This, the latest track from Shiga-based artist Magical Mistakes, has been online for a little bit now, but it’s a laid-back number that matches up well with the season, the keybaords and wafting vocals just drifting by all lovely like.
“Bright Light” also was remixed by two California-based artists – San Diego’s Illuminauts makes it bass friendlier, but Los Angeles’ Matthewdavid shines with his remix, which stretches “Bright Light” into a seven-minute-long introspection, all the sounds slightly muffled and seemingly turned inwards. Listen to those two takes here.
The 100% Silk label…a relative of American imprint Not Not Fun… are set to start touring around Japan soon, as this handy YouTube video lays out. To celebrate, they’ve released a special 100% Silk CD, featuring some remix work from Sapphire Slows (who is signed to Not Not Fun). She takes on the song “Found You,” originally a collaborative effort between singer LA Vampires and the producer Octo Octa which is a lovely bit of minimal, throbbing disco. Sapphire Slows’ take, unsurprisingly, lets the edges of the song blur together a bit more, LA Vampires’ vocals hanging around a bit longer after each line and sometimes swirling over itself. Her “Found You” remix features plenty of the elements found on her releases, but Slows also makes sure the song still moves, this long-playing track tailored for the dancefloor. Listen below.
In which producer Seiho takes the stage-show swagger of Florence And The Machines’ “You’ve Got The Love” and warps the titular line into a mantra prone to bending. Calling this a remix seems a little off, because Seiho only lifts the vocals out of the original, and only a few lines at that. I don’t blame him – the original seems over the top, and besides Florence and her Machines place just as heavy an emphasis on those four words in quote marks. Seiho shoots for something more chilled out, leaving plenty of space between his beats and synth, allowing Florence’s voice to pop up at a nice clip, sometimes in the mutated form the Osaka producer has become associated with. Listen below.
Posted in Music
Tagged remix, seiho
American artist Teams is the sort of artist one could (unfairly) write off quickly just by glancing at his song titles. “Mile High,” “Based Love” and especially “Seven Daze A Weed” either paint him as a herb-obsessed dude who probably makes the sort of floating tunes everyone loved in 2009 and got sick of in 2010…or it’s a big joke which is even more annoying. Yet recall that “(unfairly)” – turns out Teams is a bit more capable, his music certainly earning the “hazy” description but also being deeper than that, full of shape-shifting samples and constantly being very danceable. Dude also teamed up with Star Slinger to record a pretty great EP last year, so he’s definitely not one to ignore.
Teams is touring Japan this weekend, playing three gigs: Friday night he teams up with White Lily Records (along with help from CUZ ME PAIN) to play Shibuya’s Lush, then the next night he will appear at the release party for Orland’s new album, which is at this place. He then goes to Osaka to play at the latest installment of INNIT. White Lily have put together a special album featuring a few Teams’ tracks along with some remixes of said numbers by Japanese musicians, including the rock outfit Nag Ar Juna, CUZ ME PAIN project White Wear and producer The Pegasuss. Solid stuff, which you can hear below (or buy, physically, around Tokyo).
It took me a few listens to even hear any hint of the New House track on this, HNC’s “remix” of “He Howls” off of that Tokyo band’s Burning Ship Fractal from earlier this year (remember that album?). The original version of “He Howls” is a plenty-good song, a squiggly highlight from an inconsistent album – on Fractal, “He Howls” is followed by three cloudy ambient songs, which end the LP on a weak note. HNC, though, only takes some of the vocals (I think…anything else is so subtle as to be unimportant) from the original, practically using this remix assignment as an excuse to showcase what is, for all purposes, an original song sampling New House.
Last year’s thrillingly paranoid “I Dream I Dead” signaled a sea change for HNC. She spent the prior decade making hyper-cute twee pop, sometimes to the point of toothache. Yet “Dead” showcased a radical departure, cutesy noises and kazoos discarded in favor of suffocating synths and existential dread. “He Howls (HNC’s Dreamin Mix)” highlights a new stylistic wrinkle for HNC – this track is pure sample-delica, more than one person I know saying “she sounds like The Avalanches” which is pretty high praise. She’s been slowly moving into this direction over the past year – I’m told that, at a recent live show, she samples Washed Out’s “Feel It All Around” and bled it into “I Dream I Dead” – and “He Howls” shows how glorious it can be. What makes this such a good track is how restless HNC gets – she never just sticks with one samples (the meaty part early on, where a sample dances around the New House vocals, could have been milked even longer and worked OK) but instead jumps all over the place, going from giddy girl-group samples to darker jaunts to who knows what else. Calling this a remix seems unfair. Listen below.
In theory, this shouldn’t be noteworthy – Japanese producer takes track from British pop star, replaces the club-friendly elements with 8-bit noises while keeping the sticky sweet chorus intact. That’s what Fukuoka’s Breezesquad did with Little Boots’ “Shake,” removing nearly everything from the original save for the vocal track, and sticking that inside an NES. Should be a bit too gimmicky, yeah?
Nope, because Breezesquad’s take stands toe to toe with the original cut, and after a few listens I personally like the 8-bit version a bit better. Little Boots’ original really gets kicking when the chorus comes around, but everything surrounding that moment sounds too much like generic dance music, as if Little Boots’ decided what her career needed was to be dipped into the world of English electronic dance music. Breezesquad’s video-game fascination, though, manages to be more consistently engaging before the chorus…which, again, still works even when placed on top of something that could be out of Bomberman – with all the pixelated burps going off in all sorts of directions. Listen below.
The CUZ ME PAIN roster always finds a way to keep themselves busy. The four primary projects of the Tokyo label – Jesse Ruins, The Beauty, :visited and MASCULiN – will contribute remixes to the Japanese version of Spanish artist Linda Mirada’s forthcoming album. The first of these remixes has popped up online – MASCULIN’s take on “Secundario” (hear the original here). Mirada’s take is on a Nite Jewel trip, dancey pop made out of second-hand synths and a surprisingly gripping voice. MASCULiN turns it into a fuzzy banger, Mirada’s vocals bubbling just underneath the party-starting beats and the squiggly electronics. Everything blurs a bit too close together late in the song, but that portion ends up being brief enough as not to really hurt the body-moving memories of a few seconds before. Listen below.
Posted in Music
Tagged masculin, remix