https://soundcloud.com/theglitchmob/sets/drink-the-sea-10
It's beautiful and I am so sad this tour did not happen.
It's beautiful and I am so sad this tour did not happen.
https://www.youtube.com/watch?v=hEUs9rwNFcs&ab_channel=TheGlitchMob
The 2020 Remaster of "Drive It Like You Stole It" is solid and smooth. This is one of my favorite tracks not just from Drink the Sea but from their entire catalog. It's definitely a "turn up to 11" track.
The 2020 Remaster of "Drive It Like You Stole It" is solid and smooth. This is one of my favorite tracks not just from Drink the Sea but from their entire catalog. It's definitely a "turn up to 11" track.
https://www.youtube.com/watch?v=NflgXN2oekM&app=desktop&ab_channel=Sophistefunk
Thing 2 found this and sent it to me. From 2010 it's a funk/hip-hop reinterpretation of Glitch Mob's Drink the Sea. This year should have been the Mob's 10th-anniversary tour and they are going to release the full album of remixes next month.
This "mixtape" covers several of the Drink the Sea tracks and I'm pretty sure I've heard one or two before but never the entire set. Well worth it.
Thing 2 found this and sent it to me. From 2010 it's a funk/hip-hop reinterpretation of Glitch Mob's Drink the Sea. This year should have been the Mob's 10th-anniversary tour and they are going to release the full album of remixes next month.
This "mixtape" covers several of the Drink the Sea tracks and I'm pretty sure I've heard one or two before but never the entire set. Well worth it.
Glitch Mob remixes themselves
Nov. 15th, 2020 08:02 pmhttps://www.youtube.com/watch?v=_LtQJHmW-lc&ab_channel=TheGlitchMob
They've been slow-dripping these out to their channel. It is really interesting to see how much their skills have evolved over the years. This is one of my favorite of their tracks and the remix is simply stunning.
They've been slow-dripping these out to their channel. It is really interesting to see how much their skills have evolved over the years. This is one of my favorite of their tracks and the remix is simply stunning.
Friday night we engaged in an unwitting socio-anthropological experiment. What I thought we were doing was going to a club venue to see the members of Glitch Mob DJ. All three have experience as DJs before and their work includes some nice covers and remixes so I figured it'd be interesting to see them doing some of this live and more freeform. Nice theory, eh?
First clue is that the venue didn't open until 10PM. But we gamely got there early and were in line. That ended up being fortuitous as we got a table that allowed us both a good view of the stage and to have our backs to a large pillar. Generally also with room to dance, about which more later.
We sort of figured there'd be some kind of opening act. What we hadn't counted on was that the "opener" would go on for 2.5 hours and Glitch Mob wouldn't come to the stage until midnight-thirty. To make matters worse, the opener was... bad. I mean, he started off with some passable generic techno and then went off into awful repetitive crap. Thank goodness for earplugs.
Glitch Mob did start off well and other than a couple of interludes of discordant noise they did generally what I'd hoped for - playing their own stuff live mixed and several of the things that they traditionally cover (e.g. Prodigy, Seven Nation Army). They were still going when we finally decided to call it quits at something like 1:45. I am seriously too old for this, even if I did dance more in those two hours than I have at most events in the past year. Seriously, there's something insanely awesome about a live mix of "Our Demons" which is one of my favorite of their tracks that they don't do a lot at their live shows anymore (https://www.youtube.com/watch?v=VkvOLB7Yzhs)
The preceding two hours were an amazing adventure into a scene that is so Very Not Me. I can't even begin to catalog all the social/anthropological weirdness involved. Some highlights:
- we discovered Pygment has the power to attract cute chicks whereas I attract crazy Russians and crazy Asians. Don't even ask.
- we discovered that for a mere $900 you could get a "VIP table" for yourself and up to 9 friends. Purchasing this amenity gets you a small table in the center of the floor roped off from the riff-raff, a large metal tub of dry ice containing a bottle of champagne, a giant bottle of vodka, and an assortment of traditional mixers such as OJ. Oh and the presence of a scantily dressed extremely conventionally attractive female who will pour said drinks for you and your companions. No room to dance - you're there to see and be seen. And when I say "scantily clad" I mean "butt floss and a top that is too small to hold a cell phone so she had to put it into her waistband."
- we saw only a couple of folk we knew; usually at a Mob show I'd expect to see around a dozen.
- there was ample eye candy of many genders, all of it far too young for me. The security dude at the entry amused me by calling me "young man" despite being more than a decade my junior. I did see a couple of folk who were around my age but this kind of club night is clearly a young person's game.
- and then there was the guy with the dishplate pupils who had UV-glow paint on his face and left the tubes on our table for a bit so we could test it out. Nice concept but the tube paint came out in such a thick amount that it was impossible to paint anything like a shape with it.
- and then there was the guy who kept putting down his pair of drinks on our table so he could text with whoever (you needed to order two drinks to hit the $20 minimum for using a credit card; clever trick, that).
And more. It was definitely an interesting experiment but it's not something I'm likely to repeat, even for the Mob.
First clue is that the venue didn't open until 10PM. But we gamely got there early and were in line. That ended up being fortuitous as we got a table that allowed us both a good view of the stage and to have our backs to a large pillar. Generally also with room to dance, about which more later.
We sort of figured there'd be some kind of opening act. What we hadn't counted on was that the "opener" would go on for 2.5 hours and Glitch Mob wouldn't come to the stage until midnight-thirty. To make matters worse, the opener was... bad. I mean, he started off with some passable generic techno and then went off into awful repetitive crap. Thank goodness for earplugs.
Glitch Mob did start off well and other than a couple of interludes of discordant noise they did generally what I'd hoped for - playing their own stuff live mixed and several of the things that they traditionally cover (e.g. Prodigy, Seven Nation Army). They were still going when we finally decided to call it quits at something like 1:45. I am seriously too old for this, even if I did dance more in those two hours than I have at most events in the past year. Seriously, there's something insanely awesome about a live mix of "Our Demons" which is one of my favorite of their tracks that they don't do a lot at their live shows anymore (https://www.youtube.com/watch?v=VkvOLB7Yzhs)
The preceding two hours were an amazing adventure into a scene that is so Very Not Me. I can't even begin to catalog all the social/anthropological weirdness involved. Some highlights:
- we discovered Pygment has the power to attract cute chicks whereas I attract crazy Russians and crazy Asians. Don't even ask.
- we discovered that for a mere $900 you could get a "VIP table" for yourself and up to 9 friends. Purchasing this amenity gets you a small table in the center of the floor roped off from the riff-raff, a large metal tub of dry ice containing a bottle of champagne, a giant bottle of vodka, and an assortment of traditional mixers such as OJ. Oh and the presence of a scantily dressed extremely conventionally attractive female who will pour said drinks for you and your companions. No room to dance - you're there to see and be seen. And when I say "scantily clad" I mean "butt floss and a top that is too small to hold a cell phone so she had to put it into her waistband."
- we saw only a couple of folk we knew; usually at a Mob show I'd expect to see around a dozen.
