Tag: remix

Sophie Allison is a Swiss-born, Nashville-based singer/songwriter, guitarist and the creative mastermind behind the critically applauded indie rock project Soccer Mommy.  Allison first picked up guitar when she was six — and as a teenager, she attended Nashville School of the Arts, where she studied guitar and played in the school’s swing band. During the summer of 2015, the Swiss-born, Nashville-based artist began posting home-recorded songs as Soccer Mommy and posted them to Bandcamp, just as she was about to attend  New York University (my alma mater, no less!), where she studied music business at the University’s Steinhardt School of Culture, Education and Human Development.

While she was in college, Allison played her first Soccer Mommy show at Bushwick, Brooklyn’s Silent Barn. She caught the attention of Fat Possum Records, who signed her to a record deal — and after spending two years at NYU, she returned to Nashville to pursue a full-time career in music. Upon her return to Nashville, she wrote and released two Soccer Mommy albums — 2016’s For Young Hearts released through Orchid Tapes and 2017’s Collection released through Fat Possum. 

Allison’s proper, full-length debut 2018’s Clean was released to widespread critical acclaim, and as a result of a rapidly growing profile, she has toured with the likes of  Stephen MalkmusMitskiKacey MusgravesJay Som, SlowdiveFrankie Cosmos, Liz PhairPhoebe BridgersParamoreFoster the PeopleVampire Weekend, and Wilco.

Before the pandemic, Allison, much like countless other artists was gearing up for a big year: she started off 2020 by playing one of Bernie Sanders’ presidential rallies and joined a lengthy and eclectic list of artists, who endorsed his presidential campaign. That year also saw the release of her critically applauded sophomore album color theory, which she had planned to support with a headline tour with a number of sold-out dates months in advance that included a stop Glastonbury Festival and her late-night, national TV debut on Jimmy Kimmel Live!

With touring at a half as a result of the pandemic, Allison, much like countless other artists recognized that the time off from touring offered a unique opportunity to get creative and experiment with new ideas and new ways to connect with fans. 

Combining her love of video games and performing, Allison had a digital show on Club Penguin Rewritten with over 10,000 attendees, who all had to make their own penguin avatars to attend. The show was so popular, that the platform’s servers crashed, forcing a rescheduling of the event. Of course, Allison has also played a number of live-streamed sets, including ones hosted by  NPR’s Tiny Desk At Home (which she kicked off) and Pitchfork‘s IG Live Series. She also released her own Zoom background images for her fans to proudly show off their Soccer Mommy fandom. 

Allison and her backing band embarked on a Bella Clark-directed 8 bit, virtual music video tour that saw Soccer Mommy playing some of the cities she had been scheduled to play if the pandemic didn’t happen — in particular, MinneapolisChicago, SeattleToronto, and Austin. Instead of having the visual shows at a traditional music venue or a familiar tourist spot, the band were mischievously placed in highly unusual places: an abandoned Toronto subway station, a haunted Chicago hotel, a bat-filled Austin bridge underpass and the like. The video tour featured color theory single “crawling in my skin,” a song centered around looping and shimming guitars, a sinuous bass line, shuffling drumming, subtly shifting tempos and an infectious hook.

She closed out 2020 with an  Adam Kolodny-directed, fittingly Halloween-themed visual for “crawling in my skin” that’s full of the creeping and slow-burning dread that reminds me of Roger Corman’s Edgar Allan Poe movies with Vincent Price. 

Allison’s newest album, the Daniel Lopatin (a.k.a. Oneohtrix Point Never)-produced Sometimes, Forever was released earlier this year through Loma Vista/Concord. The new album sees Allison pushing her sound in new directions — but without eschewing the unsparing lyricism and catchy melodies that have won her attention across the blogosphere and elsewhere. 

Inspired by the concept that neither sorrow nor happiness is permanent, Sometimes, Forever is a fresh peek into the mind of a bold, young artist who synthesizes everything — retro sounds, personal tumult, the disorder of modern life — into music that feels built to last for a long time. The album’s material is also partly inspired by the uncomfortable push and pull between her desire to make meaningful art, her skepticism about the mechanics of careerism, and the mundane, artless administrative chaos that comes with all of it. 

The album’s first single, the woozy “Shotgun” is an infectious banger centered around a classic grunge song structure — quiet verses, explosive choruses paired with layers of distorted guitars, Allison’s achingly plaintive vocals, an enormous hook, thunderous drumming and a throbbing groove. 

