Category: remix

New Audio: Giulia and Paxtech Give Mark Wise’s “Rumble in the Jungle” a Slick Remix

Mark Pompeo is a New Jersey-based electronic music producer, best known as Mark Wise. Pompeo emerged into the electronic music and techno scenes with 2017’s Loco Motive EP, a collaboration with Mike Stein

The New Jersey-based producer’s debut 2018’s Blizzard EP was released through Reflekt Records. And since then, Pompeo has been remarkably prolific, releasing material that sees him blending elements of minimal, progressive techno, house and heavy metal while receiving support from the likes of Marco CarolaRichie HawtinCristian VarelaSpartaqueLisa LashesPhaedonVikthorIllario Alicante, and DJ Dialog

Continuing his prolific streak, Pompeo begins this year with the Rumble in the Jungle EP, which was released this week through BeatportYouTube, and SoundCloud with a Spotify release on January 16, 2022, along with remixes from Giulia & Paxtech and Sisko Electrofanatic. Yesterday, I wrote about EP title track “Rumble in the Jungle,” an expansive banger that saw the rising New Jersey-based producer meshing elements of trance, techno, jungle house and deep house in an accessible, crowd pleasing fashion.

The digital release will also feature, a remix of “Rumble in the Jungle,” by Giulia and Paxtech. While retaining the original’s melodic breakdown and relentless tweeter and woofer rattling thump, the remix places in a new context — trippy high energy, acid techno with a subtle cosmic sheen paired with sampled vocals.

New Video: JOVM Mainstay Genesis Owusu Releases a Trippy Visual for “Waitin’ For Ya (Remix)”

With the release of his debut EP, 2017’s Cardrive, the acclaimed and rising Ghanian-born, Canberra, Australia-based, artist Genesis Owusu — born Kofi Owusu-Anash — quickly established a reputation for being a restless, genre-blurring chameleon with an ability to conjure powerful and deeply personal storytelling.

The EP eventually garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NMEi-Dmixmag and others. Owusu supported the EP by opening for Dead PrezCol3traneSampa The GreatCosmo’s MidnightNonameAniméRuel and others in Australia.

Last year, Owusu-Anash released a couple of highly-celebrated singles — the fiery street shit meets mosh pit ripper “Whip Cracker” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio and eventually international airplay on BBC Radio 1 and BBC Radio 6 and here in the States on KCRWKUTXThe Current and Alt98

Owusu-Anash’s critically applauded full-length debut Smiling With No Teeth was released earlier this year. The album as the acclaimed Ghanian-Aussie artist explains is essentially about “performing what the world wants to see, even if you don’t have the capacity to do so honestly. Slathering honey on your demons to make them palatable to people, who only want to know if you’re okay, if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.

Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. CallinanTouch Sensitive’s Michael DiFrancesco, World Champion‘s Julian Sudek and the album’s producer Andrew Klippel. 

In the lead-up to the album’s release, I wound up writing about three of Smiling With No Teeth‘s singles:

  • The Other Black Dog,” a mind-bending production that meshed alternative hip-hop, industrial clang, clatter, rattle and stomp, off-kilter stuttering beats and wobbling synth arpeggios that was roomy enough for Owusu-Anash’s breathless, rapid-fire and dense flow. Managing to balance club friendliness with sweaty, mosh pit energy, the song is a full-throttled nosedive into madness that reminds me of the drug and booze fueled chaos of ODB, and the menace of DMX.
  • Gold Chains,” a brooding yet seamless synthesis of old school soul, G Funk and Massive Attack-like trip hop centered around shimmering and atmospheric synths, stuttering boom bap beats, squiggling blasts of guitar and the rising Ghanian-born, Canberra-based artist’s Mos Def/Yasiin Bey-like delivery, alternating between spitting dense and dexterous bars and crooning with an achingly tender falsetto. “‘Gold Chains’ got me thinking about the flaws of being in a profession where, more and more, you have to be the product, rather than just the provider of the product, and public misconceptions about how luxurious that is,” Owusu-Anash explains in press notes. “Lyrically, it set the tone for the rest of the album.” 
  • Same Thing,” a jolting and uneasy future funk banger centered around shimmering synth arpeggios, skittering beats, bursts of Nile Rodgers-like guitar, a propulsive bass line and infectious hook serving as a silky bed for Owusu’s alternating dexterous and densely worded bars and soulful crooning. But at its core is an unflinchingly honest — and necessary — view of mental health struggles. 