- there was ample eye candy of many genders, all of it far too young for me. The security dude at the entry amused me by calling me "young man" despite being more than a decade my junior. I did see a couple of folk who were around my age but this kind of club night is clearly a young person's game.
- and then there was the guy with the dishplate pupils who had UV-glow paint on his face and left the tubes on our table for a bit so we could test it out. Nice concept but the tube paint came out in such a thick amount that it was impossible to paint anything like a shape with it.
- and then there was the guy who kept putting down his pair of drinks on our table so he could text with whoever (you needed to order two drinks to hit the $20 minimum for using a credit card; clever trick, that).
And more. It was definitely an interesting experiment but it's not something I'm likely to repeat, even for the Mob.
Glitch Mob at House of Blues, with Elohim opening - more about her below, too. This is the fifth or sixth time we've seen the Mob and although the show wasn't bad, it was probably the weakest show of theirs we've seen.
- Their energy level seemed low throughout. I realize they're on a long tour, but they just seemed stuck in first gear for about the opening 15 minutes. Eventually they hit "Our Demons" and seemed to find their stride. The encore, which included several of their popular hits, finally reached the energy level I'm used to seeing.
- Not enough drumming. The improved Blade is fun to see and I like the way it lights now, but one of the things that makes Mob shows special is the improvisational drumming. It's not Taiko, but they're good. This time they barely touched the big drums.
- A surprising lack of tracks from the new album. Usually when a band tours in support of a new album you get a majority of content from the new stuff, with some favorites mixed in. This time they did only 3-4 of the new tracks (anyone have a setlist? finding one online among the generic search engine results is eluding me.)
- They skipped several of the best tracks from their back catalog with vocals. Our Demons of course has Aja Volkman, and they did "I Could Be Anything" with Elohim live but that was about it. In past shows they've played behind recorded vocals and it's been a real treat.
I also have to complain that the Mob has fallen into the "let's shine bright lights into the audience eyes" camp. Seriously, cut that entirely the fuck out. Watching the Blade play and the drumming is a big part of what I'm here for and I can't see shit with that in my eyes.
All that said, still worth the time and money. Will see again. Just a 3-star performance rather than the usual 4 or 5.
Elohim is worth mentioning. I was looking forward to her set and she mostly didn't disappoint. I like her music (which is sort of the EDM equivalent of bubblegum pop) and her moves are good, as is her mic patter. My biggest problem with her set is that I think the mix was bad - much of the keyboard sound was in the same range as the vocals so she was very hard to understand. HoB sound is usually quite good, so I don't know what to make of that. If she makes it back this way I will likely try to see her again - she's got a very positive vibe going.
- Their energy level seemed low throughout. I realize they're on a long tour, but they just seemed stuck in first gear for about the opening 15 minutes. Eventually they hit "Our Demons" and seemed to find their stride. The encore, which included several of their popular hits, finally reached the energy level I'm used to seeing.
- Not enough drumming. The improved Blade is fun to see and I like the way it lights now, but one of the things that makes Mob shows special is the improvisational drumming. It's not Taiko, but they're good. This time they barely touched the big drums.
- A surprising lack of tracks from the new album. Usually when a band tours in support of a new album you get a majority of content from the new stuff, with some favorites mixed in. This time they did only 3-4 of the new tracks (anyone have a setlist? finding one online among the generic search engine results is eluding me.)
- They skipped several of the best tracks from their back catalog with vocals. Our Demons of course has Aja Volkman, and they did "I Could Be Anything" with Elohim live but that was about it. In past shows they've played behind recorded vocals and it's been a real treat.
I also have to complain that the Mob has fallen into the "let's shine bright lights into the audience eyes" camp. Seriously, cut that entirely the fuck out. Watching the Blade play and the drumming is a big part of what I'm here for and I can't see shit with that in my eyes.
All that said, still worth the time and money. Will see again. Just a 3-star performance rather than the usual 4 or 5.
Elohim is worth mentioning. I was looking forward to her set and she mostly didn't disappoint. I like her music (which is sort of the EDM equivalent of bubblegum pop) and her moves are good, as is her mic patter. My biggest problem with her set is that I think the mix was bad - much of the keyboard sound was in the same range as the vocals so she was very hard to understand. HoB sound is usually quite good, so I don't know what to make of that. If she makes it back this way I will likely try to see her again - she's got a very positive vibe going.
New Glitch Mob!
https://soundcloud.com/theglitchmob/how-could-this-be-wrong
They're coming to Boston, House of Blues. We have tickets.
https://soundcloud.com/theglitchmob/how-could-this-be-wrong
They're coming to Boston, House of Blues. We have tickets.
Once upon a long ago I used to merrily blog music. Yay, it was fun. Sometimes people would leave comments telling me they liked this or that or otherwise indicating that I wasn't just blogging into the void. That's always nice.
Then![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
mizarchivist pointed out that LJ has these things called "tags" and I could tag my music entries. This is helpful to know what's going on, and particularly helpful for back-reference and finding things that are particularly notable. Eventually I got enthusiastic enough to go back and tag my existing couple years' worth of music entries... at which point I promptly ran out of tags. This more than anything else prompted me to move to a paid LiveJournal account because I needed more tags. All is fine until the company owning LJ decides to move the servers into Russian airspace and I decide it's time to move over here to DreamWidth. Which, I shall not bore you with details, will not allow me to have unlimited tags, even if I do pay them.
For a while this has stymied me. I really like the convenience of being able to go back and revisit things I've blogged in the past, and I blog a lot of new artist/DJs in a given month so the list of tags grows with no obvious way to condense them. I'm tired of being stymied though and it finally penetrated my thick skull that this convenience I've grown used to is just that, a convenience. I don't actually have to tag music entries in order to write them. So I'm going to start blogging music again, only with erratic-to-nonexistent tagging. You've been warned.
I realized this because I have re-remembered (I keep forgetting, somehow) that music is important in my relationships. Intimate, certainly, and otherwise. If you and I don't share some musical taste or other, it's likely we're less close of friends than we would be if we did share. For example...
This morning Pygment and I responded to a wedding invitation that included a request to list something that would cause us to get up and dance. At first I snarked that my music tastes would appall most people and DJs wouldn't play it at weddings anyway. Pygment agreed and said something like, "Yeah but imagine if they would, we could get them to play..." and in two clicks I had the track linked below, which we put on the RSVP card. I'll let you know if it plays at the wedding because I will sure as shit be dancing if it does.
We Can Make the World Stop
Then
mizarchivist pointed out that LJ has these things called "tags" and I could tag my music entries. This is helpful to know what's going on, and particularly helpful for back-reference and finding things that are particularly notable. Eventually I got enthusiastic enough to go back and tag my existing couple years' worth of music entries... at which point I promptly ran out of tags. This more than anything else prompted me to move to a paid LiveJournal account because I needed more tags. All is fine until the company owning LJ decides to move the servers into Russian airspace and I decide it's time to move over here to DreamWidth. Which, I shall not bore you with details, will not allow me to have unlimited tags, even if I do pay them.For a while this has stymied me. I really like the convenience of being able to go back and revisit things I've blogged in the past, and I blog a lot of new artist/DJs in a given month so the list of tags grows with no obvious way to condense them. I'm tired of being stymied though and it finally penetrated my thick skull that this convenience I've grown used to is just that, a convenience. I don't actually have to tag music entries in order to write them. So I'm going to start blogging music again, only with erratic-to-nonexistent tagging. You've been warned.