“Shotgun” manages to liken a young romance to a sort of chemical high — but without the bruising and sickening comedown, which always comes after. But throughout the song, its narrator focuses on small moments in a particular love affair that’s imbued with a deep, personal meaning, “‘Shotgun’ is all about the joys of losing yourself in love,” explains Allison. “I wanted it to capture the little moments in a relationship that stick with you.”

Rising indie electro pop outfit Magdalena Bay recently remixed “Shotgun” turning the track into a futuristic, glittery, club banger featuring glistening synth arpeggios, tweeter and woofer rattling thump and wobbling low end paired with Allison’s plaintive vocals fed through gentle amounts of vocoder and other effects. While being a decidedly bold and adventurous, the Magdalena Bay remix retains the core elements of the original — Allison’s penchant for earnest, lived-in lyricism, enormous hooks and the song’s overall woozy feel.

Allison will embarking on a lengthy and extensive international tour that begins with an intimate, sold-out, solo show for the Grammy Museum Los Angeles next Monday. Allison and her backing band will then head to the UK and the European Union for a month-long tour. She’ll close out the year with a lengthy North American tour that includes a November 16, 2022 stop at Brooklyn Steel. Check out the rest of the tour dates below.

Tour Dates –
Tickets Here

8/22/22 – Los Angeles, CA @ GRAMMY Museum®

8/31/22 – Nottingham, UK @ Rescue Rooms *

9/01/22 – Brighton, UK @ Chalk *

9/02/22 – Salisbury, UK @ End of the Road Festival

9/03/22 – Bristol, UK @ Trinity *

9/05/22 – Köln, DE @ Bumann & Sohn *

9/06/22 – Hamburg, DE @ Molotow *

9/08/22 – Stockholm, SE @ Slaktkyrkan *

9/09/22 – Oslo, NO @ John Dee *

9/10/22 – Copenhagen, DK @ Loppen *

9/12/22 – Berlin, DE @ Frannz Club *

9/13/22 – Bremen, DE @ Lagerhaus *

9/15/22 – Amsterdam, NL @ Bitterzoet

9/16/22 – Nijmegen, NL @ Merleyn 

9/17/22 – Brussels, BE – Rotonde @ Botanique *

9/18/22 – Paris, FR @ Petit Bain *

9/20/22 – Manchester, UK @ O2 Ritz *

9/21/22 – Cardiff, UK @ Tramshed * 

9/22/22 – London, UK @ O2 Forum *

9/23/22 – Birmingham, UK @ The Castle & Falcon

9/24/22 – Glasgow, UK @ Queen Margaret Union

10/28/22 – Indianapolis, IN @ Hi-Fi Annex &

10/29/22 – Madison, WI @ Majestic Theatre &

10/30/22 – Minneapolis, MN @ First Avenue &

11/01/22 – Chicago, IL @ Metro &

11/04/22 – Buffalo, NY @ Town Ballroom &

11/05/22 – North Adams, MA @ Mass MOCA &

11/06/22 – Boston, MA @ House of Blues &

11/08/22 – Brooklyn, NY @ Brooklyn Steel ^

11/11/22 – Philadelphia, PA @ Franklin Music Hall ^

11/12/22 – Washington, DC @ 9:30 Club ^

11/14/22 – Saxapahaw, NC @ Haw River Ballroom ^

11/16/22 – Charlotte, NC @ Neighborhood Theatre ^

11/17/22 – Atlanta, GA @ Masquerade Heaven Stage ^

11/18/22 – Birmingham, AL @ Saturn ^

11/19/22 – Nashville, TN @ Brooklyn Bowl ^

11/30/22 – St. Louis, MO @ Pageant #

12/02/22 – Ft. Collins, CO @ Washington’s #

12/03/22 – Denver, CO @ Ogden Theatre #

12/04/22 – Salt Lake City, UT @ The Depot #

12/06/22 – Seattle, WA @ Moore Theatre #

12/07/22 – Vancouver, BC @ Commodore #

12/08/22 – Portland, OR @ Crystal Ballroom #

12/10/22 – Oakland, CA @ Fox Theater #

12/11/22 – Santa Ana, CA @ The Observatory #

12/13/22 – Los Angeles, CA @ The Wiltern #

12/14/22 – Phoenix, AZ @ The Van Buren #

12/16/22 – Austin, TX @ Emo’s East #

12/17/22 – Dallas, TX @ House of Blues #

& with support from Lightning Bug

^ with support from Helena Deland

# with support from TOPS

* with support from Francis Delirium

New Video: Jenny Stevens & The Empty Mirrors Share a House Music-Inspired Remix of “Beneath Smooth Waters”

Welsh-born, Finnish-based singer/songwriter and musician Jenny Stevens, a.k.a. The Ukelele Girl is the creative mastermind behind JOVM mainstay outfit Jenny Stevens and The Empty Mirrors, which sees Stevens frequently pairing dark-alt pop with quirky visuals. 

