Category: remixes

Last year, the rising Brooklyn-based psych pop/dance pop outfit and JOVM mainstays Psymon Spine — Noah Prebish, Sabine Holler, Brother Michael Rudinski, and Peter Spears — released their sophomore album Charismatic Megafauna. Thematically, the album explored the complicated feelings and catharsis involved in the dissolution of human relationships — through hook-driven, left-of-center electronic dance music meets psych pop. The album received critical praise from  the likes of Paste Magazine, FLOODBrooklyn VeganUnder the Radar and NME. The album and its material was added to number of playlists including NPR MusicSpotify‘s New Music Friday, All New Indie, Undercurrents and Fresh Finds, Apple Music‘s Midnight City and Today’s Indie Rock and TIDAL‘s Rising. And the album received airplay internationally from BBC, KEXP and KCRW among others. 

The Brooklyn-based JOVM mainstays capped off a big 2021 with the the digital 7 inch release “Mr. Metronome”/”Drums Valentino.” 

  • “Mr. Metronome” may arguably be the most straightforward, club friendly track of the band’s growing catalog. Featuring a German vocal hook sung by Sabine Holler, which translates to “I saw your message, I have to go work,” followed by a repeated refrain of “my schedule, my schedule,” “Mr. Metronome” is centered around tweeter and woofer rocking beats, glistening synth arpeggios and a relentless, motorik groove. Inspired by KraftwerkSoulwax and others, the song’s lyrics features musings on dating and social dynamics while reflecting the band’s restlessness and desire to quit all unfulfilling obligations to focus on what really matters to them — music. 
  • “Drums Valentino” is a New Wave-like single featuring industrial clang and clatter, shimmering guitars, glistening synths and an off-kilter yet dance floor-friendly groove. Sonically, the song helps to emphasize the song’s lyrics, which talk about feeling uneasy and uncertain with a psychological precision.

The members of Psymon Spine grew up in the ’00s and ’10s with a deep appreciation and love for the art of the remix. And after the release of their sophomore album, the band found themselves craving longer, even more dance-floor friendly versions of the album’s material. The band recruited a handful of producers and electronic music acts including Love Injection, Dar Disku, Each Other, Safer, Bucky Boudreau and Psymon Spine’s Brother Michael to remix material from the album. 

Charismatic Mutations, the remix album of last year’s Charismatic Megafauna, is slated for an April 1, 2022 release through the band’s label home Northern Spy Records.

Last month, Hot Chip‘s Joe Goddard tackled “Milk” feat. Barrie. Goddard’s remix retained Barrie’s coquettish and ethereally cooed vocals but placed them within a euphoric Balearic house-like production centered around skittering beats, glistening synth arpeggios and cosmic space effects. “This remix was very natural and very joyful for me,” Goddard explained. ” I did it in lockdown so I felt a sense of freedom and playfulness that was really nice and actually, in retrospect, very unique.  I love the vocals on this song, so I placed them at the forefront, and I tried to sonically make the mix one that was balearic and satisfying.  Macrodosing.”

Charismatic Mutations second and latest single sees Love Injection tackling the funky, dance punk bop “Jumprope.” Clocking in at an expansive seven-and-a-half minutes, the Love Injection remix is a seemingly LCD Soundsystem-like instrumental take that retains the propulsive bass line of the original and pairs it with skittering beats, glistening synth arpeggios, congo-led percussion, a relentless motorik groove and chopped up vocal samples.

“‘Jumprope’ immediately takes us back to the early 2000s and the sound that would be synonymous with the kids in Downtown Manhattan and Williamsburg, Brooklyn,” Love Injection explains. “It was the reintroduction of dance music to punk, pioneered by the likes of Suicide and Was (Not Was), but was immortalized in a new way by DFA (both the production duo and the label) in some of their earliest releases.” 

“There was one particular remix that we know, love, and have had special moments with on the dancefloor at the late David Mancuso’s Loft parties that became the guiding light for our reinterpretation. We very intentionally set out to reimagine ‘Jumprope’ in the spirit of that moment, rewriting the bassline and bringing in new synth elements. The Loft memory greatly influenced the remix’s arrangement and gave it its name.”

