Tag: remix

Thundercat · Dragonball Durag (Remix) [feat. Guapdad 4000 & Smino]

Throughout the course of this site’s almost 10 year history  I’ve managed to spill quite a bit of virtual ink covering the critically applauded, Grammy Award-wining singer/songwriter, bassist and JOVM mainstay artist Stephen “Thundercat” Bruner. Bruner has long been a Brainfeeder Records cornerstone, releasing critically applauded material including  Golden Age of Apocalypse, 2013’s Apocalypse, 2015’s The Beyond/Where Giants Roam EP and 2017’s Drunk while also establishing himself as a highly sough-after collaborator, contributing to Kamasi Washington’s aptly titled 2015 effort, The Epic and to Kendrick Lamar‘s 2016 commercial and critical smash hit, the Grammy Award winning To Pimp A Butterfly. And in 2018, he teamed up with Flying Lotus to compose an original score for an episode of Donald Glover’s Golden Globe and Emmy Award-winning TV series Atlanta.

Drunk, Bruner’s most recent album was conceived and written as an epic journey into the bizarre, hilarious and sometimes dark mind of the Grammy Award-winning singer/songwriter and bassist, but importantly, the album represented a major career transition — from virtuoso bassist and collaborator, to globally recognized star while further cementing his reputation for arguably being one of the past decade’s most unique, genre-defying voices. Thundercat’s fourth full-length album, the Flying Lotus-produced It Is What It Is was released earlier this year through Brainfeeder Records. Much like its immediate predecessor, the album features a who’s who list of collaborators and guest spots from the likes of Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, The Internet‘s Steve Lacy, Slave‘s Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox among others.

“This album is about love, loss, life and the ups and downs that come with that,” Bruner says in press notes. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

It Is What It Is‘ second single, “Dragonball Durag” is a mid-tempo strut of a song centered around Bruner’s chunky and wobbling bass lines and his velvety falsetto — and while recalling Quiet Storm-era funky soul, the song is mischievous and funny song that details its creator’s sense of humor and obsession with Dragon Ball Z and the confidence boosting power of the durag.

“I have a Dragon Ball tattoo… it runs everything. There is a saying that Dragon Ball is life,” Bruner explains. As for the durag: “There are two types of people in the world, the guy with the durag and the guy who doesn’t know what a durag is. The durag is a superpower, to turn your swag on… it does something, it changes you. If you have one in the wardrobe, think about wearing it tonight, and it may pop off because you never know what’s going to happen.”

Thundercat’s fourth album was released to widespread critical applause earlier this year and continuing the momentum as best as he could in light of pandemic-related lockdowns, the JOVM recently released a remix of “Dragonball Durag,” that features St. Louis emcee and vocalist Smino and Los Angeles-based emcee, vocalist, creative and like-minded anime fanatic Guapdad 4000. Smino is the co-founder of the Zero Fatigue collective, which features Bari, Monte Booker, Jay2 and Rayvn Layne — and he’s a member of of Ghetto Sage with Saba and Noname. Gaupdad 4000 and Smino are also members of hip-hop supergroup Zoink Gang with JID and Buddy. So all of these brothers are insanely busy. As far as the remix, it’s a straightforward take on the song that with the addition of Guapdad and Smino’s verses, add a new and ridiculous context to the song.  The swag is more, the fuckboi assholery is more and it’s fucking hilarious.

 

 

 

whypeopledance · PRÉMIÈRE: Agnès AOKKY – Les Poissons-Chats (Hologram Teen’s Ottawa Disco Dub Remix)

 

Agnés Aokky is a French-born singer/songwriter and DJ — and as a songwriter, Aokky doesn’t spare puns or self-mockery to express the rapid changes of her emotions. The French artist has worked with a number of acclaimed indie and underground producers including Maxime Komori and Computer Truck. Nah Like, another up-and-coming producer recently released a remix of  “Rose Bonbon Baby,” which appeared on the Manifesto XXI compilation Open Source.

ManifestoXXI · Agnès Aokky – Rose Bonbon Baby (Nah Like Edit)

Earlier this year, the emerging French artist released “Les Poissons Chats,” a slow-burning and trippy track featuring several different musical sections, centered around twinkling keys, soaring strings, wobbling, wah-wah pedaled guitar, and Aokky’s brooding yet cooed vocals. Thematically, the song finds its narrator remembering and rehashing moments fueled —  and typically forgotten or fucked up — by alcohol.