Last year, Stevens released the The Distance Between Us EP, an effort that featured “The River Rolls On,” an atmospheric track that seemed indebted to the likes of Siouxsie and the BansheesThe Cure and Cocteau Twins

Earlier this year, Stevens released “Beneath Smooth Waters” is a slow-burning and brooding track that sees the project adopting a 90s trip hop sound: glistening, reverb-drenched synth arpeggios, sinuous bass lines paired with Stevens’ achingly plaintive vocals. According to Stevens, Bjork’s “Play Dead” and several other tracks were a major inspiration on the song — but to my ears, I’m reminded of Dummy era Portishead

Stevens goes on to explain that the song is “also a literal siren song — don’t go too near the water’s edge . . . “

Electronic music producer Bobby Molloy recently gave “Beneath Smooth Waters” the remix treatment that retains Stevens’ achingly plaintive vocal but places it within an uptempo, deep house music-like production featuring glistening synth arpeggios, tweeter and woofer rattling thump and subtle bursts of industrial clang and clatter.

Featuring footage by Sally Haigh, Rotorvideos.com and Pexels.com and artwork by Pexels.com’s Nadine Sh, the accompanying video for the Bobby Molly remix of “Beneath Smooth Waters” uses some of the imagery from the original video and adds digital animation and artwork, some footage of the creepiest doll I’ve ever seen and more.

Over the course of the past year, I’ve spilled a lot of ink covering British electro pop outfit H2SO4. Formed in Kent back in the late 90s, the act — Graham Cupples (keys, programming), Darren Till (keys, programming) and James Butler (vocals, bass) — features a collection of accomplished musicians: Cupples previously led techno acts Mortal and Code. Till played with Cupples in Code. Butler contributed bass and vocals in indie rock act Lobster, which was once known as Sulpher. 

Initially tracing their origins back to when they started experimenting with a series of remixes, the members of H2SO4 began writing original material that blended electronica, rock and techno paired with a special attention to songwriting. Their debut single, 1998’s “Little Soul,” quickly became popular in their native England — and because of its extremely limited release, a collector’s item.

The trio’s 1999 full-length debut Machine Turned Blues featured the aforementioned “Little Soul,” as well as “I Need Feel,” “The Way I Want,” and “Imitation Leather Jacket,” a track that was a favorite among British DJs that also received radio play here in the States. They supported Machine Turned Blues by playing a series of festivals across the British festival circuit, including Glastonbury — and they played shows in Canada and Chicago.

2000’s Glamtronica saw the British trio further establishing their sound while adding a playful sense of satire to the mix. The act largely disappeared until 2015’s Under Control. They disappeared again until last year’s Love and Death

This year, H2SO4 has been very busy with the release of three singles:

  • Fast Cars,” a swaggering Brit Pop meets Big Beat banger that sonically nodded at the likes of KasabianThe Chemical Brothers and Evil Heat era Primal Scream — and meant to be played as loudly as possible. 
  • Electroworld,” a sleek and slickly produced, club and lounge friendly bop featuring thumping beats, glisteninlg and woobly synth arpeggios and Butler’s insouciant yet sultry delivery paired with the trio’s unerring knack for crafting an infectious, razor sharp hook.
  • Best Shot,” a strutting bop with an infectious hook that nods at Electronic‘s “Getting Away With It” and The Chemical Brothers “Come With Us” but with a chilled out, lounge/salon friendly vibe.

The BassBears remix of “White Light,” is a house music inspired track centered around glistening synth arpeggios, wobbling bass synths, skittering beats paired with Butler’s vulnerable delivery and a rousingly anthemic hook. The end result is a club banger that sonically is a synthesis of In Ghost Colours-era Cut Copy and Balearic house.

