Articles tagged with dance
I promise that this column will not just be disco edits vinyl only releases of edits, but this set of balearic inspired disco edits is making my January just that much warmer in anticipation of the summer. Want a dreamy blast of warm sea air to carry you through? Then this cosmic dream machine should do the trick.
French Fred Berthet aka Copyshop based out of Marseille France has been making collections of edits since 2012 as DJ Steef. And all of them are great. In this latest volume 6, track 1 is beat thumping dance floor igniter with a totally italio influenced synth line and entrancing vocal. Track 2 is total off the Baleares with panning waves of synths rising and falling, Topping off with a sexy soulful vocal, side 1 is AMAZING.
Side 2 winds back up with some tropicalia and a baseline that is unshakeably fun with an intimate whispered vocal that would be so corny if it weren’t so perfectly nestled in the track. Leading out is more synth goodness that makes you wish you were in a hammock chilling out with an umbrella in your drink.
I highly recommend this for the summer to come or better yet now, so you pretend it’s summer in January.
I could´t find the tracks online so here is a recent DJ Steef edit that is the bomb and the Juno link to hear the previews of these tracks!
EDIT: As of 6 hours ago they are up now on Soundcloud for your listening pleasure!
#2 – Do It Again by Royksopp & Robyn
With its elastic synths, four-on-the-floor thump and anthemic chorus, this collaboration between Royksopp and Robyn could easily have drifted into the realm of over-the-top schlock pop. And yet, as with so many tracks featuring Robyn at the helm, there’s an extra layer of emotional intensity that’s absent from much of the dance music that climbs the charts. It’s partly due to the restraint she shows in front of the microphone- even at the song’s peak, when delivering the lines “Don’t care what they say / it hurts so good / I don’t wanna stop / I know I should,” Robyn doesn’t oversell the song. She sounds strong, but vulnerable- an emotional combination we’ve all experienced at some point. Maybe that’s why we can’t help but sing along.
This tune has been burning up my car stereo, head phones, computer speakers and you name it the last couple months. I’m not sure exactly what it is. It could be the raw, rubbery swamp groove this song brings. It could be Little Scotty’s constantly insisting that we need to put on our prettiest dresses and clothes and shout and party at the disco. It could be the inordinate amount of time I spent South of the Mason-Dixon line over the last 2 months. Either way, Chewy really knocked it out of the park with this disco edit, but he(?) has way more up his sleeves than this jam, so check out his Soundcloud for the DL for this and many others.
/// Brian Blackout
When I think of sexy sounding music, The Gossip is often the last thing that pops into my head. Usually when I think of The Gossip, the first thing that pops into my head is an image of Beth Ditto squeezing packets of condiments into her mouth while giggling on a couch somewhere with Perez Hilton, or just generally being the loudest, craziest lady within 20 square miles.
But this song, as remixed by Rory Phillips, is absolutely sexy. Beth Ditto drops the Godzilla-like musical destruction in favor of some paired down vocals that don’t sound out of place on a Coney Island boardwalk clad with disco rollerskaters in the 1970s.
Do yourself a little favor this Monday and time travel – just a little bit.
– Mister Disco
There’s something just a tiny bit dated about the way Truefaux remixed Chauteaubriand’s “The Sunset”. It’s not dated in a way where it feels archaic, but it’s a slight throw back to the remix sound that permeated the blogosphere five years ago when outfits like The Twelves and RAC were at the absolute top of their games.
Back in 2007, I was throwing parties in our nation’s capitol. Hipster kids with skinny jeans and Code Pink shirts populated my dance floors while bass boomed just blocks away from the Supreme Court. And “The Sunset” sounds like the perfect way to revisit all these memories. Because of this jam was around back then, it would’ve fit perfectly into my sets.
But for now, this song is just the disco time capsule that never was. Nostalgia isn’t something you can dance to, but True Faux really banged this one out.
– Mister Disco
Gigamesh was bound to end up in these pages sooner or later. He’s been making the A-grade in my digital crates pretty consistently these past few years, adding a glitter synth spit shine to the well-worn grooves the overused (à la Deee-Lite and the King of Pop) and pumping up the beats (and the kicks, for that matter) of great tunes that just needed a little extra bump in the trunk to keep a peak-hour crowd on its feet. His latest offering is a remix of James Curd’s new single, “Guide Me,” and after just a few bars Gigamesh puts us all at ease- no need to anchor himself to a classic to get our ears pricked up and the neurons humming. The man can take a track we’ve never heard before and spin it into the song we’ve been waiting to hear all night.
You can grab a free copy of this track from RCRD LBL.
As the weather gets increasingly springy, I dig deep into my Winter music finds and try to find those tracks that had too much of a warm weather feel to be played when I got ‘em. It’s like Spring cleaning. This track is exactly the reason why I go to all this trouble.
Slow It Down, straight outta Glasgow, released this jam to the world last Fall, but as all of our little green pals start unfurling and popping out of the ground, it’s only now that this cut feels right. Similar to Tiger & Woods, Slow It Down specialize in loopy, proto-house edits of 80s R&B and boogie tracks.
Coming at us from the era when Michael, Whitney, and the Jets ruled the airwaves, and possessing that same happy glow that Janet Jackson’s “Escapade” has, Narada Michael Walden’s “Divine Emotions” melds that irrepressible feel good vibe to a throwback boogie bassline. Slow It Down works the grooves of the extended cut for a while before letting a few happy chords to work their way in and finally lets loose with the song’s chorus about midway in. Grab the free download, follow Slow It Down on Soundcloud and pick up the original, within minutes, everyone you know will be telling you to wipe that stupid grin off your face.