I realized this because I have re-remembered (I keep forgetting, somehow) that music is important in my relationships. Intimate, certainly, and otherwise. If you and I don't share some musical taste or other, it's likely we're less close of friends than we would be if we did share. For example...
This morning Pygment and I responded to a wedding invitation that included a request to list something that would cause us to get up and dance. At first I snarked that my music tastes would appall most people and DJs wouldn't play it at weddings anyway. Pygment agreed and said something like, "Yeah but imagine if they would, we could get them to play..." and in two clicks I had the track linked below, which we put on the RSVP card. I'll let you know if it plays at the wedding because I will sure as shit be dancing if it does.
We Can Make the World Stop
https://twitter.com/theglitchmob/status/818644021228670976
So, this showed up on Twitter recently. It's a snippet of the ongoing development of Blade 2.0, the Glitch Mob's custom performing instrument. They couldn't find anything off-the-shelf that let them play their music the way they wanted to play it, so they created a thing. It's awesome.
In case you're wondering what it's like live, here's a pretty reasonable facsimile: https://www.youtube.com/watch?v=L7SoQWTFJ_k
I have no idea if/when they'll make it back to Boston but if they do you can bet I'll be there.
So, this showed up on Twitter recently. It's a snippet of the ongoing development of Blade 2.0, the Glitch Mob's custom performing instrument. They couldn't find anything off-the-shelf that let them play their music the way they wanted to play it, so they created a thing. It's awesome.
In case you're wondering what it's like live, here's a pretty reasonable facsimile: https://www.youtube.com/watch?v=L7SoQWTFJ_k
I have no idea if/when they'll make it back to Boston but if they do you can bet I'll be there.
Spontaneously, music
Apr. 21st, 2016 05:05 pmI have nothing coherent to say about Prince, nor am I likely to. But there is still music in my world and some of it is really excellent. I'll save the best for last, naturally.
https://www.youtube.com/watch?v=3jrFmB2CiL8
In case you didn't get enough house with your house last time, here is Pagano doing a remix of "Are You All Ready?" from Tony de Vit. It's energetic, high BPM, and with enough non-traditional influences to keep me interested. Like a lot of house tracks it can get a bit repetitive and I don't think it entirely does enough to justify eight minutes plus, but I prefer that to something chopped down to 3:30 that never has time to develop fully.
https://soundcloud.com/mrstabalina/going-crazy-scour-records-freemix
Mr Stabalina brings us a funky disco-y tribute to "Get Down". I'm far from an expert on sampling but I think they're pulling from the original Kool and the Gang track.
https://soundcloud.com/phaeleh/sets/all-that-remains-ep
I don't blog a lot of downtempo/chill stuff. It's not that I dislike it so much as I'm usually listening for music that'll boost me up and get me going during a workday. This is kind of relaxing-around-the-house evening music. Glass of wine optional. Phaeleh's new EP, All That Remains, has at least these two tracks and they're beautiful. Like a lot of this (sub)genre it skirts the edges of somber, particularly the opening of "Mountain". It's also heavily electronica, which isn't everyone's thing.
https://soundcloud.com/dj-soak/run-away-ft-anderson-paakthe-johnny-fresh-experience-rmx
Moving back uptempo, DJ Soak gives us "Run Away" with an interesting mix of styles. It's electro-house with some nu-disco feel. Mostly non-vocal, it's good background sound for focusing on other things.
https://soundcloud.com/theglitchmob/coachella-2016/s-TVuhu
OK, I did promise you something good so here it is. A new set posted by The Glitch Mob from Coachella this year. It's full of fun things, new things, and while it's not as good as seeing them it'll hold me for a while. Some of the tracks are Glitch Mob standards ("Drive it Like You Stole it"), and some are their favorite covers (the Daft Punk "Derezzed" is worth the price of admission on its own). There is also a great deal of edIT (one of the Mob core trio) which means the first half features more fast-pumping rap lyrics and hip-hop styling than you might be used to. Me, I love it - the lyrics are clever and the rapping is fast and tight.
https://www.youtube.com/watch?v=3jrFmB2CiL8
In case you didn't get enough house with your house last time, here is Pagano doing a remix of "Are You All Ready?" from Tony de Vit. It's energetic, high BPM, and with enough non-traditional influences to keep me interested. Like a lot of house tracks it can get a bit repetitive and I don't think it entirely does enough to justify eight minutes plus, but I prefer that to something chopped down to 3:30 that never has time to develop fully.
https://soundcloud.com/mrstabalina/going-crazy-scour-records-freemix
Mr Stabalina brings us a funky disco-y tribute to "Get Down". I'm far from an expert on sampling but I think they're pulling from the original Kool and the Gang track.
https://soundcloud.com/phaeleh/sets/all-that-remains-ep
I don't blog a lot of downtempo/chill stuff. It's not that I dislike it so much as I'm usually listening for music that'll boost me up and get me going during a workday. This is kind of relaxing-around-the-house evening music. Glass of wine optional. Phaeleh's new EP, All That Remains, has at least these two tracks and they're beautiful. Like a lot of this (sub)genre it skirts the edges of somber, particularly the opening of "Mountain". It's also heavily electronica, which isn't everyone's thing.
https://soundcloud.com/dj-soak/run-away-ft-anderson-paakthe-johnny-fresh-experience-rmx
Moving back uptempo, DJ Soak gives us "Run Away" with an interesting mix of styles. It's electro-house with some nu-disco feel. Mostly non-vocal, it's good background sound for focusing on other things.
https://soundcloud.com/theglitchmob/coachella-2016/s-TVuhu
OK, I did promise you something good so here it is. A new set posted by The Glitch Mob from Coachella this year. It's full of fun things, new things, and while it's not as good as seeing them it'll hold me for a while. Some of the tracks are Glitch Mob standards ("Drive it Like You Stole it"), and some are their favorite covers (the Daft Punk "Derezzed" is worth the price of admission on its own). There is also a great deal of edIT (one of the Mob core trio) which means the first half features more fast-pumping rap lyrics and hip-hop styling than you might be used to. Me, I love it - the lyrics are clever and the rapping is fast and tight.
Feel inspired. Feel uplifted and fulfilled
Aug. 8th, 2015 05:06 pmhttps://www.youtube.com/watch?v=xUu8jxWDSOU&feature=youtu.be
A really nice little 15-minute look at the Glitch Mob's new performance set, dubbed "The Blade". It's a lot about the process of designing and making the stage set and a good deal about why. When I reviewed Simon Posford's recent show I noted that he suffered from a problem lots of DJs have connecting with their audiences. The Glitch Mob take that challenge head on - everything about The Blade is designed to connect the audience with the performers through the music. Having seen it live twice, I'd say it's a success.