In July, the Ghanian-Aussie JOVM mainstay released the Missing Molars EP, a five-track accompaniment to his full-length debut. Recorded during the Smiling With No Teeth sessions, the Missing Molars EP material didn’t make the album — but further continue the soul-baring narrative of the album. “Missing Molars is an extension of Smiling With No Teeth,” Owusu-Anash explains. “A small collection of tracks from the SWNT sessions that take the already established world-building groundwork of the album, and expand that universe into new and unexplored places. These are all tracks that I felt were special in their own right and needed to be shared. This is music without boundaries.” 

In the lead up to Missing Molars‘ release, I wrote about “The Fall,” a slick and pulsing synthesis of industrial house, hip-hop and future soul centered around Owusu-Anash’s silky falsetto that manages to convey a restless and uneasy energy while being a banger.

Originally commissioned to be part of a global ad campaign, Jagwar Ma’s Jono Ma gave album track “Waitin’ On Ya,” the remix treatment. The original was sultry bit of neo-soul centered around shimmering and arpeggiated Rhodes, a sinuous bass line and Owusu’s silky smooth delivery. The Jono Ma remix retains the acclaimed JOVM mainstay’s silky smooth delivery but pairs it with skittering drum ‘n’ bass-like beats and glistening synths and buoyant horns, turning the song into a trippy yet club friendly bop.

The “Waitin’ On Ya (Remix)” caps off a wildly successful year for the Ghanian-Aussie JOVM mainstay: Owusu-Anash has firmly secured himself atop international “emerging artists to watch in 2021.” Smiling With No Teeth has received critical acclaim internationally from NPR Music, i-D, Paste Magazine, Hypebeast and countless others. The album has also received over 50 million streamed globally while landing on a number of Spotify and Apple Music playlists.

The video for the “Waiting On Ya (Remix)” was directed by Riley Blakeway, who directed the award-winning video for “The Other Black Dog.” The video continues the narrative developed from “The Other Black Dog” but through a fever dream-like prism that features that visual’s main character running a complex and crazy scam that seems him travel to all kinds of paradisal locations — but while appearing and being a menacing and uneasy look at someone, who might be slowly going mad.

There are few artists I’ve written about as much as the ridiculously prolific, New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar. During this site’s 11+ year history, Rhythm Scholar has firmly cemented a reputation for crafting slickly produced, crowd-pleasing mashups and remixes of classic soul, funk, hip-hop, New Wave and others.

Rhythm Scholar’s remix sees him tackling Slick Rick‘s beloved 80s classic “Children’s Story.” The remix pairs Slick Rick’s cautionary tale of a young boy, who gets seduced into the street life and its inevitable and tragic ending with seemingly Issac Hayes-inspired production featuring twinkling Rhodes, dramatic strings, a psychedelic guitar solo and playful nods at Rob Base and DJ Easy Rock’s “It Takes Two,” LL Cool J and several others. The end result is a gritty, 70s true crime story air — as though Slick Rick had spent his time watching The French Connection, Serpico and others.

Rising Jakarta, Indonesia-born and-based singer/songwriter and pop artist Afgan was raised listening to Stevie Wonder, Whitney Houston and Brian McKnight — and as a very shy boy, he found solace in music, slowly gaining confidence in quiet karaoke rooms. Interestingly, for the Jakarta-born and-based artist, music has always been an equal synergy of far-flung global inspirations paired with a devotion to proudly showcasing his heritage through nods to Indonesian pop.

