God it’s good to feature a female producer. There’s a real shortage of ’em. And what a producer Carly D is. I don’t think I’ve heard a drop that gets my spine a tinglin’ like the first one on her remix of Kylie Minogue’s ‘Can’t Get You Outta My Head.’ It’s clearly Oakland influenced and is not for the conservative ear.
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I don’t say this too often, especially not so prematurely, but REverb Rock’s got potential for big tings (things). So far I only like the two tracks that’ve come off his soon to be released Fables album, but those two have been floatin ’round my head for days – and not in just the usual way.
At first, I thought of his sound as just some pleasant chillwave or whatever you wanna call it, but (not so) soon after I realized REverb’s music is much more than that. His voice has this nonchalant way of seducing you into his lyrics. The words are as simple as they come, yet as clear in my head as I’ve ever pictured. And although he may be much more of a storyteller to me now, his music production carries an almost equal weight.
Fables is fully out in December. But not getting my hopes up, yet (never ends well).
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Luminaire’s Seperate Ways is a 5-track EP with a healthy mix of House & Disco. And even though it’s hard to differentiate Disco from House at times, I of course flock to the side that carries the soulful singers (disco, I’m guessing). ‘Allready Over’ & ‘It Will Be Allright’ are right up there with what first got me into my love lust with Luminaire, but they still gotta ways to go to toppel my first love.
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Life’s a bitch, but thank god we’ve got music like this. Eat More Cake’s remix of ‘Skirts’ takes these tease-filled vocals and accompanies them with a far more calming state of Electronica than its original. Which fits the vocals much better.
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Ok, this is a strange one, but you know I love the strange ones!! Jon Hobotech Margulies, or Hobotech for short, busts a whomping, whirling folkstep at us and I’ve rarely seen it done before (or ever). This glitch-folk-step breed of electro may just be one of thousands of other styles emerging, but it sounds progressively appealing for now. Let’s just hope no one steps on this as much as they all did dubstep. Poor, poor dubstep.
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I’m finally getting out of my anglocentric ways and gettin into some good ol’ international voices. First with Hindi music via Ghetto Funk and now some French via Meridian’s ‘Paris La Nuit’ remix.
Killtronik’s gets an electro pop makeover from Meridian and it sure rides well with those French female vocals. The one irritating thing, which my roommate pointed out is the male backup vocals – they sound so euro-sleazy. Do love those lady vocals though (just to let you know, again).
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Whats up with electro producers throwin in so many sax solos nowadays… cause I looove it. Like I’ve said time & again (it’s even getting old to me), there’s nothing that sounds better with electro music than that saxy sex (or however you say it). But unlike most electro/sax combos, this one’s fatty as f**k, in bass that is.
‘Smash the Funk’ is bass typical of that Pretty Lights sound – hip-hop sampled, electro-bass music – and it’s still mighty fresh to me… especially when you get sax involved.
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It’s not that I don’t like ‘The City’ (I do), but I almost expect too much from this barely legal producer, Madeon. I had some issues with his last release, ‘Finale,’ not because it wasn’t a brand of EDM that’s sure to make it mainstream or isn’t good in its own right, but because of what the ‘Finale’ original preview hinted at, much more progression. And as much as these last two, especially ‘The City,’ haven’t progressed to where I know his potential’s at, I’m well aware of his strategy.
‘The City,’ as bad of an intro as I gave it, is quality work once again by Madeon. The track taps into vocals by Zak Waters & Cass Lowe, which ride well with his beat breaks, but I have a feeling Madeon could spin any vocals around his beats right. This is sure to be another step that pushes Madeon into mainstream music and I couldn’t be happier about it – we need more pop stars who know their way around a beat like Madeon.
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I first got ahold of Love in the Circus with Rook’s remix of their song, ‘Clouds‘. And like ‘Clouds’, ‘Never Tear Us Apart’ sports some forward thinking production and the most b.e.a.utiful vocals provided by Leanna Rachel.
If you didn’t know by now, ‘Never Tear Us Apart’ is a cover (can you not read subtitles), which was originally done by INXS (it was pretty popular). But instead of just flat out covering the song with maybe a little twist, Love in the Circus brings in so many other goodies. From dubstep undertones (can’t oversell the dubstep anymore) to some fine brass solos, this cover is a treat I’m sure glad I dug up.
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‘Ninties Man’ starts off as a sombre jazztronic track to tune out to, but intensifies at just the right moment (wait for the drop it) to turn into one growing acid [jazz] trip. It’s one experimental ride, so don’t cling to it too tight… then again so is most of this site.