A really nice little 15-minute look at the Glitch Mob's new performance set, dubbed "The Blade". It's a lot about the process of designing and making the stage set and a good deal about why. When I reviewed Simon Posford's recent show I noted that he suffered from a problem lots of DJs have connecting with their audiences. The Glitch Mob take that challenge head on - everything about The Blade is designed to connect the audience with the performers through the music. Having seen it live twice, I'd say it's a success.
This post keeps getting delayed by all the interruptions ever so excuse me if I'm a bit brief. Three URLs but all give you more than the usual sounds to groove with.
https://www.youtube.com/watch?v=Esvw3fxlXXE&feature=youtu.be&list=PLvLpqR9VfgDDJqjlkBjs86x2d4cRiiE6H
New!
Glitch!
Mob!
There's a new EP out (and the guys are on tour again). Here are three tracks that hit my favorite spots from the Mob and I cannot wait to see them done live. The first one, "Head Full of Shadows" is a really interesting example of how their style has evolved. It's drum-heavy but much less bombastic than I expect for them. The drumming is more earthy, almost tribal-feeling. I adore Glitch Mob drumming more than anything since Concussion Ensemble ceased to exist.
The second track (Better Run, Better Hide) is strongly rhythmic but the beats are there to support almost-trancey vocals. Very movie-soundtrack material. I particularly love the drop to vocal around 1:20. This track says "featuring Mark Johns" and I'm wondering who that is. The only musical Mark Johns I know is a well-respected and long-practiced session guitarist and not someone I'd associate with this style.
The last track, The Clouds Breathe For You, again subdues the beats, this time behind smooth electronica with echoey minor-key chords and a scratch-pop edge that I wouldn't normally associate with these guys but it works well.
https://soundcloud.com/superdrysounds/xray_june
X-Ray Ted presents about 45 minutes of old school, which means some beautiful brass horns, some classic rock beats, a lot of hip-hop snippets, and a lot of rethought gems. There's no track list so I can't give you precise pointers, but the reworked "Praise You" sticks with me as particularly good.
https://soundcloud.com/djsfrommars/2015-06-01a
Another hour-long mash mix from the DJs from Mars. I've listened through twice and haven't had anything particularly leap out at me as a notable favorite but then again I've been really distracted. I'll probably highlight a couple tracks in the next post.
https://www.youtube.com/watch?v=Esvw3fxlXXE&feature=youtu.be&list=PLvLpqR9VfgDDJqjlkBjs86x2d4cRiiE6H
New!
Glitch!
Mob!
There's a new EP out (and the guys are on tour again). Here are three tracks that hit my favorite spots from the Mob and I cannot wait to see them done live. The first one, "Head Full of Shadows" is a really interesting example of how their style has evolved. It's drum-heavy but much less bombastic than I expect for them. The drumming is more earthy, almost tribal-feeling. I adore Glitch Mob drumming more than anything since Concussion Ensemble ceased to exist.
The second track (Better Run, Better Hide) is strongly rhythmic but the beats are there to support almost-trancey vocals. Very movie-soundtrack material. I particularly love the drop to vocal around 1:20. This track says "featuring Mark Johns" and I'm wondering who that is. The only musical Mark Johns I know is a well-respected and long-practiced session guitarist and not someone I'd associate with this style.
The last track, The Clouds Breathe For You, again subdues the beats, this time behind smooth electronica with echoey minor-key chords and a scratch-pop edge that I wouldn't normally associate with these guys but it works well.
https://soundcloud.com/superdrysounds/xray_june
X-Ray Ted presents about 45 minutes of old school, which means some beautiful brass horns, some classic rock beats, a lot of hip-hop snippets, and a lot of rethought gems. There's no track list so I can't give you precise pointers, but the reworked "Praise You" sticks with me as particularly good.
https://soundcloud.com/djsfrommars/2015-06-01a
Another hour-long mash mix from the DJs from Mars. I've listened through twice and haven't had anything particularly leap out at me as a notable favorite but then again I've been really distracted. I'll probably highlight a couple tracks in the next post.
Herewith an assortment of shorter listening. The fact that they're all short is about the only thing they have in common. Well, and I like them.
https://soundcloud.com/theglitchmob/lords-of-summer-the-glitch-mob-remix/
It's Glitch Mob; it's Metallica. Do you need to know any more? Glitch Mob have often covered metal tunes as part of their shows, notably Prodigy in the past. Here they're remixing the acclaimed masters of metal and it's every bit as much fun as you want it to be.
https://soundcloud.com/fissunix/interstellar-power
Speaking of metal, Fissunix gives us a power-pounding mash of Kanye West with some Led Zeppelin drums and some heavy-duty samples.
https://www.youtube.com/watch?v=DdZzSFUYpBE
Those of you who've been reading me for a few years may recall that I mentioned Up and Over It some years ago as part of a music story post. Since then I haven't kept track of what they've done. So here we are a few years on and they've got this interesting hand dance done to a minimalist pop tune. What the animal masks have to do with anything is beyond me, sorry.
https://soundcloud.com/mac-stanton/butyreux-your-love-mac-stanton-remix-out-now-on-so-french-records
Mac Stanton has a vocoder - let him show it to you. I remember when these things were everywhere and while it's possible to overuse any kind of sound I'm a little sad they've fallen out of favor. The basic track has the funk and the horns I love.
https://soundcloud.com/bodyheatmusic/msystem-diva
And while we're on the funk, let me close this out with a little turbofunk from Msystem. I've been unable to track down the original but this is good as it stands. It's hot, it moves, and I need that sort of thing these days.
https://soundcloud.com/theglitchmob/lords-of-summer-the-glitch-mob-remix/
It's Glitch Mob; it's Metallica. Do you need to know any more? Glitch Mob have often covered metal tunes as part of their shows, notably Prodigy in the past. Here they're remixing the acclaimed masters of metal and it's every bit as much fun as you want it to be.
https://soundcloud.com/fissunix/interstellar-power
Speaking of metal, Fissunix gives us a power-pounding mash of Kanye West with some Led Zeppelin drums and some heavy-duty samples.
https://www.youtube.com/watch?v=DdZzSFUYpBE
Those of you who've been reading me for a few years may recall that I mentioned Up and Over It some years ago as part of a music story post. Since then I haven't kept track of what they've done. So here we are a few years on and they've got this interesting hand dance done to a minimalist pop tune. What the animal masks have to do with anything is beyond me, sorry.
https://soundcloud.com/mac-stanton/butyreux-your-love-mac-stanton-remix-out-now-on-so-french-records
Mac Stanton has a vocoder - let him show it to you. I remember when these things were everywhere and while it's possible to overuse any kind of sound I'm a little sad they've fallen out of favor. The basic track has the funk and the horns I love.
https://soundcloud.com/bodyheatmusic/msystem-diva
And while we're on the funk, let me close this out with a little turbofunk from Msystem. I've been unable to track down the original but this is good as it stands. It's hot, it moves, and I need that sort of thing these days.