Since the 2008 release of his full-length debut Confession No. 1, the rising Indonesian pop artist has released five solo albums, countless number one hits and has amassed over 44 million Spotify streams with over 1 million listeners across 79 countries — just in 2019. In the past three years, Afgan has played sold-out shows across Southeastern Asia including a set at Korea’s Yuseong Hot Springs Festival in front of 30,000 and an appearance at Singapore‘s Hyperplay Festival alongside Nick Jonas. The rising Jakarta-born and-based artist has managed to score a bevy of industry awards — and building upon a growing profile, he made his Stateside debut at a Sofar Sounds show in San Francisco.

Released earlier this year, Afgan’s sixth album Wallflower sees the Indonesian pop artist making a foray into the global scene. The album derives its title from his favorite movie, The Perks Of Being A Wallflower and his deep connection to the film’s soft-spoken protagonist Charlie, played by Loghan Lerman. Afgan told NME, “I just relate so much with the main character and felt like my personality had a similar quality with him.” He continues “I looked up the meaning behind the word [wallflower] and felt like okay, that’s actually a good description of me and I want to own that part of myself.”

Thematically, the album, is influenced and informed by the rising Indonesian pop artist’s own tumultuous relationship and battles with his mental health. Much of the album lyrically is inspired by some of the self-help books that have helped him in drier times. “I‘ve been battling anxiety and panic attacks for years, so I wrote “Hurt Me Like You” about it,” Afgan explains. “Nobody can hurt me more than my own self. I really want to change the stigma around mental health, and in Indonesia, it’s still considered a taboo to talk about it. If we became more happy and at peace with ourselves, I think everything would be better.”

Adding to a growing global profile, the album features “M.I.A.,” a collaboration with Hong Kong-based multi-hyphenate Jackson Wong. The collaboration can trace its origins to a chance meeting between the two artists after Afgan played at 2019’s V Live Awards in Seoul. But in the meantime, the rising Jakarta-born and-based artist has released a remix of the sultry Quiet Storm-inspired, Troy Taylor-produced “Touch Me” that features a guest spot from Robin Thicke while retaining the swooning yearning at the core of the song.

`”‘Touch Me’ is a song with a dark and sexy beat that tells the story of one’s physical attraction at first glance, and how that touch may trigger a series of feelings,” Afgan explains. “Usually, these kind of messages are hard to communicate in Bahasa Indonesia, so this is my first time translating these feelings into a song as I’m now singing in English. This was a challenge for me but I am relieved and happy with the result.”

New Video: Redman Contributes to Posthumously Released Third Version of Phife Dawg’s and Illa J’s Loving Ode to Montreal

Born Malik Izaak Taylor, the legendary and beloved Phife Dawg was a co-founder of the multi-Grammy Award nominated, multi-platinum selling, equally legendary and beloved hip-hop act A Tribe Called Quest. Along with his work with Tribe, Phife Dawg was a solo artist, who collaborated with lengthy lists of acts and artists including Fu-Schnickens, Diamond D, Chi-Ali, Black Sheep‘s Dres, De La Soul‘s Trugoy and countless others, eventually releasing his solo debut album, 2000’s Ventilation: Da LP.

If you’re a hip-hop head, you’d remember that the members of A Tribe Called Quest — Q-Tip, Phife Dawg, Jarobi White and Ali Shaheed Muhammad — reunited in 2006 to help Phife Dawg with mounting medical expenses as a result of complications with diabetes. They co-headlined that year’s Bumbershoot Festival and played a handful of sold-out across across the States, Canada and Japan, including making appearances at the 2K Sports Bounce Tour. According to Phife Dawg, the members of the beloved hip-hop had planned to release an album to finish-off their six-album contract with Jive Records.

