God Pierce really pulls the magic from Paul Meany’s voice. This Mutemath remix has all the bells & whistles you usually find in a Pierce Fulton bit, electro-weirdness & all, but these Mutemath vocals really top it off best. Love a song that makes you reflect (I should make a mix of them all, someone please remind me).
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I, Aeronaut is a pleasant change of pace from all the disco-electro we’ve been raving about lately. ‘Everything’ is a no frills, downtempo relaxation, but carries a calm, emotional melody to keep your attention. Once again, however, some vocals may have done another instrumental track some good (easier said than done, though).
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We’re finally getting our favorite musicians of 2012 out there. Remixes & heavy sampling have made up most of the other best music of 2012, but the rest of these are all originals (at least for the most part).
I also decided to change it from 2012’s best musicians to the most promising. They may be our favorite musicians of 2012, but they’re probably all new to you – except Frank, Madeon & Miike maybe.
Also remember, not every one of these may be your favorite style, but you’ll definitely find a few you’ll enjoy for a good while.
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If you’re looking for something groovy to get you through the week, Brooklyn-based Bit Funk has released a disco-infused jam that is guaranteed to please indie dance music lovers. The Long Road Ahead is a sticky-sweet track incorporating a beautiful combination of synth melodies, chopped vocals and harmonious piano chords. If you’re a disco enthusiast, an indie fan or just a lover of those chill grooves, Bit Funk should be on your radar for 2013.
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Last year if you had asked me which country was home to the most quality and innovative producers, without hesitation I would have said France. In the past few months, however, it’s clear that either my alliances have shifted or the UK is on FIRE with their creative and talented producers.
Maribou State is the latest UK production duo I’ve stumbled upon and whenever I try to listen to something else, they find their way back into my playlist. Genre-wise, they go by “ambient” or “future garage”, but genre has become such a fluid idea with electronic music that they really can’t be classified. Every instrument and sound in this song is isolated in such a way, that each time you listen you hear something new. The vocalist, Saint Savior, gives the song a driving purpose and and the light percussive beats give the song a light and airy feel. It’s a pretty easy song to fall in love with, so don’t fight it, just let it happen.
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Soul music is back with a whole new influence. Just two years ago I couldn’t find a half decent disco track, let alone anything funk or R&B. So like I do best, I filtered the shit out of the web and found me some good ol’, new-fashioned Soul music. This new style of Soul, however, isn’t like before, there are all sorts of electronic influences grown in. So let’s take a look at my Soul obsessions of 2012 and see what’s in store for the future.
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It’s 2013 and I know you’re all just dying to move on to the next big electro-genre. UK Garage is nothing new on the scene, but the last months of 2012 were pretty explosive for the genre—classified by that funky 4/4 kick-drum rhythm and shuffling hi-hats—as. Disclosure, two teenage producers from Surrey (UK), have made their way onto major radio playlists, namely BBC Radio 1.
The two have been producing for quite a few years, but their big break out on the scene was late in 2012 with their smooth Garage hit ‘Latch.’ Disclosure wastes no time building a percussive intro, and dives right into a song driven strongly by the rhythm as well as its explosive and gorgeous vocals. I’m a sucker for some strong male vocals, and what I particularly love about the UK Garage genre is how heavily its vocals always pull from R&B influences. UK Garage has a tendency to be driven more by the percussive beat than the melody, but Disclosure’s ability to create a track that pushes those boundaries through more complex melodies really shows their potential to make their own distinctive mark on the genre […]
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Lovin the melody on ‘Tuna Melt,’ but while that’s on break the song seems to get a bit repetitive. It’s just one of those things ya gotta get (or fast-forward) through, but once you do it’s one funky-ride melody. Hopefully, A-Trak & Tommy Trash decide to radio edit this, I think that’ll do the trick.
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Last year we picked a theme for our Best Mashups of 2011, which we dubbed, “Mashups Not Inspired by Glee,” but this year we decided to go with a more positive approach. For 2012, our tribute goes out to Ms. Anna Kendrick. She first caught our eye in Rocket Science and now most recently in Pitch Perfect. And although Pitch Perfect wasn’t really all that good, kinda funny, Anna playing an aspiring DJ & mashup artist was probably the hottest thing, and “DJ”, of 2012.
Another change to this year’s list from last was expanding into remixes & covers. The point of this top 2012 list is to feature the best reinterpretations of memorable hits this year, whether it be mixed, mashed, covered and everything in-between. Whatever it may be, as long as it’s not inspired by Glee, it’s all good by us.
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When I first caught Milwaukkee on Amtrac’s remix, I thought they were some act associate with Bon Iver & that Midwest folk scene. Not only are they not from around there (or even this country), but they’re on a blog’s label I frequent, LessThan3.
Both Amtrac’s remix & the original ‘Alone’ take what sounds like Ellie Goulding’s voice and mixes her in two separate ways. The original went for a more uptempo, disco vibe, where Amtrac went with some hybrid of hypnotic soul. Either way you like it, both succeed separately (though Amtrac is still slightly ahead).
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