Let's have some music
Feb. 25th, 2015 03:53 pmBeen a while since I did a music post. There are a few open tabs - mostly different kinds of house tracks - but the real reason for doing this post now is the last item on the list. Yes, I'm making you wait, or encouraging you to jump ahead, as you wish.
https://soundcloud.com/housemusic/audio-bastardz-lets-git-ill
Audio Bastardz serve up a thumping electro-house track.with hip-hop vocals over high-energy dance rhythms. It's been a while since I was motivated to blog a straight-up house tune but this banger caught my ears at the right time.
https://soundcloud.com/the-homognic-chaos/epic-california-centuries-mashup-by-the-homogenic-chaosmp3
The Homogenic Chaos (yes, that's what he calls himself) offers up a California-themed mash. I can't count the number of tracks in this short mix but all have some connection to the state of CA, either by lyric, song theme, or identification of the artist with the state. It's an interesting conceit and a fun mash.
https://soundcloud.com/deejaytrademark/through-the-storm-alesso-x-tritonal-x-bastille-x-mako
Another new name - deejaytrademark from Chicago - offers up a very smooth four-way mash. I like this particularly because it's built around "Anchor" from Tritonal (https://soundcloud.com/tritonalmusic/anchor) a nice prog-house/vocal track from last fall that gets sampled a lot but not really well used in most of the mashes I've heard so far. This track uses a lot of the Anchor vocals and mixes them up and down through the other three tracks. It ends up with a really uplifting feel.
https://soundcloud.com/demslackers/elastic-heart-dem-slackers-bootleg
Dem Slackers contribute something they call a "tropical house" dance track version of Sia's "Elastic Heart". THe original is much more electro-pop and sparser. Dem Slackers have filled in the spaces and though the track still respects Sia's vocals it doesn't ride solely on them.
https://soundcloud.com/beatsantique/we-swarm-the-glitch-mob-beats
After I posted the Beats Antique cover last time, MizA sent me a list of related tracks that included this gem. It's B.A. remixing The Glitch Mob's "We Swarm" which is from their debut album. It's interesting to listen to it now and hear again how the Mob's style has evolved. Meanwhile, this track has those luscious horn sounds and dance beats that I love from Beats Antique. Two great tastes that taste great together.
https://soundcloud.com/mashupgermany/mashup-germany-promo-mix-2015-reboot-summer
If there was anyone among you who still doesn't know why I think Mashup Germany is the best, most underrated mashup artist playing today, give this a list. This is nothing less than a 100-minute flying, swirling mixing mash set. Like any set it has stronger and weaker moments but I'm amazed Mashup Germany is able to keep the transitions and mixes going for that long. I can't imagine trying to do something like this in real time and I wonder how long it takes him to plan it out. It's utterly brilliant.
https://soundcloud.com/housemusic/audio-bastardz-lets-git-ill
Audio Bastardz serve up a thumping electro-house track.with hip-hop vocals over high-energy dance rhythms. It's been a while since I was motivated to blog a straight-up house tune but this banger caught my ears at the right time.
https://soundcloud.com/the-homognic-chaos/epic-california-centuries-mashup-by-the-homogenic-chaosmp3
The Homogenic Chaos (yes, that's what he calls himself) offers up a California-themed mash. I can't count the number of tracks in this short mix but all have some connection to the state of CA, either by lyric, song theme, or identification of the artist with the state. It's an interesting conceit and a fun mash.
https://soundcloud.com/deejaytrademark/through-the-storm-alesso-x-tritonal-x-bastille-x-mako
Another new name - deejaytrademark from Chicago - offers up a very smooth four-way mash. I like this particularly because it's built around "Anchor" from Tritonal (https://soundcloud.com/tritonalmusic/anchor) a nice prog-house/vocal track from last fall that gets sampled a lot but not really well used in most of the mashes I've heard so far. This track uses a lot of the Anchor vocals and mixes them up and down through the other three tracks. It ends up with a really uplifting feel.
https://soundcloud.com/demslackers/elastic-heart-dem-slackers-bootleg
Dem Slackers contribute something they call a "tropical house" dance track version of Sia's "Elastic Heart". THe original is much more electro-pop and sparser. Dem Slackers have filled in the spaces and though the track still respects Sia's vocals it doesn't ride solely on them.
https://soundcloud.com/beatsantique/we-swarm-the-glitch-mob-beats
After I posted the Beats Antique cover last time, MizA sent me a list of related tracks that included this gem. It's B.A. remixing The Glitch Mob's "We Swarm" which is from their debut album. It's interesting to listen to it now and hear again how the Mob's style has evolved. Meanwhile, this track has those luscious horn sounds and dance beats that I love from Beats Antique. Two great tastes that taste great together.
https://soundcloud.com/mashupgermany/mashup-germany-promo-mix-2015-reboot-summer
If there was anyone among you who still doesn't know why I think Mashup Germany is the best, most underrated mashup artist playing today, give this a list. This is nothing less than a 100-minute flying, swirling mixing mash set. Like any set it has stronger and weaker moments but I'm amazed Mashup Germany is able to keep the transitions and mixes going for that long. I can't imagine trying to do something like this in real time and I wonder how long it takes him to plan it out. It's utterly brilliant.
Mid-week music
Dec. 16th, 2014 03:48 pmI doubt I'll be posting music on Friday, and I just had both my afternoon meetings cancelled AND it's the end of year so I'm going through a bunch of "best of" tracks, so let's clear the decks shall we?
https://soundcloud.com/ando-tutnixx/dj-schmolli-farbenkarussell-she-moves-the-sun
DJ Schmolli is back with a pleasant and fairly sophisticated mash. He's got four tracks including two versions of "She Moves" by Alle Farben (https://www.youtube.com/watch?v=HC1MmjPu3Xo) a lovely vocal dance piece that has some obvious swing influences. Schmolli skips his usual metal componentry in favor of more subtle beats and horn accompaniments. Using other vocal bits from "La La La" as counterpoint works very well. If it wasn't December I'd say this was a great summer track.
https://soundcloud.com/frail-limb-purity-1/sets/xoxo-the-glitch-mob-the
This is an oldie but somehow I failed to notice it. Back in 2012, dj bahler and Frail Limb Purity sat down with their friends from the Glitch Mob and put together a full mixtape of mashes using mostly music from Glitch Mob and The Weekend. The set tones down and mixes nicely with Glitch Mob's usual bombast. I'm on my fourth listen-through and I think my favorite is still the opening track "Unspoken" which uses five tracks in a mash that is at once innovative, surprising, and intimate.
https://soundcloud.com/killmrdj/you-oughta-beg-banks-vs-alanis-morissette-vs-stevie-nicks
https://soundcloud.com/killmrdj/wake-up-down-under-avicii-ft
https://soundcloud.com/killmrdj/wicked-london-grammar-kylie-minogue-chris-isaak-madonna
A triple-pack from a new-to-me remixer who goes by kill_mr_dj.