008, A Tribe Called Quest was the headlining act for that year’s Rock the Bells tour. Taylor, who had been dealing with complications from diabetes over the past decade, wound up receiving a kidney translate from his wife. At the end of the that year, Q-Tip released his long-awaited sophomore album The Renaissance, which he followed with the release of 2009’s Kamaal The Abstract, which had been shelved for over seven years.

Tribe co-headlined 2010’s Rock the Bells and that year, Taylor had planned to release his highly-anticipated sophomore album Songs in the Key of Phife: Volume 1 (Cheryl’s Big Son); however, continued health issues delayed the release of the album. In 2013, it was reported that Phife had went back to work on his sophomore album, which was re-titled MUTTYmorPHosis. During that same period, the tense relationship between the act’s co-founder was famously documented in Michael Rapaport’s 2011 documentary Beats, Rhymes & Life: The Travels of A Tribe Called Quest.

rs of A Tribe Called Quest reunited to perform on The Tonight Show Starring Jimmy Fallon to commemorate the 25th anniversary of the release of the act’s debut album People’s Instinctive Travels and the Paths of Rhythm. In what would be the last few months of his life, Taylor had been incredibly busy: he had finished his long-anticipated sophomore album, now titled Forever, collaborating with a collection of trusted, All-Star producers and artists. Additionally, Tribe had secretly gone into the studio to work on what would be their sixth and final album We Got It From Here . . . Thank You 4 Your Service. Tragically, Taylor died as the entire group were finishing the album; the remaining members finished the album and posthumously released the album, as a tribute to their co-founder.

ily and estate will be finally releasing Phife Dawg’s long-awaited sophomore album Forever later this year. “He worked really hard to complete his album before he transitioned, and he was ready to share an album that was near and dear to his heart with his fans,” Taylor’s family says of the album. “His fans meant the world to him.” So far, one single has been released from the album, “Nutshell, Part 2,” featuring Busta Rhymes and Redman — and as a taste of the album, it’s a classic New York hip-hop banger, in which three legendary emcees spit bars and trade zingers over a subtle DJ Rasta Root reworking of a J. Dilla production.

Earlier this year, I wrote about “French Kiss Deux,” which found the beloved and legendary “Five Foot Assassin” teamed up with Vancouver-based production duo Potatohead People and J. Dilla’s younger brother Illa J on a tribute to one of my favorite cities, Montreal that featured the two emcees trading verses admiring the city’s beautiful women and scenery over a subtle Potatohead People remix of the original. The end result is a vibey J. Dilla-like Golden Era hip-hop production centered around shimmering Rhodes, reverb drenched horns and twitter and woofer rocking beats. It’s an infectious, feel good banger — that for me brings back some fond memories of the Quebecois city.

Phife’s estate released a new version of French Kiss, “French Kiss Trois,” which features a new guest verse with the legendary Redman, who helps to build upon a loving ode to Montreal. The third installment came to life when Redman heard “Deux” back in May and fell so deeply in love with the song that he desperately wanted to become a part of a new version of the song.

Redman’s guest verse sees the legendary emcee alternating between hilariously crude while joking about finding a girl that would be comfortable enough to fart in the tub near you, and ask if she wants to watch wrestling or boxing. But simultaneously, Red manages to paint a loving picture of a strong, confident, down to earth woman — the sort of woman that straight men would consider themselves profoundly lucky to find. Maybe that woman can be found in lovely Montreal, right?

“It’s dope to see the evolution of this song, from the first version on my album Illa J to Phife’s version, to 6 years later Potatohead people doing a sick remix of the track, and now Redman adding a verse to it, with Ali Shaheed on the mix,” Illa J says in press notes. “It’s an honor having a track with 2 hip-hop legends on it, this one will always be a special joint for me.”

