Electric Guest is a name soon to be ingrained in every indie-lover’s mind. The LA-based duo are produced by Danger Mouse, and headed to SXSW where they’re sure to impress the funky Austin crowd. There is nothing better than a catchy jam that calls for a little hip gyration and a few head bobs, and to be honest I could probably gush for a few paragraphs about my love for the Mayer Hawthorn-esque vocals… but I think I’ll let it speak for itself.
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Madeline Follin sounds like a singer from the 50’s and those snappy drums in “You Know What I Mean” make it all the more. But Cults also throw in some electro haze, which give it a more newage vibe.
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Favorite track of 2012, so far. Yea, we’re only a month in, but I find something fresh in this every.damn.time I listen to it. I’d confuse this for the original because of how good it is, but RAC gets so electro weird on it that it goes far beyond any original’s experimentation limit.
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It’s good to have some downtempo, slightly tripped out beats back from Appo. I couldn’t pick anyone better to remix “Devil Woman” than him. A perfect tune to chill out to on this cold & blustery day.
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A solid mix to give tribute to The Queen of Pop, Freddie Mercury, whose been gone for just over 20 years now. It’s a good run through some of Queen’s best, but I wish I could’ve seen more of that clear cut sampling Robin does best. Still, it’s good to get back to him with a quick ten minute mix.
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Goddamn, do I love me some Party Ben! Every time I see him come up on my SoundCloud Incoming, I pretty much know I’m gonna post it, especially with vocals like these.
I’m really surprised I haven’t featured more Gotye remixes on here, but thankfully I held off ’til now. Party Ben mixes in a Roxbury-type club banger with some of the most memorable lyrics of 2011. Really didn’t know how this would work mixed for the club, but PB pulls it off better than ever.
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Yesterday morning I woke up to find Damon Albarn had remixed “Born to Die” while checking the latest news on my phone. Right after, however, I fell back asleep and forgot about it until just a few hours ago, which happens to me more than it should.
Damon Albarn’s version, more than any other, chops & skews “Born to Die” and layers it into a 6-min tripped out piece. It does take a few minutes until her vocals are really brought out, but once Lana kicks in, so does Albarn’s downtempo, electro alterations.
This should tide us over until the reported official collaboration between the two surfaces.
[audio:Born-To-Die-Albarn.mp3|titles=Born to Die (Damon Albarn Remix)]
What makes “Paddling Out” so catchy are those happy electro-piano beats with the not quite as boisterous vocals. The chorus is what really tops it all off here, though – it’s those backup vocals you can’t quite make out, so you make up your own words and then realize it’s the title of the damn song!
Happy To You is set to drop in March – who’s ready for it
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I would say to tread lightly on such classics as this, but then I’d be a hypocrite. Many don’t believe, for good reason, that dubstep should be destroying such nostalgic tunes, but I have different beliefs.
Voodoo Farm’s tirade on “A Day in the Life” isn’t meant to do anything for the original fans of the track (I wouldn’t try to understand electro either if I was 50). But what dubstep remixes are trying to do, as well as many other types of remixes, is to bring our favorites from back in the day and turn them on to new sounds. Like it or not, it’s all for the love & appreciation of their originals, so no hatin’ on love (unless it does actually suck).
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Love when mashers take 2 vocals and substitute the words for one another. Ya know, like when someone finishes your…
The two sexay bitches known as The Jane Doze have done just that and have taken two of the most memorable vocals of 2011 and thrown it into one hell of a Houser. I do wish they would’ve kept up the momentum a little longer and maybe put in a few other likeminded samples, maybe “Somebody to Love” by Queen near the end – though, that may not have fit the overall theme.
Mucho love for these two, we don’t hear enough lady mashers on here!
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