New Audio: JOVM Mainstay LutchamaK Shares DNMK Remix of “Bitrate Scale”

Last year, may have been among the most prolific and productive of LutchamaK‘s career to date. The French JOVM mainstay started teh year with Pi, a full-length album written and recorded in at three-month inspired burst that resulted in some of the darkest and heaviest material, he has written and released to date. 

Then he released the Quest EP, an effort, which featured experimental yet very melodic material. A few months after that, he released Rapscallion, which featured the Radioactivity-era Kraftwerk meets 90s techno-like “James Blitz 007.” 

Then there was Seven Hybrids, which featured the hypnotic club banger “Moonbright,” and the Larry Levan house music-like “Davai.” He also released Threshold, which featured “Irie Vibrations,” a track that seemed to mesh elements of Lee “Scratch” Perry-like dub with club friendly trance and house and “Bitrate Scale,” a brooding yet hypnotic club banger that brought Tour de France era Kraftwerk to mind. 

The French JOVM mainstay closed out a busy 2021 with the Utopia EP, which featured the hypnotic and contemplative “You See” and the euphoric, Octo Octa-like “s.T. bahn.”

LutchamaK starts off 2022 with a remix effort that features remixes of Threshold album single “Bitrate Scale” by three artists, who liked his work and wanted to create their own takes. DNMK opens the remixes with a deep house-leaning take that retains the original’s thumping kick but pairing it darker, oscillating synths, which gives the remix a brooding, murkier air.

Tennin · The What – The Notorious B.IG, Method Man [Tennin Remix]

With the release of a handful of singles that received attention from InRocksLab, Radio Nova, Earmilk and Afropunk, the rising Paris-based alternative pop artist Tennin quickly exploded into the international pop scene in 2015. The Paris-based artist ended a momentum building year by performing at La Cigale, as part of a showcase featuring rising female Parisian artists.

The following year, Tennin built upon her growing profile through tours across France, Germany and the UK. Adding to a relatively young career of big career highlights, the French pop artist’s single “Heal You,” catches the attention of acclaimed, trip hop pioneer Tricky, who signed her to !K7 Records. She then contributes a track to the Test of Time compilation, which featured tracks from Saul Williams, IDLES and others.

Additionally, last year saw her becoming a finalist of the Afropunk springboard but she also opened for the likes of Dope Saint Jude and Muthoni Drummer Queen at Les Cuizines — and she played the final show at Les Etoiles. She ended the year with a live interview and session for Radio Campus Brussels.

Earlier this year, the rising French pop artist signed to renowned Parisian electronic label Kitsune Music, who released her first single of this year “Guys in Tears.” Interestingly, Tennin posted a cover/remix of The Notorious B.I.G.‘s “The What,” feat. Method Man on Instagram that received such positive reactions that she decided to record and release a full-version. While retaining the original’s memorable beat, the addition of Tennin’s vocals adds sultry, Aaliyah-like air to the proceedings. Naturally, while being a shoutout to Golden Era, East Coast hip-hop, the song is also a vital reminder that hip-hop is the lingua franca of kids across the globe.

 

New Audio: JOVM Mainstay Rhythm Scholar Takes on a Beloved Motown Classic

Throughout the course of this site’s nine-plus year history, I’ve spilled quite a bit of virtual ink covering the ridiculous prolific New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar. During that same period, the JOVM mainstay has developed a reputation for crafting slickly produced, funky as hell, crowd-pleasing mashups and remixes of classic soul, funk, hip-hop, New Wave and a growing list of  other genres and styles. 

Rhythm Scholar’s latest remix finds him tackling the beloved and classic Temptations tune “Just My Imagination.” Perhaps unlike his other remixes, this particular one reveals a subtle yet deft touch: while retaining the original’s memorable and gorgeous melody and the legendary soul act’s impeccable harmonies, the JOVM mainstay’s take manages to gently push the song up about a decade by adding some lush Rhodes, a soulful horn line, some conga and a soaring string arrangement — all of which gives the material a dreamy, gossamer-like air. 

Throughout this site’s eight plus year history I’ve written a lot about the ridiculously prolific New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar, and as you’ll likely recall he has received attention for slickly produced, funky as hell, crowd-pleasing mashups and remixes of classic soul, funk, soul hip-hop, New Wave and others.  Interestingly, over the past year or so, the longtime JOVM mainstay has increasingly employed the use of live instrumentation to his remixes; in fact, his latest remix finds him taking on the Depeche Mode classic “Never Let Me Down Again.”