“When Red called my phone and told me that he had ‘French Kiss Deux’ on repeat, I knew what was coming next,” Dion “Roots” Liverpool adds. “Hedidn’t even have to ask me and I was excited. Once he sent me a video of his computer and pressed play, I remembered yelling really loud!!”

day Dion called and said that Redman had French Kiss on repeat and immediately wrote a verse, I was excited. Phife would be going crazy with Red being on this song,.”Phife’s wife Deisha Taylor shares. “Anytime you hear Redman on any track you know it will be dope. The atmosphere and energy shifts when he is on any song or walks in the building.”

“As soon as I heard the song, I played it back-to-back 100 + times. I had to hit Potatohead People and Dion to tell them I was writing a verse,” Redman says. “Being in the music video was amazing, and I know I’m doing it for Phife. I don’t think he gets enough credit, so God made this my mission to help best way I can.”

Executive produced by Phife Dawg’s longtime friend and collaborator, Dion “Roots” Liverpool and co-directed by Redman, Tony Reames and Konee Rock, the recently released video for “French Kiss Trois” follows Redman and Ill J in Montreal, admiring and hanging out with the city’s beautiful women — at beautiful locations. The video, features some gorgeous animation of Phife and a special guest appearance from Phife’s widow Deisha Taylor, lovingly reminiscing over photos of her husband. The video ends with the group coming together to celebrate and honor Phife’s life and work.

Sneaker Pimps — currently founding members Liam Howe (production) and Chris Corner (guitar, vocals) with newly recruited Simonne Jones (vocals) — can trace their origins back to their formation in Hartlepool, UK back in 1994: The act’s initial lineup of Howe, Corner, Kelli Ali (née Dayton), Joe Wilson and Dave Westlake quickly established themselves as one of the pioneers of trip hop with their critically applauded and commercially successful, full-length debut, 1996’s Becoming X, which featured their signature track “6 Underground.”

Ali left the band after the release of Becoming X. Corner took over on vocal duties and the band went on to release two more albums, 1999’s Splinter and 2002’s Bloodsport. Wilson and Westlake left the band in 2002. Shortly after, Sneaker Pimps’ founding members made a mutual decision to explore other creative avenues: Corner and Howe went on to their own highly successful individual ventures in music and film, collaborating with the likes of Gary NumanLana del Rey and others with IAMX (Corner) and AMP (Howe). During their initial seven-year run, Sneaker Pimps had five UK Top 40 singles — the aforementioned “Six Underground,” “Spin Spin Sugar,” “Low Five,” and “Bloodsport.”

Sneaker Pimps’ founding members, who are currently split between London and Los Angeles ended a lengthy 14 year hiatus back in 2016 with hints of new music. Since then, the act’s fans have been desperately waiting for new material. Five years have passed but earlier this year Howe and Corner announced that they’d be releasing a new album, their highly anticipated fourth album, Squaring the Circle on September 10, 2021. Last month, Corner and Howe, along with their newest member, vocalist Simonne Jones released a double single of album material, “Squaring the Circle” and “Fighter.”

“After 18 years of dormancy and deliberation we (Sneaker Pimps) are releasing not one, but two new tracks,” Sneaker Pimps’ Liam Howe said in press notes. “‘Fighter’ is a plea for courage and strength against prevailing mental health crises. ‘Squaring the Circle’ (via Nietzsche) is a heartfelt ode to eternal returns of love, in the face of desperate adversity. Contrasting in nature, hopefully these songs describe the diversity and essence of the new album.

“It’s taken many years and many false starts to get Sneaker Pimps back in the game,” Sneaker Pimps’ Chris Corner said on Twitter. “Sometimes [you] need to back the fuck off and let the universe take control. I’m proud and relieved to say that it is finally happening. We officially have new music.”