Recently, Stereolab’s Morgane Lhote, best known as Hologram Teen released a shimmering disco dub remix centered around a motorik groove, shimmering synth arpeggios, subtly African polyrhythm, twinkling keys and atmospheric electronics. And while being dance floor friendly, the track possesses a lysergic air.

 

San Antonio-based duo The Holy KnivesNew Orleans-born, San Antonio-based siblings Kyle and Kody Valentine — derive their name from a combination of two of their favorite works of art: Alejandro Jodorowsky’s The Holy Mountain and Frank Stanford’s The Singing Knives. Both works — although in very different media — conjure a flood of beautiful, thought-provoking imagery while centered around a fearless quest for truth through the irrational that the duo strive to capture in their own work.

Inspired by Portishead, Leonard Cohen, Arctic Monkeys and Timber Timbre, the San Antonio-based duo specializes in an eerily cinematic sound featuring Western-inspired soundscapes and downtempo grooves to create a sound that sounds as though it could be part of an episode of Twin Peaks or True Detective. The duo’s latest EP Always Gone was released as a series of singles earlier this year — and the band will continue to release a song a month for the remainder of the year.

Recently, The Kills‘ Jamie Hince remixed, the brooding EP single and title track “Always Gone” — and his touch manages to be subtle: it retains the song’s brooding atmospherics, and sonorous baritone but while gently pushing the pace up a bit with some subtly industrial-like boom bap beats and an extra layer of shimmering reverb. Interestingly, both the original and the remix manage to remind me of Daughn Gibson’s work — eerie, brooding and seemingly haunted by lingering, old ghosts of regret and despair.

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.

 

Deriving their name from a playful, Anglophile nod towards the famed physicist Issac Newton, the Paris-based electro pop act Isaac Delusion —  founding members and creative core Loïc Fleury (vocals, guitar) and Jules Paco (keys) — was formed back in 2010. With the release of 2014’s self-titled debut effort, the act received attention for a sound and approach that meshed the acoustic instrumentation with a bold use of electronics — while nodding a bit at dream pop.

The duo then toured exclusively across France and the rest of the European Union to support their full-length debut. Interestingly, 2017’s sophomore effort Rust & Gold found the duo’s sound shifting from the ethereal and atmospheric dream pop of its immediate predecessor with the material focusing on tangible emotions, soulful rhythms and insightful observations on one and the human condition.

The Paris-based electro pop’s first two albums have managed to amass over 500,000 Spotify streams a month. Building upon a rapidly growing profile across their native France and elsewhere, the act played Pitchfork Paris, as well as sold-out headlining shows at venues like  L’Olympia and Elysee Montmarte.

Microqlima Records released the French duo’s third album uplifters last year. Thematically, the album was centered around misplaced nostalgia for one’s long-passed youth, As a result the album’s material is imbued with a longing for the freedom, simplicity and unguarded honesty of their younger selves — and regret for the missed opportunities you can never get back. And much like its predecessors, uplifters‘ material was written and sung primarily in English with a handful of songs written and sung in their native French.

Album single “pas l’habitude” was one of the few album tracks written and sung in French. While the song is a breezy synth pop song, centered around shimmering synth arpeggios, plaintive and dreamy vocals, a sinuous bass line and an infectious hook — but the song’s breezy and easygoing nature is superficial: the song is actually an achingly bittersweet ode to the proverbial loss of innocence and getting older. Life and its ambiguity after all, will break your heart countless times over. It’s up to you to pick up the pieces and move forward.

Franc Moody is a London-based electro pop collective, centered around its core duo and creative masterminds Ned and Jon. Jon comes from a family of classical musicians and as  result, he grew up surrounded by oboes, cellos and violins. Ned grew up listening to the music that his parents played on car trips — classic soul, 50s/60s New Orleans music, Chuck Berry, Little Richard and Eddie Cochran. “I loved the melody and the groove of that music, but I think really I loved the energy of it as well,” Ned explains in press notes.