Featuring Jason Spillman (bass), Angus Mashgyver (guitar) and samples of Heavenly Music Corporation and Cliff Martinez, the remix retains Dave Gahan‘s imitable vocal but places it within a slightly more up-tempo setting with layers upon layers of arpeggiated synths, thumping beats, a dance floor friendly break, and ambient flute and other instrumentation to bolster the song’s melody in the song’s quieter moments. Live bass and guitar give the song a muscular and funky heft. But while pushing the song from ambient and industrial electro pop to thumping, industrial-inspired house, Rhythm Scholar manages to retain the most important quality of the song — it’s brooding, emotional quality.

 

 

Scott Hansen is a San Francisco, CA-based songwriter, multi-instrumentalist, producer, and electronic music artist, best known for his critically applauded and commercially successful solo recording project Tycho, and with the release of  2006’s Past Is Prologue, 2011’s Dive, 2014’s Awake and 2016’s Epoch, Hansen has developed a reputation for crafting material centered around vintage, analog synthesizers, ambient melodies, organic instrumentation and the frequent use of samples of the human experience, including weather broadcasts, talking, breathing and the like.

“Horizon” off Hansen’s Grammy-nominated 2016 full-length Epoch is a funky yet moody and introspective track centered around layers of arpeggiated synths, thumping, tweeter and woofer rocking beats, shimmering guitars, a sinuous bass line and an atmospheric melody.

Interestingly enough Hansen recruited Poolside, a Los Angeles-based electronic music artist, production and DJ duo, comprised of Filip Nikolic and Jeff Paradise, best known for crafting breezy, pop-tinged disco to remix “Horizon.” And the result is a breezy and summery, cosmic disco track with handclaps, a looped chorus sample, tribal percussion that creates a club banging vibe while retaining the atmospheric melody of the original. As Poolside’s Jeffrey Paradise explains “”It’s tricky to approach a Tycho remix because there are no vocals. By definition a remix would typically strip away the textures and layers, which are the signatures of Tycho, and use the vocals. We kept the original melody as the fingerprints and added classic Poolside synths and percussion. This remix essentially became a Poolside B-side through the process.”

Hansen and his backing band will be touring through the summer and it’ll include stops at Lollapalooza, Outside Lands and SummerCamp Music Festival. Check out the tour dates below.

 

Tour Dates:

15 MAY Sacramento, CA – B Street Theater

16 MAY Eugene, OR – McDonald Theater

17 MAY Spokane, WA – Knitting Factory

18 MAY Boise, ID – Knitting Factory

19 MAY Salt Lake City, UT – The Depot

21 MAY Morrison, CO – Red Rocks +

22 MAY Albuquerque, NM – Villa Hispana *

23 MAY Phoenix, AZ – The Van Buren *

24 MAY San Diego, CA – Cal Coast Credit Union Open Air Theater *

27 MAY Chillicothe, IL – Summercamp Music Festival

02 AUG Chicago, IL – Lollapalooza

11 AUG San Francisco, CA – Outside Lands

 

* w/ Phantogram

+ w/ Phantogram & Poolside

 

Throughout most of the course of this site’s history, I’ve written quite a bit about the New York-based produced, DJ, remixer and longtime JOVM mainstay Rhythm Scholar, and as you may recall, he has received attention for slickly produced, crowd-pleasing mashups and remixes of classic hip-hop, soul, pop and New Wave. Earlier this year, I wrote about Rhythm Scholar’s remix/reworking of Bill Withers‘ beloved classic “Use Me Up” featuring a backing band,  which features Marcus Horndt contributing soulful blasts of Fender Rhodes, Jason Spillman contributing a 70s soul and disco-inspired bass line, Sami Turune, contributing some bluesy guitar paired with Withers warm vocals and rhythm guitar, and some insane scratching and production from Rhythm Scholar. And what I loved about that remix was that it was a lovingly anachronistic take that walked a difficult tightrope between the original’s 70s soulful roots and contemporary production.

The New York-based producer, DJ and remixer has continued to be remarkably prolific, and with his latest single, he takes on Chic‘s classic, smash hit “Good Times” with a breezy, funky house-leaning remix featuring layers of arpeggiated keys, twinkling Fender Rhodes, thumping beats and a muscular bass line while retaining the song’s infectious hook. Much like his “Use Me Up” remix, the “Good Times” remix updates the song in a way that breathes a different life into it, while retaining some of the most familiar and beloved elements of the original.

