Ya ever having a shitty day and a new track comes on and almost instantly turns it all around Well, Alexandre Louvré’s Disco Edit of Kool & The Gang’s classic “Get Down On It” did exactly just that. Props to Alexandre for putting this out just in time when I needed it most, though I should give mucho credit to Kool and his gang.
[audio:Get-Down-Edit.mp3|titles=Get Down On It (Alexandre Louvré Edit)]
A relative newcomer to the scene, Ryan Enzed has demonstrated his mastery of creating and combining synths in his numerous youtube tutorials about vsts and DAWs, such as Massive and Logic Pro. He champions the newest style of electro, ‘complextro,’ characterized by complex bass and melody lines made up of multiple synths.
With a few solid beatport releases, and an official remix of Martin Solveig’s ‘Hello’ (as well as a banging bootleg of Nicky Romero’s ‘Toulouse’), Ryan Enzed appears ready to show the EDM world what he can do in 2012.
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When I first heard the new dubstep trailer for Red Tails it sure as hell got me going! I wasn’t the biggest fan of Knife Party’s remix of “Unison,” but throw in some hair-raising fly footage and it makes for one hell of a match.
Some of you don’t like this new style of dubstep the kids are calling “brostep.” And as much as I agree with you to a certain extent, there’s no doubt that the dubstep (or brostep) makes this Red Tails trailer. I watched one of the trailers with out it and it wasn’t NEARLY as heart racing. Hell, it didn’t seem interesting at all. Which makes me wonder if they’re going to use it for the actual movie… Doubt it.
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This Saturday I got the chance to go see Theophilus London play for the first time in Minneapolis. I don’t go to too many shows to review them, mostly because it’s far more fun to watch the crowds and also because I tend to drink, which usually leads me down a path to no good.
My biggest problem with drinking is that I lose my memory, so covering the event proves difficult. I tried to hold off as much as I could for this show, but what the hell is my job there anyways …well, I guess to remember it is one thing […]
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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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Blunt Tactics bring a twangy horn collection to one of Mos Def’s finest. Cuts are spot on and I can’t help but love listening to “Beef” with a bit of a twist. Wonder how his new music is gonna play out compared to classics like this…
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DJ Soo & Tim Livingstone bring us one “Boom!” filled track with hip-hop legends mixed into a break beat, Ghetto Funk fabuloso. I don’t know about y’all, but 2012 sure as hell feels like the Ghetto Funk revival to me.
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Feelin the dark, intricate viibes of Yppah’s “D. Song.” The drum patterns play well with the trippy electro-bass and those ominous female vocals (gotta have the ominous female vocals). Would work well in a Magnolia type film – you know, with deep underlying themes.
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Michael Francis definitely does a decent job at covering Ginuwine’s classic seduction, “Pony,” but I gotta give it to Cito On The Beat for being… on the beat. Cito takes this 90’s classic and makes it up into today’s electro-bass, dubstyle’d scene.
Could definitely see some producer taking this to the next level dubstep, hit me up if you do ;)
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David & Dave’s “Bliss,” kinda makes me sad, ironically, but in a good way – one that lets you step back and appreciate the wonder in the ethereal.
Glad we got a sax in here ’cause otherwise I don’t know where I’d classify this, Jazz is still quite iffy. But I’d love to see more like it, it’s the only way we’ll keep modern music classy.
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