Damn, do I wish Whitney was making music today, she could do wonders for the electronic scene. But least we have these remixers to give us a glimpse of how it might’ve gone down.
Van Hooft & Forever Kid take to one of Whitney’s most memorable tunes, “How Will I Know,” and puts one inspired House remix down to support it. Definitely a club-worthy track, Van Hooft & Forever Kid take all the bullshit out of what’s happened to Whitney in the more recent years and puts back the purity of what made her so famous, that powerHOUSE of a voice.
[audio:How-Will-Remix.mp3|titles=How Will I Know (Van Hooft & Forever Kid Remix)]
Whenever I hear Corono’s classic “Rhythm of the Night,” all I wanna do is run outside and start fist pumpin! Now we get an even fist pumpier() version with Kim Fai’s “Zen” mashed in Excellent! (Bill and Ted voice) Ok, just listen to it… no more doofus remarks from me.
[audio:Zen-Rhythm-Life.mp3|titles=Zen Rhythm of Life (Kim Fai x Corona Mashup)]
Talk about mashing up two of the best remixes with two of the loveliest vocals of the year and topping it all off with a little MJ intro… how the hell could you not love this Ipaneema takes everything I love about Skrillex’s remix of “Cinema” – Gary Go & those high-touch synths – and lays it with Madeon’s infamous “Raise Your Weapon” remix, which outclasses Deadmau5’s original in every way.
I do wish a bit more of the “Cinema” beat from Skrillex’s remix was highlighted – especially those synths, so melodic – but I guess that grimey dubstep may not work too well here.
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We’ve got more bass in yo face with Cleindl’s dubstep remix of “The Longest Road,” featuring the ever lovely Lissie. That wobble gives me goosebumps every time I feel it, but it might need a little clean me up from what I can tell right now. Although, I may just grow into those dirty wobbles, I’ll have to give it a while, but I’ll get back to y’all for sure (or probably won’t).
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Came across this video a couple days ago and it impressed me in more ways than one. The visuals look slick, all thanks to the rich sound effects. Mitch Lee really pulled out some raw sounds and made these visuals come to life. It starts to get real interesting around 40 seconds in. More music needs to be this dynamic.
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Gorillaz gon dubstep, I always wondered how this would sound. And as much as I like all three tracks separately, I wish the drops would’ve been weaved in with “Clint Eastwood” a bit more. Though, some parts were quite enjoyable (had me at the Del Drop).
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It took me way too long to get this out, but I’m so glad to introduce you all to this ex-Glitch Mobb-er, Kraddy, if you haven’t heard him yet. He does a job at combing the glories of glitch with those bass driven hip-hop instrumentals.
Anthems of the Hero has just under a dozen fiendish tracks with melodies that’ll straight up hook ya. By far my favorite is his collab with Erica Dee in “Forbidden.” I’m actually doing a post right now on how more SoundClouders need to start collaborating, instead of sampling, and this is just about as perfect of an example as you can get. The two were made for each other (to do this song).
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Gotta give it up to Big Z for taking this Kanye classic and chilling it out- although, I’m guessing the video had something to do with that. Watch out for this one coming on Big Z’s next mixtape, it’s gotta good start so far…
[audio:Diamonds-Remix.mp3|titles=Diamonds (Big Z Remix)]
These buzzed out bass remixes are taking over the airwaves here on SNG and goddamn do I love it.
Next up is the tantalizing Bjork in her “Venus as a Boy,” remixed by Parker. Can’t believe I never got all that into her, I guess it took these hypnotic dubstep beats for me to fall in loove. And damn am I in loove.
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One of the most overplayed tracks of ’97, “Sex and Candy” is about as telling of the 90’s as any other song. While I’m still trying to get over the original, I’m always up for bringing the 90’s back!… or is it forward
Papa Skunk’s crunk remix of “Sex and Candy” brings that electro-bass rumbling with a soft piano play on top. I don’t know how he got them to work off each other so well, but this is one dank take on Marcy Playground’s classic.
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