 

Late last month, I wrote about Kalli Ma, an up-and coming, London-based electro pop production and artist duo, who with the release of their debut single  “Promises,,” quickly received attention across the UK and elsewhere, as the single revealed that the duo’s signature sound has been largely inspired by  techno, minimal wave and post punk. And as you may recall, their latest single “High Shot” found the duo employing both analog and digital synthesizers in a propulsive and kaleidoscopic, club banger, reminiscent of Soft Metals‘ Lenses, Factory Floor, Simian Mobile Disco, The Chemical Brothers and others, complete with layers of arpeggiated synths, tweeter and woofer rocking beats and a sinuous and sultrily sung hook.

Building upon the buzz they’ve received across the UK and elsewhere, the duo enlisted British producer Bird of Paradise to remix the song and while retaining the propulsive, tweeter and woofer rocking beats and arpeggiated synths and sultry hook of the original, the remix turns the song into an industrial house-leaning track full of the enormous clang and clatter of Kraftwerk’s “Metal on Metal” while expanding the song’s motorik-like groove and adding some cosmic ray bursts to the proceedings.


Comprised of Posdnuos, Dave and Maseo, De La Soul is arguably one of hip-hop’s most beloved and influential acts. thanks in part to their use of incredibly clever and quirky word play, innovative and soulful sampling and hilarious skits; in fact, perhaps unsurprisingly, Mos Def has openly cited them as a major influence on the early part of his career. And although their seminal debut 3 Feet High Rising may be their most commercially successful release – perhaps in part to the success of singles like “Me, Myself, and I,” which employed the use of a sample from Parliament’s “Not Just Knee Deep” and the Native Tongues anthem “Buddy” – they’ve managed to release a number of critically applauded albums including De La Soul Is Dead, Buhloone Mindstate and Stakes Is High among others.

I caught the legendary hip-hop trio at The Meadows Festival earlier this year, and they were among one of the festival’s most memorable and most fun  career spanning sets featuring songs off  3 Feet High Rising, De La Soul Is Dead, Buhloone Mindstate and Stakes Is High and their critically applauded  . . . And the Anonymous Nobody, which was released last year. Album single “Pain,” a collaboration with Snoop Dogg featured some of the most incredible bars in recent memory over a soulful, Roy Ayers-like production featuring twinkling keys paired with thumping, tweeter and woofer rocking beats.

Recently the JOVM mainstay artist Rhythm Scholar  remixed De La’s “Pain” with his imitable and effortless mashup/remix that retains the song’s woozy, soulful vibe but further emphasizes it with samples from Oliver  “Heart Attack,” feat the aforementioned De La Soul,The CommodoresI Like What You Do” and “Brick House” — with Keith Holden (bass), and Mr. Fender Rhodes (Fender Rhodes). And although the Rhythm Scholar remix turns the song into a 70s disco-inspired club banger, complete with explosive horns. Interestingly, the Rhythm Scholar doesn’t include Snoop’s verse — and the remix is so slick that you don’t notice it.

 

 

 

Over the past few years, I’ve written quite a bit about the Los Angeles-based, indie electro pop duo and JOVM mainstays Pr0files, and as you may recall, while becoming mainstays of this site, the duo simultaneously developed a national reputation for a slickly produced sound that possesses elements of R&B, contemporary electro pop and electronic dance music as you would have heard on the duo’s debut Jurassic Technologie, which included the sultry, shimmering and show-burning “Get It Up.”

Interestingly enough, the Washington, DC-based electronic production and artist duo Aurean have received attention with remixes of Tommie Sunshine and The Disco Fries’ Cool Without You,” as well as remixes of Lostboycrow, Linney and Ella on the Run. Along with those remixes, the duo have either opened for or performed with Above and Beyond, Dirty South, ATB and Morgan Page — and in fact, building upon a growing profile, the duo have a number of remixes set for release this year, as well as their debut EP slated for release later this year. But in the meantime, the members of the Los Angeles-based JOVM mainstays enlisted Aurean to remix “Get It Up,” and while retaining the shimmering and sensual quality of the original, Aurean picks up the pace, turning the song into a propulsive, house music-inspired club banger.