I know it’s Sunday but GET UP! Got some MASSIVE goodies for you today and there will be some other cool items coming soon… With the addition of five new writers, we’ll now have the freedom to do things like articles, music video previews…and tech reviews, like the one for the Red Bull iPad DJ app I’ll be doing in the next couple of days. This means there might also be some site redesign happening in the next few months. Damn, changes everywhere, but change is good.
I wanted to post these mixes the other day. I’ve been inundated with emails about this Anjulie track “Brand New Bitch” but too bad for her all the attention is on the remixes rather than the original…which sounds like every other generic pop tune out there with a music video that’s Saw meets Kylie Minogue. They got it spot on with the remixers though – Black Cards brings scratchy, turbulent synth work that drops into dubstep while Laidback Luke does his LL thing with large, festival-proportion melodies, atmospheric reverb and a breakdown that isn’t a breakdown at all, but really one giant build up.
It’s been a minute since we’ve heard from Risk One, a favorite on this site. He’s apparently been busy as he sent over a massive pack of bootlegs for us to get our paws on. I’ve picked out four for you to nab below though my favorite is his rework of Calvin Harris’ “Awooga”, which inserts a small vocal and chops up the melodic hook, only using the bits recognizably on the breaks. It actually lies underneath the synth on the main part of the track as well, but quite cleverly.
I’m such a Dada Life fan – they always deliver whether it’s with their mixtapes, originals, or in this case, remixes. The newest in their Guerilla Fart series attacks David Guetta’s “Little Bad Girl” and for me, finally makes the track palatable. A fab example of sticking with a simple hook and making it work, this remix features a wild, intense and loopy mainline that completely dominates the soundscape. I could almost care less if the vocals were taken out. Actually…Dada Life…could you resend this to me as an instrumental? Pretty please?
Enferno delivers a solid remix of Jay Z & Kanye West, that almost verges on being over produced. While I love elements like the overly long and dramatic breakdown and the slowly ascending synth that builds tension, some of the drums sound awkward in the mix and effects like the record stop into the break appear trite. That being said, it still gets a thumbs up from me.
This complextro-type remix of Lily Allen’s “Him” by Sound Remedy verges on droning, but is saved by Allen’s lyrics. The break is by far the best portion of the tune, with her lilting lyrics set against video game power-up type noises. It then goes into a dubstep portion where the lyrics unfortunately nearly fade away completely and they are instead desperately needed. I’d love to see a version that incorporates Allen throughout…it just seems like one element is missing.
Revolvr kills it on this mashup of Tiesto, Bassjackers and Adele called “C’mon Rollin In The Mush”. It turns Adele into a bad ass bitch instead of a jilted lover as she belts it out over a combination of the two anthems. Really well done and will be a crate keeper for sure.
To be honest, I’ve been iffy on the production I’ve been sent from The Knocks. The ideas behind the remixes are great, the content drool-worthy, but the actual production part usually seems to be lackluster. Don’t get me wrong – I love these guys and have seen them live several times. This mix of St. Lucia’s “The Old House Is Gone” reinstates my faith in the fun-loving duo. I still take issue with a couple elements here and there, but I’m a picky beyotch. It’s such a happy tune, with bright, uplifting notes, soft pads swimming throughout and St. Lucia’s melancholy vocals pleading over the top.
In celebration of their new album out September 26th on Southern Fried, The Whip decided to give away this Blue Satellite remix of their tune “Keep Or Delete”. It delivers a smoother, though still intensely electro-laden vibe. With echoed crashes, moody pads abounding and stabs of huge church choir-esque noises, it’s a beautiful alternative to the original that still ups the ante for the dance floor.