Ghent, Belgium-based electronic duo Charlotte Adigéry and Bolis Pupul exploded into the national and international scenes with the release of 2019’s critically applauded David and Stephen Dewaele-produced Zandoli EP, which featured Paténipat” and “High Lights,” tracks that received airplay on UK Radio and were playlisted by  BBC Radio 6

Adigéry and Pupul’s official full-length debut as a duo, Topical Dancer was released earlier this year through Soulwax‘s own label DEEWEE. Co-written and co-produced by Soulwax and the acclaimed duo, Topical Dancer is deeply rooted in two things: The duo’s perspectives as Belgians with immigrant backgrounds with Adigéry proudly claiming Guadeloupean and French-Martinique ancestry — and the wide-ranging conversations the duo have had touching upon cultural appropriation, misogyny, racism, social media vanity, post-colonialism. 

While being a snapshot of their thoughts and observations of pop culture in the early 2020s, the album also further cements their sound and approach: They manage to craft thoughtful songs that bang hard but are centered around their idiosyncratic, off-kilter take on familiar genres take off familiar genres and styles. “We like to fuck things up a bit,” Pupul laughs. “We cringe when we feel like we’re making something that already exists, so we’re always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”  

And as result, Topical Dancer’s 13 songs are fueled by a restless desire to not be boxed in — and to escape narrow perceptions of who they are and what they can be. “One thing that always comes up,” Bolis Pupul says, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.” But they manage to do all of this with a satirical bent; for the duo it’s emancipation through humor. “I don’t want to feel this heaviness on me,” Charlotte Adigéry says. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

In the lead up to the album’s release, I wrote about four of Topical Dancer‘s singles:

  • Thank You,” a sardonic, club banger featuring skittering beats, buzzing synth arpeggios and Adigéry’s deadpan delivery destroying mansplainers and unwanted, unsolicited and straight up dumb opinions and advice from outsiders. 
  • Blenda,” a club banger, centered around African-inspired polyrhythm, wobbling bass synths, skittering beats and Adigéry’s deadpan. Informed by Reni Eddo-Lodge’s Why I’m No Longer Talking To White People About Race, “Blenda” focuses on colonialism and post colonialism through Adigéry’s experience as Black immigrant in an extremely white place. 
  • HAHA,” a track built around a chopped up sample of Adigéry making herself laughed paired with twinkling synths, skittering beats and a relentless motorik groove that feels improvised and unfinished yet somehow simultaneously polished. 
  • Ceci n’est pas un cliché,” a slick dancer floor friendly bop centered around a strutting bass line, finger snaps, skittering beats and glistening synth arpeggios paired with Adigéry cool delivery of clichéd pop lyrics in a series of non-sequiturs that’s surreal yet displays a weird sense of logic.

The song’s title is a winking nods to one of the most copied sentences in art history, originally by Belgian surrealist artist René Magritte. “This song is an accumulation of all the cliché lyrics so often used in pop music. It came about when we were touring and heard a song on the radio opening with ‘I was walking down the street’ which made us strongly cringe,” the duo’s Charlotte Adigéry says. “But the thing is, cringing is a shared passion of Bolis and I. So we passionately made a song out of it called ‘Ceci n’est pas un cliché’. Even more passionately we performed ourselves into a video about all the clichés we see in the magic world of musical genres. The musician in all its glory, capturing momentum and delivering a top notch performance, gazing into the light that’s called inspiration. And so for once and for all, please leave Magritte alone…!”

The acclaimed Belgian duo shared Soulwax’s remix/reworking of “Ceci n’est pas un cliché” simply titled “Cliché.” Soulwax delivers a euphoric the on the Adigéry and Pupul original, pushing up the tempo and energy in a club banger centered around tweeter and woofer rattling four-on-the-floor paired with dense layers of oscillating synths and chopped up samples of Adigéry’s vocals. Much like the original, it’s surreal yet wildly accessible.

Acclaimed Chicago-based post-punk outfit and JOVM mainstays Ganser — founding members Nadia Garofalo (vocals, keys) and Alicia Gaines (vocals, bass) along with Brian Cundiff (drums) and Charlie Landsman (guitar) — can trace their origins back to when its founding members met while attending art school. Bonding over a mutual love of The Residents, outsider communities and the work of John Waters, the duo developed a hands-on DIY craftsmanship that eventually carried into their band: Each member of the post punk outfit shares writing duties and they collaborate on every aspect of their creative work, including videos, album art, merch and the visuals which often accompany their live shows. 