The first one, I am not quite sure what to make of. It is clever and it makes me listen to Alanis Moreupset again, which I generally try to avoid. The mix is definitely arranged as a point/counterpoint with a strong transition starting about 2:30 in. I confess that "Edge of Seventeen" is one of my weaknesses, having come into my hearing when I was about that age, and feeling some of those feels. I don't know if it'll appeal to anyone else, though.
The second is a straight up A|B mash using Men at Work and Avicii. It, too, is clever and more pop-appealing than the previous track.
The third one, well you can like or not. It's using London Grammar's cover of Chris Isaak's "Wicked Game" which I think is as haunting and even more beautiful than the original.
https://soundcloud.com/chasing_planets/i-see-firethugz-mansion-ed-sheeran-ft-nas-tupac
Speaking of clever, ChasingPlanets has built a nice combination using guitars from "See Fire" (https://www.youtube.com/watch?v=2fngvQS_PmQ) a track off the previous Hobbit movie soundtrack. This is overlaid with some of the lyrical poetry that made Nas and Tupac famous. It's haunting and beautiful in ways wholly different from the original, but similar in spirit.
https://soundcloud.com/madmixmustang-1/wanna-get-up-and-start-being-a-sex-machine-long-version-1
James Brown mixes are easy to do wrong. You end up with something spastic or something that just recapitulates what everyone who followed Brown sampled and took from him. Here MadMixMustang shows us exactly that by using Michael Jackson's "Wanna Be Startin' Somethin'" with Brown. WBSS is very clearly a direct descendant of Brown's work and pairing the two is a nice Master-and-pupil duet. A bit too much Michael for my tastes, but that's just me.
https://soundcloud.com/ando-tutnixx/dj-schmolli-farbenkarussell-she-moves-the-sun
DJ Schmolli is back with a pleasant and fairly sophisticated mash. He's got four tracks including two versions of "She Moves" by Alle Farben (https://www.youtube.com/watch?v=HC1MmjPu3Xo) a lovely vocal dance piece that has some obvious swing influences. Schmolli skips his usual metal componentry in favor of more subtle beats and horn accompaniments. Using other vocal bits from "La La La" as counterpoint works very well. If it wasn't December I'd say this was a great summer track.
https://soundcloud.com/frail-limb-purity-1/sets/xoxo-the-glitch-mob-the
This is an oldie but somehow I failed to notice it. Back in 2012, dj bahler and Frail Limb Purity sat down with their friends from the Glitch Mob and put together a full mixtape of mashes using mostly music from Glitch Mob and The Weekend. The set tones down and mixes nicely with Glitch Mob's usual bombast. I'm on my fourth listen-through and I think my favorite is still the opening track "Unspoken" which uses five tracks in a mash that is at once innovative, surprising, and intimate.
https://soundcloud.com/killmrdj/you-oughta-beg-banks-vs-alanis-morissette-vs-stevie-nicks
https://soundcloud.com/killmrdj/wake-up-down-under-avicii-ft
https://soundcloud.com/killmrdj/wicked-london-grammar-kylie-minogue-chris-isaak-madonna
A triple-pack from a new-to-me remixer who goes by kill_mr_dj.
The first one, I am not quite sure what to make of. It is clever and it makes me listen to Alanis Moreupset again, which I generally try to avoid. The mix is definitely arranged as a point/counterpoint with a strong transition starting about 2:30 in. I confess that "Edge of Seventeen" is one of my weaknesses, having come into my hearing when I was about that age, and feeling some of those feels. I don't know if it'll appeal to anyone else, though.
The second is a straight up A|B mash using Men at Work and Avicii. It, too, is clever and more pop-appealing than the previous track.
The third one, well you can like or not. It's using London Grammar's cover of Chris Isaak's "Wicked Game" which I think is as haunting and even more beautiful than the original.
https://soundcloud.com/chasing_planets/i-see-firethugz-mansion-ed-sheeran-ft-nas-tupac
Speaking of clever, ChasingPlanets has built a nice combination using guitars from "See Fire" (https://www.youtube.com/watch?v=2fngvQS_PmQ) a track off the previous Hobbit movie soundtrack. This is overlaid with some of the lyrical poetry that made Nas and Tupac famous. It's haunting and beautiful in ways wholly different from the original, but similar in spirit.
https://soundcloud.com/madmixmustang-1/wanna-get-up-and-start-being-a-sex-machine-long-version-1
James Brown mixes are easy to do wrong. You end up with something spastic or something that just recapitulates what everyone who followed Brown sampled and took from him. Here MadMixMustang shows us exactly that by using Michael Jackson's "Wanna Be Startin' Somethin'" with Brown. WBSS is very clearly a direct descendant of Brown's work and pairing the two is a nice Master-and-pupil duet. A bit too much Michael for my tastes, but that's just me.
We Saw Glitch Mob and Danced Our Asses Off
Nov. 3rd, 2014 06:02 pmGot to see Glitch Mob again, at House of Blues. We got seats for this one, which meant we could sit through the lamentably loud and awful opening acts and still have plenty of room to stand and dance for the Mob.
The show we saw back in March was basically the same material as this time around and the things that were good about that show were good again. Being on tour for most of a year has helped them tighten up their performance - they were much smoother at handing off to each other this time; they did more improvised bits, too. They did less of the spontaneous drumming than they did last time, but threw in a couple more remixes and extended mixes of their tunes so the set ran about 1h45 with no breaks. That's a lot of energy, and a lot of fun.
They also did a really good job with the sound, so I was able to take out my earplugs for much of the set and enjoy. The opening acts - though different from last time - were so monotonously bad that I actually downloaded a db meter app for my phone to check if damage was being done. Fortunately the only damage was the time that was wasted waiting for Glitch Mob to come on, and they are worth the wait.
The show we saw back in March was basically the same material as this time around and the things that were good about that show were good again. Being on tour for most of a year has helped them tighten up their performance - they were much smoother at handing off to each other this time; they did more improvised bits, too. They did less of the spontaneous drumming than they did last time, but threw in a couple more remixes and extended mixes of their tunes so the set ran about 1h45 with no breaks. That's a lot of energy, and a lot of fun.
They also did a really good job with the sound, so I was able to take out my earplugs for much of the set and enjoy. The opening acts - though different from last time - were so monotonously bad that I actually downloaded a db meter app for my phone to check if damage was being done. Fortunately the only damage was the time that was wasted waiting for Glitch Mob to come on, and they are worth the wait.
Just watch (video music)
Oct. 24th, 2014 03:40 pmI don't have the time for a full music post but since we're going to see Glitch Mob next week I wanted to share this gem:
https://www.youtube.com/watch?v=saPr6gqjsdY
Khameleon808 returns with another of their tightly-edited video mash-ups, this one set to the Mob's "Warrior Concerto." Featuring snips from videos and movies ranging back as far as Revenge of the Nerds and as recent as Guardians of the Galaxy it's fun to see how many snips one can recognize. The video has a great sense of timing and pace and matches the Concerto perfectly. All of which just makes me want to see Glitch Mob score a movie someday.
https://www.youtube.com/watch?v=saPr6gqjsdY
Khameleon808 returns with another of their tightly-edited video mash-ups, this one set to the Mob's "Warrior Concerto." Featuring snips from videos and movies ranging back as far as Revenge of the Nerds and as recent as Guardians of the Galaxy it's fun to see how many snips one can recognize. The video has a great sense of timing and pace and matches the Concerto perfectly. All of which just makes me want to see Glitch Mob score a movie someday.
