of people in the music industry that focus on tech, or vice versa. What I’ve learned from going for the past few years is the more boring a panel sounds the more interesting they usually turn out to be, and vice versa.
It’s all on the moderators and how well they can steer the conversation to the crucial topics of the moment. Equally as important is if the panelists make up an equal representation of the different viewpoints and how well they can express their side through stories and experiences (in a timely manner). And there just happens to be one panel that especially did that.