Album title track “Squaring the Circle” is a yearning duet between Corner and Jones centered around a hauntingly sparse arrangement of twinkling piano, atmospheric electronics and layered backing vocals. Sonically, the track is a decided departure from their commercially successful initial run with the cinematic track reminding me quite a bit of Tales of Us-era Goldfrapp. “Fighter” finds the legendary trip hop pioneers crafting a remarkably contemporary sound centered around wobbling synth arpeggios, skittering beats paired with Jones’ sultry vocals and a rousingly anthemic hook. While clearly being wildly different, the tracks are thematically related with both tracks being tales of survival — in desperate and uncertain times.

Interestingly, in the lead up to the act’s highly-anticipated fourth album, the members of Sneaker Pimps released a remix to “Fighter,” done by the band’s co-founder Liam Howe, under APE MINK PRESS, a.k.a. AMP. The remix is packed with a dizzying array of subtle sonic references and hints including krautrock grooves, shimmering synth arpeggios, chiming Japanese-like percussion and more while retaining Jones’ sultry vocal turn and the song’s rousingly anthemic hook.

“Here is the first ever Ape Mink Press remix. It’s a journey through Krautrock to Synthwave; via the genius of Japan and the splendour of early Ultravox,” Sneaker Pimps’ Liam Howe says in press notes. “It sets out to track the influences of Sneaker Pimps and creates an historical vignette of their origins. At the same time there are modern influences aplenty.”

Additionally, Sneaker Pimps announced a digital pre-release listening event through Moment House on September 8, 2021 at 11:00am PST/2:00pm EST to celebrate the album’s release. The limited event will include an advance stream of the album in its entirety, and a chance to chat live with the band about their new album. An upgraded ticket is also available that will allow a select number of fans into a live video Q+A session with Corner, Howe and Jones after the album stream. Along with the album preview and the chats, attendees will be treated to exclusive downloads and the chance to win a Squaring The Circle merch bundle. More info is available here: https://www.momenthouse.com/sneakerpimps

Last year, I spilled quite a bit of virtual ink covering the rising Los Angeles-based indie electro rock act Carré that features:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that JusticeSoulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels ClineJonny Greenwood and Marc Ribot.

Deriving their name for the French word for “square,” “playing tight” and “on point,” the Los Angeles-based trio formed back in 2019 — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.” The members of the Los Angeles-based act specialize in a French electronica-inspired sound that frequently blends aggressive, dark and chaotic elements with hypnotic drum loops. Thematically, their work generally touches upon conception, abstraction and distortion of reality through a surrealistic outlook of our world. Their visuals tend to feature geometric shapes and patterns.

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops. Thematically, their work generally touches upon conception, abstraction and distortion of reality through a surrealistic outlook of our world. Their self-titled EP was released last year through Nomad Eel Records — and the EP featured the Uncanny Valley-era Midnight Juggernauts meets Tour de France-era Kraftwerk-like “Freeform,” a free flowing and improvised jam centered around glistening synth arpeggios, shimmering blasts of guitar, an insistent motorik groove, hi-hat driven four-on-the-floor and ethereal vocal samples.

“Freeform” was given the remix treatment by Parisian multi-instrumentalist Alex Tran, a.k.a. A.T.M. and interestingly enough, the A.T.M. remix adds a decidedly French house touch to the proceedings with glitchy sequences, muscular guitars, harder hitting beats, vocodered vocals while retaining the song’s free flowing and improvised jam-like feel and dark industrial vibes while essentially giving the song a dance floor friendly air.


 

 

Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer Ernest Greene is creative mastermind behind the acclaimed synth pop/chillwave, JOVM mainstay act Washed Out. Started in earnest in 2009, Greene posted material on MySpace, which caught the attention of a nubmer of influential blogs who championed him, while comparing his work to JOVM mainstay Neon Indian and Memory Tapes.