/// Brian Blackout
SUMMER JAM SPOILER ALERT: As I type this, the windows are open, kids are playing bike tag on their rusted Huffy 1-speeds in the street below and my speakers are cranked with Ronika. Who? Yeah, but just give her a month or two. The way I see it in my foggy disco/crystal ball, this “Automatic” single is about to take off. Infinitely hummable, breezy lyrics that don’t mean a thing, and Ronika’s voice swirling round inside a groove big enough to house an ‘82 Buick (courtesy of Odyssey and featuring the guys from Chic). This is one hi-octane sugarbomb. Like a grape Slurpee spiked with rum and hurled off some warehouse party rooftop, once it hits the ground on April 9th, anyone within striking distance with a pair of ears will be able to testify- it’s gonna be sticky.
I can remember the first time I ever heard “Dancer” by Gino Soccio. It a disco epiphany that won’t leave my mind anytime soon; my brain completely melted beneath the swelling builds that lead up to belting vocals that I feel directly led to the existence of modern-day disco bands like Escort. In a word: Gino Soccio is a master.
“Michael” by Bufi & La Royale gives me a lot of the same feelings, except the output of the build is completely different. While there aren’t any vocals really threading the track, the punchy instrumentals are there to take you on a ride, where the vehicle is a terrific four-by-four beat inspired by GS himself.
Listen, and groove.
– Mister Disco
Piano house has had a huge comeback (much moreso than sax house), but even with Juan Maclean and the Rapture crafting piano house anthems, you might find difficulty breaking piano house classics with a rocker crowd.
Allow me to introduce Mr. Andrew Weatherall. In the early 90’s he was a sought after remixer and producer who worked with My Bloody Valentine, Primal Scream and the Happy Mondays. In 1990, New Order recorded a theme song for the English 1990 World Cup team, which would go on to become their only #1 hit in the UK. The band turned to Weatherall for remix work.
Weatherall’s formula was simple:
1) Give more space to Bernard Sumner’s unmistakeable, anthemic vocals, throw in a little of Hooky’s bass for good measure.
2) Add heaps of Madchester-y percussion loops and big, bouncy beautiful pianos.
You might think this would lead to some strange hybrid of New Order and Ce Ce Peniston, but it works brilliantly for anglophiles and pianophiles alike. Grab a copy, it’s not hard to find if you know where to look.
/// Brian Blackout
Ever since some Bronx parking lot DJ plugged his decks into a lamppost and crossfaded “Trans Europe Express” into James Brown, electronic music’s been looking past its stiff, synthetic backbone to find its inner rubber-limbed soul. Add one more notch to this legacy with Shit Hot Soundsystem’s remix of Daft Punk. The Sussex-based DJ spreads his syncopated cowbell and agogo rolls all over the French droids’ beat, making it looser than ever. Layer in that monotonic babble from the lipless robot baby and you can feel the friction build- a rigid, animatronic vocal rubbing up against all that loose-jointed percussion, setting off sparks, til a blast furnace bassline lashes out just under the two minute mark and the whole damn thing catches fire.
When you’re playing a game of Mario (pick one, any time period, as this analogy is going to be same regardless) and you headbutt an iconic golden question mark to unearth one of the game’s fire flowers, the immediate reaction is a pretty universal one: take me to all the Goombas, because I’m going to seriously fuck them up with all the digital brimstone my upgraded plumber can muster.
That is, until a Lakitu ruins your day, shrinking your man to Danny Devito-like proportions.
The immediate power surge that takes place when you score a Mario fire flower isn’t so far away from the feeling that Italian duo Fire Flowerz captures in its tracks. They certainly aren’t ones for subtlety, electing to not use drawn-out swells to get to the point. Within a few seconds of any given Fire Flowerz track, you’re dancing at your cubicle and your co-workers are wondering what the hell’s wrong with you.
You can check out some more new cuts on the group’s “Offensive Language” EP here.
– Mister Disco
Gospel’s been reborn on the DJ decks before (see Larry Levan’s retelling of “Stand on the Word” for the late night faithful at the Paradise Garage), but such resurrections are rare. Maybe the church and the dance floor should team up more often, though, seeing how they’re both working hard to feed our souls, or at least get them cranked and rattling and ready to meet the world again. “Take those shackles off my feet so I can dance,” Mary Mary sing in this Drop Out Orchestra mix, and even if we aren’t spinning next to them in the pew this Sunday, we’re just as ecstatic the night before, shaking off the weight of last week’s woes, feeling our flames catch hold and burn a little brighter and remembering that, at least right now, it feels pretty damn good to be alive.
Unless you’ve been stuck beneath a rusted out Volvo under the BQE, you’ve probably heard of Gotye. The Belgian has somebody been making waves with “Somebody That I Used To Know” – a song I was pretty lukewarm on, but knew would be poised for a really solid remix.
Apaprently, ponder and you shall receive. The blog gods opened up the sky and spit down more remixes of this track than Rick Santorum has problems with brown people. The problem is, every single remix was as underwhelming as the original track.
Until, that is, some dude I’ve never heard of called The Fat Rat dropped his take on the song. For the first 90 seconds or so, I was pretty unimpressed until the thunderous bass line kicked in supported by some strings. Suddenly, it’s simultaneously 1995 and 2006 – the exact cross section between the heyday of Ed Banger Records and Phil Collins inspired vocals circa Genesis, and that’s not so bad.
– Mister Disco