Ganser’s 2018 full-length debut Odd Talk received widespread praise nationally and across the blogosphere with some critics comparing their sound and approach to Sonic Youth and Magazine. Thematically, the album focused on communication breakdowns — namely, the difficulties of being understood, avoidance, intimacy and avoidance. 

2020’s sophomore album, the critically applauded Just Look at That Sky found the members of Ganser thematically probing the futility of striving for self-growth during chorus — all while evoking an all to familiar manic worry and generalized sense of existential dread and doom. It’s an album that seems to accurately captures our slow-burning, omnipresent hellscape. 

Besides last year’s Look at That Sky Remixes EP, the Chicago-based JOVM have been busy working on new material — including their Angus Andrew co-produced, three-song Nothing You Do Matters EP.

Earlier this year, I wrote about “People Watching,” a woozy and expansive ripper that begins with a slow-burning and atmospheric, bass-driven intro before quickly morphing into a feverish thrash featuring slashing guitar attack, relentless four-on-the-four and squiggling bursts of electronics paired with Garofalo’s seething, irony-drenched delivery. 

Arguably the most tense and uneasy song of their growing catalog, “People Watching” captures the mad and desperate senselessness —of well, just about everything right now. 

LIARS’ creative mastermind Angus Andrew recently gave “People Watching,” the remix treatment — and the LIARS remix is bold and mind-bending rework that retains the propulsive energy, rhythm and acerbic vocal delivery of the original but transform the song into a kaleidoscopic, funhouse from hell-like club banger that sounds much like a garbled transmission beamed down from a UFO 20,000 light years away.

“We had worked on the original recording of ‘People Watching’ together at Key Club in Benton Harbor, MI so I was already super entwined with the song,” Andrew explains. “That familiarity gave me a lot of freedom with the remix. My goal was to maintain the great momentum and vocal delivery of the initial recording, but just give it all a big kick in the butt with synths.”

Nothing You Do Matters EP is slated for an October 5, 2022 digital release and a December 2, 2022 vinyl release through Felte Records.

New Audio: Joseph Shabason’s Trippy Re-work of Absolutely Free’s “How to Paint Clouds”

Acclaimed Toronto-based psych pop outfit Absolutely Free — multi-instrumentalist and vocalist Matt King, Michael Claxton (bass, synths) and Moshe Fisher-Rozenberg (drums, synths) — is an offshoot of experimental rock outfit DD/MM/YYYY, an act whose multi-rhythmic, boundary pushing raison d’être provided a springboard for Absolutely Free’s sound and approach. 

Their full-length debut, 2014’s Absolutely Free. received a Polaris Prize nomination and widespread critical applause from the likes of PitchforkThe FADERStereogumBrooklynVegan,Exclaim!Under the RadarPopMattersAllMusic and countless others. 

Over the past decade, the members of the Absolutely Free have cultivated and developed a long-held reputation for an unorthodox approach to both conceiving and performing music: Since the release of Absolutely Free., the Toronto-based psych pop act have released an array of multimedia projects and releases including 2019’s Geneva Freeport EP, which features U.S. Girls‘ Meg Remy. Adding to a growing profile they’ve toured alongside the likes of AlvvaysYouth Lagoon and JOVM mainstays Preoccupations, and they’ve shared bills with Beak>, Unknown Mortal Orchestra, U.S. Girls and Fucked Up

Absolutely Free’s highly-anticipated Jorge Elbrecht-produced sophomore album Aftertouch was released last year through Boiled Records. Deriving its name from a the name of a synthesizer function, the album is fueled by the trio’s desire to “. . . to create an album that wasn’t bound by a physical ability to perform it live, to not only expand our palette, but also to consider the live performance as something completely separate.”

Culling from a myriad of influences including krautrock, New Wave, early electronic dance music, and an array of international psych and funk complications, the album sonically and aesthetically finds the trio shifting in, around and between analog and digital sounds, and real and fabricated images while simultaneously reveling in and refuting the loss of tactility. Thematically, the album explores narratives of hegemony, grief and exploitation in the present while sustaining curiosity for the unknown post-everything future. 

