This Freedom Fry duo isn’t what I’m usually posting up, but Marie Seyrat’s voice hooked me in ever so slightly. I wasn’t too keen to the track at first, but I knew there was something about that chorus (I’m a sucker for a catchy one).
Well, “Earthquake” has grown on me just enough to give it praise, but I have a feeling it also might have to do with my love appeal for French women. Anyone who has to put up with French men is a saint in my eyes.
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I’ve heard many chop & skew The Weeknd’s vocals before, but Madeaux does it a little differently in “The Space Between Us.” He doesn’t try and overemphasize The Weeknd to entice people in, but takes what makes the vocals one of a kind and turns it into an even grander hypnotizer. At first I wasn’t quite sure if some of the vocals were even The Weeknd himself, they were that chopped & skewed, but that’s what makes it so special, he lets you glimpse in & out, seamlessly flowing through electro manipulation.
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Rooks powerful remix of “Clouds” may just be too powerful for the vocals of Love in the Circus. I’m loving what each is bringing, but Rooks remix is such a dirty one, so dirty that it may trot over Leanna Rachel’s vocals a bit too heavily. Then again, I’ve always had a taste for gettin grimey with such lustrous vocals.
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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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This Camo & Krooked D&B scorcher was produced for the upcoming SSX title. The two mention that it was made specifically to fit the gameplay, which would be interesting to see the whole process they went through, working with game producers and such.
Make sure to check out Camo & Krooked’s Bond remix for the new Goldeneye game. Better yet, check out all the best dubstep remixes of video game classics.
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Lovin the West Coast vibes from this Tempe trio. First thing I look for, especially in hip-hop, is personality, flow & a good beat – and these guys got all that. However, I’m not really feelin the lyrics are worth listening to. It’s obviously not intended to be a lyrically heavy track, but they’re pretty standard, mainstream shit – which I expect more from someone with a spot on flow like this.
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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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I don’t know if I’ve ever heard/seen more debates over an artist than there have been with Sonny Moore. The man’s explosion onto the EDM scene just over one year ago took everyone by surprise. Practically overnight, he went from being a niche-scene unknown into an ambassador of EDM with 8 of Beatport’s top 10 slots all to himself for a at least a few weeks. I’m pretty sure that’s never happened before.
So this must have some significance, right I mean we, the music-listening community, are the ones who gave Sonny his throne. Why has his music generated so much (more than normal) backlash
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Bobby C is know around here for his television ghetto wobblin’ and now he’s up to no good on a classic hip-hop soundtrack. If you haven’t heard the Geto Boy’s “Damn It Feels Good to Be a Gangsta” or the movie that made it so popular, Office Space, then what the shit kinda movies have you been watching all these years Either way, his upbeat, ghetto funk rendition of this gangsta ass beat is a hell of a romper.
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Zeds Dead has already pumped out one Adrenaline filled EP, but now they throw us a reremix of Dangers’ remix of Sebastien Tellier’s “Divine” (get all that). Never heard Tellier before, but his voice reminds me of a Beatle at times… I’m thinking Paul
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