Building upon a rapidly growing profile, Greene released his first two Washed Out EP in August and September 2009. The Perry-born, Athens-based JOVM mainstay supported his early efforts with his first New York area show at the now, long shuttered Santos Party House. He continued upon that momentum with a set at 2010’s Pitchfork Music Festival. And  “Feel It All Around” was chosen for the acclaimed, smash-hit TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his critically applauded and commercially successful full-length Within and Without: the album peaked at #26 on Billboard 200 and #89 on the UK Albums Chart. 2013’s sophomore album Paracosm was a radical change in sonic direction that featured a warmer, tropical-inspired sound — but while retaining the ethereal quality of his previously released material. 2017’s third album, the  Cole M.G.N. co-produced Mister Mellow was released through Stone’s Throw Records, and featured a beatmaker-inspired aesthetic.

Greene’s fourth Washed Out album, last year’s Purple Noon was written and recorded by the JOVM mainstay with production following a brief stint of writing with other artists — mostly notable with Sudan Archives on her debut Athena. Those collaborations found their way into Purple Noon‘s material with the album sonically drawing from R&B and modern pop. While arguably being among the brightest and more robust sounding material he’s released to date, the album is also a big leap forward: Greene’s vocals are placed front and center of the entire mix with the production featuring harder hitting beats.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, Greene’s fourth Washed Out album is inspired by the Mediterranean coastline — with Greene paying tribute to the region’s island-based cultures, elegance and old-world charm. The surroundings serve as a gorgeous backdrop to stories of passion, love, loss and longing. Purple Noon‘s first single “Too Late” can be descried as a bit of a return to form: it’s swooning synth pop featuring skittering beats, glistening bass synth arpeggios, Greene’s lush vocals, a rousingly anthemic hook and a decidedly Caribbean/Mediterranean Island meets Quiet Storm air. Just under the hook-driven, breezy surface, the song is full of desperately aching longing.

Earlier this month, Green released a remix of “Too Late” by Puerto Rican pop duo Buscabulla. Buscabulla ‘s remix retains Greene’s achingly plaintive and lush vocals and pairs them with a funky and blissed out, New Jack Swing-inspired production featuring a strutting bass line, skittering beats and squiggling synths.

Along with the remix, Greene announced that he’ll finally be hitting the road to support Purple Noon during Winter 2022. The tour includes a February 7, 2022 stop at Brooklyn Bowl. The rest of the tour dates are below. And you can check out the following — https://washedout.net/tour for ticket information and more.
 
Mon. Jan. 10 – Asheville, NC  – Orange Peel
Tue. Jan. 11 – Nashville, TN – Brooklyn Bowl           
Thu. Jan. 13 – Houston, TX – Stereo Live
Fri. Jan. 14 – Austin, TX – Empire
Sat. Jan. 15 – Dallas,  TX – The Granada Theatre
Mon. Jan. 17 – Phoenix, AZ – The Van Buren
Tue. Jan. 18 – San Diego, CA – The Observatory               
Thu. Jan. 20 – Los Angeles,  CA – The Wiltern Theatre
Fri. Jan. 21 – Santa Ana, CA – The Observatory
Sat. Jan. 22 – San Francisco, CA – The Regency                 
Mon. Jan. 24 – Portland, OR – Wonder Ballroom
Tue. Jan. 25 – Seattle, WA – Showbox at the Market 
Fri. Jan. 28 – Salt Lake City, UT – Metro Gallery
Sat. Jan. 29 – Denver, CO – The Gothic Theatre      
Mon. Jan. 31 – Minneapolis, MN – USA – Fine Line
Tue. Feb. 01 – Chicago, IL – Metro    
Thu. Feb. 03 – Toronto, ON – The Danforth Theatre
Fri. Feb. 04 – Montreal, QC – L’Astral
Sat. Feb. 05 – Boston, MA – Paradise                        
Mon. Feb. 07 – Brooklyn, NY  – Brooklyn Steel                                 
Wed. Feb. 09 – Washington, DC – 9:30 Club
Thu. Feb. 10 – Philadelphia, PA – Underground Arts
Fri. Feb. 11 –  Chapel Hill, NC  – Cat’s Cradle
Sat. Feb. 12 – Atlanta GA – The Eastern
 