The London-based collective’s core duo met when they ere part of a a collection of bands and musicians, who took over an abandoned warehouse in North London back in 2014. “It was called the Arch,” Jon recalls. “When we moved in, it was bare bones concrete walls. A horrible place basically. We built these two analogue recording studios. There were old microphones, hammered organs, and beaten up guitar amps. It was quite craggy.”

The Arch quickly became known for raucous and packed live shows and parties that went well into the night, with live bands frequently getting on around 3am. We’ve all been to similar parties: there’s no bouncer, one port-a-potty with a line of being desperately waiting to pee but the vibe is amazing. Interestingly, Ned and Jon cut their teeth as live musicians in that environment. “We learned to love performing music that made people dance, in the same way those old funk and soul artists used to,” Ned explains. “In fact, what we were doing at the warehouse was sort of in a similar tradition to the Zydeco sessions and crawfish boils around South Louisiana, purely focused around dancing. It was quite simple.”

Franc Moody started in earnest when the duo moved out of The Arch and began to focus on a project that meshed their various influenced. No longer living in the warehouse, they struggled to find a space big enough to fit a drum kit. Instead, they stated programming drums and an electronic aesthetic began to permeate through their older influences.

Their debut effort, 2016’s self-titled EP consisted of a series of Giorgio Moroder-like instruments; but their breakthrough single, the critically applauded “Dopamine” found the band truly establishing their sound: a disco-tinged sound that was subtly indebted to Prince. Building upon a growing profile, the duo released their sophomore EP, 2018’s Dance Moves which eventually amassed over 20 million streams.

They’ve also developed a mesmerizing live sound, inspired by the warehouse rave scene that they came up in — and those live shows find them surrounded by a cast of collaborators and friends as their backing band. In fact, they’ve opened for Friendly Fires  and a number of other acts. Recently, the London-based electro pop collective remixed “pas l’habitude.” And while they retain Loïc Fleury’s achingly plaintive French vocals, they turn the song into Random Access Memories-era Daft Punk like club banger, centered around a sinuous bass line, shimmering synth arpeggios and four on the floor drum programming.

 

Earlier this year, I wrote about Mighty Mouse, a rapidly rising electronic music producer, electronic music artist and DJ, who has built and developed a reputation for an innovative take on electronic music — and for energetic, eclectic DJ sets. Last year, he released a series of remixes and edits, including a house music-like edit on ABBA‘s disco-era classic “Lay All Your Love On Me,” which retained the song’s memorial vocal and infectious hook.

Mighty Mouse’s latest edit, finds him taking on Otis Clay’s upbeat, disco soul anthem “The Only Way Is Up.” Interestingly, the rising electronic music producer, electronic music artist and DJ’s edit, manages to give the song a decided Kool and The Gang-like vibe while extending the song’s infectious groove.

 

Earlier this month, I wrote about JackLNDN, a rapidly rising London-born and-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer, who can trace the origins of his music career to when he was a boy: he grew up in a hone in which his family almost exclusively to jazz, funk and classical music in equal measure. When he was 7, he sang in professional choirs — and by the time, he was 10, he had met Queen Elizabeth and recorded material at Abbey Road Studios.

With the release of attention grabbing tracks like “The Feels,” “Never Get Enough,” “Start Over Again” and “All I See,” the British electronic music artist and producer established a unique sound and approach in electronic music/deep house: he contributes his own vocals to his productions, which are frequently indebted to jazz and house music. Building upon a growing profile in electronic music circles, the British artist and producer released his full-length debut Thoughts last year.

Now, as you may recall, since the release of his full-length debut, JackLNDN enlisted two of his favorite electronic music artists and producers — Fluida and Frameworks — to remix two of Thoughts songs. Fluida’s euphoric, drum ‘n’ bass-leaning remix of “With You” was centered around propulsive tribal beats while retaining the shimmering synth arpeggios, gorgeous melody and sinuous hook. Thoughts track “Unknown” was centered around shimming and arpeggiated keys, thumping polyrhythm, a trippy vocal melody and a crowd pleasing populist vibe. Interestingly, Frameworks’ remix of “Unknown” features layers of shimmering synth arpeggios, chiming percussion — and while retaining familiar elements of the original, it gives the song a mediative, world music feel.