For your listening pleasure (music)
Apr. 22nd, 2014 01:23 pmAnother cancelled meeting, another music post.
https://soundcloud.com/florrie/florrie-live-a-little
I was fond of Florrie's single when I heard it last month; unfortunately much of what she has uploaded on Soundcloud so far is pretty bog-standard dance tracks with typical pop beats and catchy riffs (see for example "Shot You Down" - https://soundcloud.com/florrie/shot-you-down). This one, "Live a Little", is at least somewhat different, with a nice horn sound and some scratch in the mix as well as pacing changes.
https://soundcloud.com/sebwax/kavinskyversusphoenix
I've been listening to Sebwax's stuff off and on trying to find something to pick out and this one keeps coming back to me though it's a year old. He's doing the same trick of taking one instrumental and one acapella track and overlaying them. The orchestration and richness of this mix appeal to me - the vocals are played way down in a way that makes me think of a movie score.
https://soundcloud.com/djschmolli/shut-up-brooklyn-sandman
I keep thinking I've heard this mash before - it was first put out in 2009 - but if so I forgot to post it. The elements are classic Schmolli - Beastie Boys and Metallica - with help from Ting Tings and a few samples. It's a little rough around the edges, but a lot of fun.
https://soundcloud.com/tritonalmusic/colors
This track has appeared in a couple of DJ sets lately and I can see why - it's beautiful vocal trance but featuring a male vocalist rather than the more traditional female voice. If I have a complaint it's that the instruments aren't up to the quality of the vocals. Tritonal and Paris Blohm throw in a few prog-house riffs but really don't do much with the track. I want more drops, swoops, sustains... something. I'm sure there are remixes out there; I just need to find them.
https://www.youtube.com/watch?v=VkvOLB7Yzhs
I've played this almost daily since I saw their show and it's still great. Glitch Mob, featuring Aja Volkman (of Nico Vega), doing "Our Demons". They did this track as part of their show, with some great improvised drum riffs thrown in. The video doesn't capture how thunderingly awesome this can be in person.
https://soundcloud.com/florrie/florrie-live-a-little
I was fond of Florrie's single when I heard it last month; unfortunately much of what she has uploaded on Soundcloud so far is pretty bog-standard dance tracks with typical pop beats and catchy riffs (see for example "Shot You Down" - https://soundcloud.com/florrie/shot-you-down). This one, "Live a Little", is at least somewhat different, with a nice horn sound and some scratch in the mix as well as pacing changes.
https://soundcloud.com/sebwax/kavinskyversusphoenix
I've been listening to Sebwax's stuff off and on trying to find something to pick out and this one keeps coming back to me though it's a year old. He's doing the same trick of taking one instrumental and one acapella track and overlaying them. The orchestration and richness of this mix appeal to me - the vocals are played way down in a way that makes me think of a movie score.
https://soundcloud.com/djschmolli/shut-up-brooklyn-sandman
I keep thinking I've heard this mash before - it was first put out in 2009 - but if so I forgot to post it. The elements are classic Schmolli - Beastie Boys and Metallica - with help from Ting Tings and a few samples. It's a little rough around the edges, but a lot of fun.
https://soundcloud.com/tritonalmusic/colors
This track has appeared in a couple of DJ sets lately and I can see why - it's beautiful vocal trance but featuring a male vocalist rather than the more traditional female voice. If I have a complaint it's that the instruments aren't up to the quality of the vocals. Tritonal and Paris Blohm throw in a few prog-house riffs but really don't do much with the track. I want more drops, swoops, sustains... something. I'm sure there are remixes out there; I just need to find them.
https://www.youtube.com/watch?v=VkvOLB7Yzhs
I've played this almost daily since I saw their show and it's still great. Glitch Mob, featuring Aja Volkman (of Nico Vega), doing "Our Demons". They did this track as part of their show, with some great improvised drum riffs thrown in. The video doesn't capture how thunderingly awesome this can be in person.
Been meaning to write this up and keep forgetting. The Glitch Mob are a fun thunderous show. 4/5 for them, though there were... challenges. Thanks to ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
taura_g who kid-sat for us very late.
The opening acts were so bad as to be worthy of negative mention. First (after the obligatory hour-past-doors wait) was Penthouse Penthouse. They were unremittingly awful. The two of them bobbed along frenetically to a beat that existed only in their heads, not in the discordant and disjointed noise they produced. It was like jazz and electronica had a head-on crash with no survivors.
Ana Sia, a solo female DJ, was... passable but by the time she got started we were two hours past when I wanted to be seeing Glitch Mob and her adding a further 45 minute delay moved her from "mediocre warm-up act" to "get off the stage already".
Listening to Glitch Mob you can feel the bombast and barely controlled thunder. They come out of L.A. and a style there that is simply called "beat". If you're not familiar with their sound, try http://www.youtube.com/watch?v=qKxDzyHPo0o - That's "Can't Kill Us", their set opener, which is used in the new trailer for the upcoming Sin City movie (http://www.youtube.com/watch?v=QHCJfhXvDM0). I was hoping their live act would have the kind of rolling percussive assault that I haven't heard since the last Concussion Ensemble show, way too many years ago. I was not disappointed.
Their electronica is a set of large-pad consoles that they use to trigger musical phrases and sequences. But behind the three of them are several pairs of drums, which are hooked up to cool lighting and video effects, and... drums! In person the effect is phenomenal. They are loud without being offensive - I could feel the pulse of the bass against my skin even though we weren't up close.
On stage they're three guys clearly having a great time. This was the second night of their tour, and they were excited though still finding their feet. Some of the transitions were not as smooth as you'd likely see late in the tour but they made up for it with a freshness and energy I really enjoyed.
We decided to get actual seats, which put us in the balcony rather than on the floor. We missed the crush and the crowd surfing that went on below but, for me, the ability to have room to dance and being able to sit for the hours while I waited for Glitch Mob to hit the stage was crucial. I was notably less people-phobic the next day than I am after a standard general-admission show.
taura_g who kid-sat for us very late.The opening acts were so bad as to be worthy of negative mention. First (after the obligatory hour-past-doors wait) was Penthouse Penthouse. They were unremittingly awful. The two of them bobbed along frenetically to a beat that existed only in their heads, not in the discordant and disjointed noise they produced. It was like jazz and electronica had a head-on crash with no survivors.
Ana Sia, a solo female DJ, was... passable but by the time she got started we were two hours past when I wanted to be seeing Glitch Mob and her adding a further 45 minute delay moved her from "mediocre warm-up act" to "get off the stage already".