New Audio: Edmofo’s Club Banging Remix of Emma Peters’ “Fous”

usic scene through her YouTube channel, which initially featured attention-grabbing covers of Lartiste’s “Clandestina” and Lomepal’s “Trop Beau” — with her cover of “Trop Beau” receiving over 40 million streams on Spotify. As a solo artist, Peters quickly established herself a songwriter, who writes heartfelt and lived-in material, based from her own life experiences and with an unvarnished honesty with the release of her debut EP Fous, etc.

don’t be a pleaser and most importantly, don’t lose yourself. Be you at all costs. Interestingly, EP title track “Fous” features the rising French artist’s coquettish yet self-assured vocals over a lush production featuring shimmering Flamenco-styled acoustic guitar paired with skittering, tweeter and woofer beats.

Recently, Edmofo gave “Fous” the remix treatment. While retaining the original’s looping Flamenco-styled acoustic guitar and Peters’ coquettish yet self-assured vocals, Edmofo adds harder-hitting, beats, bursts of twinkling keys, turning an earnest R&B/pop ballad into an urgent, club friendly banger.

New Video: Homemade Weapons’ Drum ‘n’ Bass Remix of Clipping.’s “Wriggle”

Throughout the course of this site’s 10-plus year history, I’ve managed to spill copious amounts of virtual ink covering the acclaimed Los Angeles-based hip-hop trio and JOVM mainstay act Clipping. The trio — production duo Jonathan Snipes and William Hutson and frontperson Daveed Diggs — have been busy over the past couple of years: they released two critically applauded albums as part of planned diptych — 2019’s There Existed An Addiction to Blood and 2020’s Visions of Bodies Getting Burned — that found the act developing an abrasive and downright messy take on horrorcore, centered around an industrial aesthetic while lovingly twisting familiar genre and sub-genre tropes to fit their politics and thematic concerns: fear, the absurd, the uncanny and the seemingly unending struggle for an antiracist, anti-patriarchal, anti-colonialist world.

But I need to rewind a bit: 2016’s digital-only release Wriggle EP featured six tracks that weren’t finished in time to make it on the JOVM mainstay’s 2014 Sub Pop Records debut CLPPNG. Since its release, the EP has become a fan favorite with tracks like “Wriggle” and “Shooter” becoming staples of their live set. Interestingly, the members of Clipping will release the Wriggle EP as a newly remastered and expanded nine-track set on vinyl for the first time ever on July 9, 2021 — with a 10 track digital version officially dropping today.

The expanded version of Wriggle features the original versions of “Shooter,” “Hot Fuck No Love” feat. Cakes Da Killa and Maxi Wild, and “Our Time” feat. Nailah Middleton, along with “Back Up 2021” featuring SB The Moor and a new verse of industrial rap experimentalist Debby Friday. Additionally, the expanded version features previously remixes by drum ‘n’ bass/breakbeat act Homemade Weapons, Classicworks label co-founder Cardpusher, Dave Quam (formerly known as Massacooramaan) and a vinyl-only version of “Hot Fuck No Love” by footwork producer Jana Rush.

The expanded EP’s latest single is Homemade Weapons’ remix of “Wriggle.” The original was breakneck banger centered around a sample of Whitehouse’s influential power-electronica song “Wriggle Like a Fucking Eel,” skittering, tweeter and woofer rocking beats and Diggs’ dexterous, rapid-fire flow and forceful commands to wriggle like a snake or an eel. The Homemade Weapons remix is a minimalist drum ‘n’ bass take on the song, reducing the song to a chopped up and screwed vocal sample and densely layered staccato beats.

Directed by Cristina Bercovitz and Clipping’s Jonathan Snipes, the recently released video for “Wriggle (Homemade Weapons Remix)” features daytime and nighttime footage on Interstate 110, edited in a way so that the cars more in a glitchy fashion to the propulsive beats.