 

 

 

Born Matthew Haymes, Mighty Mouse is a rapidly rising electronic music producer, electronic music artist and DJ, who has built and developed a reputation for an innovative take on electronic music — and for energetic, eclectic DJ sets. Last year saw Haymes release a series of remixes and edits: interestingly, one of his biggest edits of the past year, found the rising electronic music producer, artist and DJ taking on ABBA‘s disco-era classic “Lay All Your Love On Me,” which retains the song’s memorable vocal and infectious hook while placing it within a propulsive and contemporary production, featuring tweeter and woofer rocking beats and trippy drops and electronic effects.

Mighty Mouse will be embarking on a short North American tour that includes a NYC area stop at Public Arts on January 9, 2020. Check out the tour dates and ticket links below.

Tour Dates
9th January 2020 – Public Arts, New York (US)TICKETS
 
10th January 2020 – BackBar, Washington DC (US)TICKETS
 
12th January 2020 – Gitano, Tulum (Mexico) TICKETS

New Video: Italian-French Electronic Artist Kaouenn Releases a Feverish and Psychedelic Visual for John Delive’s Remix of “Les Hiboux”

Initially starting his career in the early 2000s with stints in acts like Butcher Mind Collapse, Lebowski and Jesus Franco and The Drogas, the mysterious Italian-born, French-based multi-instrumentalist, singer/songwriter, producer and electronic music artist behind the acclaimed electronic music project started Kaouenn started the project in 2014. With the release of 2016’s critically applauded, eponymous debut, Kaouenn developed a unique take on electronic music that draws from psychedelia, post-punk, trip-hop, New Wave, exotica and the blues — and for a multi-sensory and hypnotic live show. 

Inspired by and adapted from Charles Baudelaire’s “The Owls,” a poem that the Italian-born, French-based artist says highlights the ambivalent nature of these animals, which are often viewed as ancient and mysterious idols that possess a wisdom that the average person does not have — while also being the symbol of darkness, album single “Les Hiboux,” is an industrial-leaning take on the blues. Centered around thumping beats, electronic bloops, bleeps and clicks, synth arpeggios and enormous power chords, the song — to my ears, at least — manages to recall Black Strobe’s “Boogie in Zero Gravity,” complete with a sophisticated yet sleazy air. Recently, John Delive, a rapidly rising producer, who made a name from himself in Rotterdam’s techno and trace scenes before relocating to Barcelona, recently remixed “Les Hiboux.” And while retaining, the bluesy power chords and industrial vibes, Delive gives the song a subtle yet propulsive house music sheen, which gives the song a club friendly air.  Directed by Fabio Cotichelli, the recently released video for the John Delive remix of “Les Hiboux” is a psychedelic fever dream set to a propulsive motorik-like groove. 

I’ve written a bit about the Asheville, NC-based goth/post-punk act Secret Shame over the past year. And as you may recall, the act — Lena (vocals), Nathan (drums), Nikki (guitar), Matthew (bass) and Billie (guitar) — formed in 2016, and can trace its origins to the desperate need that its members felt to create. “If I couldn’t sing or play music, I would tear my skin off.” the band’s front person Lena explains in press notes. Shortly after their formation, the band released their self-titled debut EP, which quickly established the band’s dark and atmospheric sound paired with lyrics that thematically touch upon issues of domestic abuse, mental health, political and social dissatisfaction and frustration. 

The Asheville-based act released their full-length debut Dark Synthetics to critical acclaim earlier this year, while further establishing their sound — an enormous, reverb heavy sound seemingly influenced by Siouxsie and the Banshees and 4AD Records. Building upon the growing momentum the band has received since the release of their full-length debut, the members of the band went on a short tour to support the album, which included an apt Friday the 13th stop at The Broadway and a Halloween set that featured Joy Division covers. Along with that, the rapidly rising post punk act recently announced a series of remixes of Dark Synthetics material they’ll be releasing while they return to the studio to record new music slated for release next year.

The first remix of the series, found XOR turning the guitar-led “Calm” into an icy and industrial synth banger, centered around shimmering synth arpeggios, stuttering beats while retaining the song’s intensity, vulnerability and ache, and Lena’s powerhouse vocals. The second and latest remix finds the Richmond, VA-based producer and engineer Ricky Olson, who writes, records and performs as Skinquarter turning the Siouxsie and the Banshees-like “Haunter” into a icy synth-driven club banger that’s one part early Depeche Mode and one part moody house music.