I managed to write about three of the album’s singles:

  • Interface,” a dreamily maximalist song featuring glistening synth arpeggios, percussive and angular guitar blasts, a chugging bass line and an insistent rhythm paired with plaintive vocals that reminded me of  Amoral-era Violens — in particular, “Trance Like Turn.”
  • Remaining Light” is a sprawling track with two distinct parts — a cinematic and atmospheric instrumental introduction featuring twinkling keys, glistening synths and clinking marimba. At around the 2:20 mark, the song slowly morphs into a slow-burning and brooding bit of pop featuring King’s plaintive, reverb drenched vocals ethereally floating over the mix. The end result is a song that — to my ears, at least — sounded like a slick synthesis of The Fixx’s “Sign of Fire” and Amoral-era Violens. 
  • Epilogue,” a slow-burning and reflective track that slowly builds into a maximalist crescendo towards its conclusion centered around a lush, New Wave-like arrangement featuring glistening synth arpeggios, skittering beats, a relentless motorik groove paired with King’s achingly plaintive vocals ethereally floating over the mix. But underneath the breezy and expansive arrangement, “Epilogue” managed to possess a wistful, melancholy air.

Because of their exploratory approach, the members of Absolutely Free have revisited Aftertouch album track “How to Paint Clouds” with How to Repaint Clouds, an eight-track remix effort using on MIDI (Multi-Instrument Digital Interface) files — a digital language that contains harmonic and rhythmic blueprints, but no actual recordings.

“The song’s lyrics reflect upon the transcience of taste and how an artist’s feelings toward their work change over time,” the band says. “When a musician revisits their old songs, new interpretations are informed by changing contexts and evolving preferences. We wanted to stray from traditional modes of remixes based upon manipulating a song’s individual audio tracks, to provide the arftists with an unusual freedom from the original material, to create new sounds and reassemble the motifs of the song.”

The eight remixes interpret the track’s original structures untethered from its instrumentation, across a diverse aesthetic range from dark techno to psych rock. The first remix by Toronto-based musician Joseph Shabason turns the song into an otherworldly, woozy and ambient, New Age-like meditation centered around distorted saxophone bleats paired with twinkling synths.

How to Repaint Clouds is slated for a May 5, 2022 release through Boiled Records and will arrive with a tactile rendering: 20 one-of-a-kind AI-generated cloud painting turntable slipmats.

New Audio: JOVM Mainstay LutchamaK Remixes His Own “Bitrate Scale”

Over the past couple of years, I’ve spilled quite a bit of virtual ink covering French JOVM mainstay LutchamaK.  Now, if you’ve been frequenting this site over the past year or so, you’d recall that LutchamaK started off the year with a remix effort that featured remixes of Threshold album single “Bitrate Scale” by three artists, who liked his work and wanted to create their own takes.

  • DNMK‘s deep house-leaning take on “Bitrate Scale” that features a brooding, murkier air than the original
  • Haalleyck‘s trippy and cosmic take on “Bitrate Scale” centered around thumping kick and glistening and oscillating synths that feels more like a complete rework of the original
  • Darbinyan‘s uptempo, deep house take on “Bitrate Scale” centered around oscillating synths, skittering, tweeter and woofer rattling beats, glistening synth arpeggios, robotic vocodered vocals and euphoria-inducing hooks

The JOVM mainstay contributes his own remix of “Bitrate Scale.” The LutchamaK remix is a subtle one that clocks in a little over a minute shorter than the original while retaining thumping kick but while pairing it with oscillating synths paired with vocodered vocals. Much like the original, it still nods at Kraftwerk but it feels murkier and brooding.

New Audio: JOVM Mainstay LutchamaK Shares Darbinyan’s 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 released an insane array of full-length albums and EPs that saw him experimenting with different sub-genres and styles within electronic music.

In that series of releases, you might remember 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. 

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. So far I’ve written about two of these remakes on Bitrate Scale_rmx:  

  • DNMK‘s deep house-leaning take on “Bitrate Scale” that features a brooding, murkier air than the original
  • Haalleycks trippy and cosmic take on “Bitrate Scale” centered around thumping kick and glistening and oscillating synths that feels more like a complete rework of the original

Darbinyan contributes an uptempo, deep house take on “Bitrate Scale” centered around oscillating synths, skittering, tweeter and woofer rattling beats, glistening synth arpeggios, robotic vocodered vocals and euphoria-inducing hooks. Much like Haallecks’ remix, the Darbinyan remix feels like a complete rework for the original.

New Audio: JOVM Mainstay LutchamaK Shares Haalleycks 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 the 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. Earlier this month, you might recall that I wrote about DNMK‘s deep house-leaning take on “Bitrate Scale” that features a brooding, murkier air than the original. Haalleycks contributes a trippy cosmic take on “Bitrate Scale” centered around thumping kick and glistening and oscillating synths that feels more like a complete rework of the original.

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.