Listening to Glitch Mob you can feel the bombast and barely controlled thunder. They come out of L.A. and a style there that is simply called "beat". If you're not familiar with their sound, try http://www.youtube.com/watch?v=qKxDzyHPo0o - That's "Can't Kill Us", their set opener, which is used in the new trailer for the upcoming Sin City movie (http://www.youtube.com/watch?v=QHCJfhXvDM0). I was hoping their live act would have the kind of rolling percussive assault that I haven't heard since the last Concussion Ensemble show, way too many years ago. I was not disappointed.
Their electronica is a set of large-pad consoles that they use to trigger musical phrases and sequences. But behind the three of them are several pairs of drums, which are hooked up to cool lighting and video effects, and... drums! In person the effect is phenomenal. They are loud without being offensive - I could feel the pulse of the bass against my skin even though we weren't up close.
On stage they're three guys clearly having a great time. This was the second night of their tour, and they were excited though still finding their feet. Some of the transitions were not as smooth as you'd likely see late in the tour but they made up for it with a freshness and energy I really enjoyed.
We decided to get actual seats, which put us in the balcony rather than on the floor. We missed the crush and the crowd surfing that went on below but, for me, the ability to have room to dance and being able to sit for the hours while I waited for Glitch Mob to hit the stage was crucial. I was notably less people-phobic the next day than I am after a standard general-admission show.
Happy music
Jul. 12th, 2011 02:07 pmBeen a while since I found a selection of tunes this fun.
http://www.theglitchmob.com/
Email this morning announced a new free track from The Glitch Mob for We Can Make The World Stop their latest album. You can stream three tracks at their site now and buy the album in various configurations at various pricepoints. I think the title track "We Can Make The World Stop" is not as good as "Warrior Concerto" but I loves me some big thumpy electronic bombast.
http://www.youtube.com/watch?v=WGhz4DvcqTY&feature=related
This is the SFW version of Handsome Furs' "What About Us". If you search you can easily find the NSFW version (NS for male and female frontal nudity and sex acts). OK with that out of the way, what about the music? The Furs (http://www.myspace.com/handsomefurs) are a Canadian indie duo who have been around for a few years. Their sound is rich and melodic and reminds me a little of Bryan Ferry but with more drums.
http://www.youtube.com/watch?v=OqnffeNWgXU
This is the Villa Remix of Slice & Soda's "Year of the Dragon" (http://www.youtube.com/watch?v=QqX1BQYJ2q0&feature=related). In my opinion the remix is a huge improvement on the original. S&S (http://www.myspace.com/sliceandsoda) have a neat Bowie-esque vocal (US-based San Serac) and synth/piano thing (French DJ/producer Para One) going but the original track feels choppy and disjointed. What Villa (http://www.myspace.com/villanese) does is speed things up, tone down the random piano bits, and lay it all over a fast dance synth that really gets me moving. Villa has a bunch of other remixes up that are on my listening list now.
http://www.youtube.com/watch?v=_SvQ_qdVKTg&feature=player_detailpage
I'm still not a huge dubstep fan, but this track wins by using dubstep rather than being overwhelmed by it. Which is to say there's some dep wub and some oontz going on for sure, but rather than leaving the space in between empty, Nero has mixed in the vocal loop and the Dizzy rapping bits from The Streets' "In The Middle" (http://www.youtube.com/watch?v=WWnT82gwyEs).
http://www.divideandkreate.com/mp3/divide_and_kreate_-_crazy_in_the_deep.mp3
Divide and Kreate bring together the popular Adele "Rolling in the Deep" with Gnarls Barkley. I haven't visited Divide & Kreate's page for a year and he's been busy. I'll probably blog more off of him, too.
http://soundcloud.com/celebrity-murder-party/gat-decor-passion-celebrity-murder-party-remix
This is an older track from Celebrity Murder Party (http://www.celebritymurderparty.co.uk/) in which they do a straight-up techno house remix of "Passion" by Gat Decor, an early 90s house tune that has been remixed about a million times. This CMP version is a nice updating of an old classic.
http://soundcloud.com/get-people/flaws-get-people-rmx-bastille
Get People (http://www.myspace.com/getpeople) just released a new EP and I've been seriously grooving on this track. It's definitely a techno base, but with major ambient and trance influences that form a very different sort of techno sound from, say, the CMP track. The vocals are spacey and the overall feel is much more like a solo night groove than a dance club track.
http://www.theglitchmob.com/
Email this morning announced a new free track from The Glitch Mob for We Can Make The World Stop their latest album. You can stream three tracks at their site now and buy the album in various configurations at various pricepoints. I think the title track "We Can Make The World Stop" is not as good as "Warrior Concerto" but I loves me some big thumpy electronic bombast.
http://www.youtube.com/watch?v=WGhz4DvcqTY&feature=related
This is the SFW version of Handsome Furs' "What About Us". If you search you can easily find the NSFW version (NS for male and female frontal nudity and sex acts). OK with that out of the way, what about the music? The Furs (http://www.myspace.com/handsomefurs) are a Canadian indie duo who have been around for a few years. Their sound is rich and melodic and reminds me a little of Bryan Ferry but with more drums.
http://www.youtube.com/watch?v=OqnffeNWgXU
This is the Villa Remix of Slice & Soda's "Year of the Dragon" (http://www.youtube.com/watch?v=QqX1BQYJ2q0&feature=related). In my opinion the remix is a huge improvement on the original. S&S (http://www.myspace.com/sliceandsoda) have a neat Bowie-esque vocal (US-based San Serac) and synth/piano thing (French DJ/producer Para One) going but the original track feels choppy and disjointed. What Villa (http://www.myspace.com/villanese) does is speed things up, tone down the random piano bits, and lay it all over a fast dance synth that really gets me moving. Villa has a bunch of other remixes up that are on my listening list now.
http://www.youtube.com/watch?v=_SvQ_qdVKTg&feature=player_detailpage
I'm still not a huge dubstep fan, but this track wins by using dubstep rather than being overwhelmed by it. Which is to say there's some dep wub and some oontz going on for sure, but rather than leaving the space in between empty, Nero has mixed in the vocal loop and the Dizzy rapping bits from The Streets' "In The Middle" (http://www.youtube.com/watch?v=WWnT82gwyEs).
http://www.divideandkreate.com/mp3/divide_and_kreate_-_crazy_in_the_deep.mp3
Divide and Kreate bring together the popular Adele "Rolling in the Deep" with Gnarls Barkley. I haven't visited Divide & Kreate's page for a year and he's been busy. I'll probably blog more off of him, too.
http://soundcloud.com/celebrity-murder-party/gat-decor-passion-celebrity-murder-party-remix
This is an older track from Celebrity Murder Party (http://www.celebritymurderparty.co.uk/) in which they do a straight-up techno house remix of "Passion" by Gat Decor, an early 90s house tune that has been remixed about a million times. This CMP version is a nice updating of an old classic.
http://soundcloud.com/get-people/flaws-get-people-rmx-bastille
Get People (http://www.myspace.com/getpeople) just released a new EP and I've been seriously grooving on this track. It's definitely a techno base, but with major ambient and trance influences that form a very different sort of techno sound from, say, the CMP track. The vocals are spacey and the overall feel is much more like a solo night groove than a dance club track.
