1. Travi$ Scott ft. Young Thug – “Skyfall (RL Grime & Salva Remix)
Obviously any time RL Grime and Salva get together it’s going to be great. Their take on Travi$ Scott’s track is catchy and climactic, with major bass drops. It’s a completely different take on Scott’s original.
2. Kitty – “Miss You (Jai Wolf Remix)
Jai Wolf‘s remixes always do a fantastic job highlighting the vocals and he’s a master of showcasing one-liners. His future bass remix incorporates vibrant synth and colorful beats
3. Snakehips x Tory Lanez – “Dímelo”
As part of adidas and Yours Truly’s “Songs From Scratch” series, UK producer duo Snakehips and Toronto based rapper Tory Lanez came together to create this melodic hip-hop track. Snakehips combines their smooth funky style with Tory Lanez’s elaborate vocal structure over this beautiful violin sample.
4. Drake ft. Travi$ Scott – “Company (Sángo Remix)”
Sango‘s heavy future bass remix of Drake was one of few songs the Michigan based producer released this week. The remix, released only as a dropbox link tweeted out by Sángo himself, adds so much depth to the track.
5. XYLØ – “America”
XYLØ‘s blissed out dark wave single is just breathtaking. Their moody pop track teeters somewhere between Lana Del Rey and Broods with an explosion of synth magic.
6. Vance Joy – “Riptide (Kasbo Remix)”
Kasbo takes this track and just flips it on it’s head. This downtempo remix leaves no traces of the original ukulele beat and instead filled with dynamic, energetic synth.
7. Jai Paul – “BTSTU (Kource Remix)”
Kource gives Jai Paul’s slow and alluring “BTSTU” an uptempo twist. It’s echoey and very modern, following the latest future bass trend. This remix is equally intriguing as the beautifully produced original.
8. Justin Bieber – “All That Matters (LUCA LUSH Remix)
LUCA LUSH has been cranking out remixes. For this Bieber remix, he combines future garage with deep piano hits, creating a very whimsical remix that sounds like two distinguishable but cohesive songs. It’s so good you actually forget it’s a Justin Bieber mix.
9. Jhene Aiko – “Vapors (Madbliss Rework)”
Madbliss really lets Jhene Aiko’s float on top of the bright rhythm. He left vocals alone because they’re already flawless, and simply manipulated the surrounding sound, to accentuate rather than mask that beauty.
10. Tiara Thomas – “How It Is (XXYYXX Remix)”
XXYYXX touched it so obviously it’s going to be good. His clean r&b remix of Tiara Thomas’s acoustic track is sexy and not too over the top, truly highlighting the intricacies of Thomas’s vocals.
11. Cashmere Cat - “Mirror Marru (Kitsune Remix)”
The mysterious producer Kitsune take’s Cashy’s “Mirror Marru” and tweaks it just enough to add some sparkle and dazzle to places you didn’t even know needed it.
12. George Maple – “Talk Talk (Tails x Ta-ku Flip)
Of all the “Talk Talk” remixes, Tails’ flip of Ta-ku’s remix is probably the most variant from the original. There’s a lovely light beat over the deep bass and it’s just a good listen.
13. MAR CO – “Bridges”
Boston future pop duo MAR CO released their first single, sweet, twinkly dreampop with echoed vocals. The lyrics are catchy and soothing, while the synth is just mystical and draws you into a utopian euphoria.
Nicolas Jaar is one of those artists who, in my opinion, is fully incapable of making a bad song. Everything he touches is so quality, that it’s hard to believe that he can top any of the work he’s put out already, whether it’s his solo work, his work with Dave Harrington as Darkside, or even his soundtrack to an avant-garde Armenian film from 1969. His music is always so intricately crafted, with attention paid to the most minute details, that each listen leaves me wondering how he does it.
That said, this song almost slipped past my radar, and I’m so glad it didn’t because it’s one of the best remixes I’ve heard recently. Jaar’s mindblowingly bonkers remix of Florence + The Machine’s new song, “What Kind of Man” just turned my entire world upside down.
Jaar takes Florence’s rock hymn and completely transforms it into a pulsating 12-minute long heater. It starts out with Florence’s tweaked vocals over a groovy beat that is so quintessentially Jaar’s, until it suddenly reaches its disco-influenced climax. Nicolas Jaar simply dropped this out of nowhere, and I’m hoping that this is the sign of more new music to come.
Löwenherz has been a name to keep track of ever since dropping the Nelson Mandela opus “We Love You” last year with frequent collaborator, Freed. The German producer’s organic, theatrical style is a feel that connects with heartstrings on and off the dancefloor giving him an edge that ranks him amongst artists such as Eric Prydz, Sam Feldt, and Lane 8.
His latest effort, a sweet, soulful, string-laden edit of Macklemore and Ryan Lewis’ track “Wings” off 2012′s The Heist, is a remix that builds off the idea of catharsis and religious experiences shared by those who dance into the early hours of the morning. And for those needing a better excuse to crowd the dancefloor, they can look forward to a hard-hitting, resounding bassline as back up for the colossal piano and lush array of orchestral accompaniment. So as the sun rises and the dawn of a new day approaches, hopefully there will be a moment where the DJ knowingly looks out to the crowd as a children’s choir sings about exultation leading to a glorious wash in the basin we lovingly call “house music.” And this song will be the soundtrack at that very moment.
I always commend artists who are consistently are producing tracks, releasing their own remixes or collaborating with other artists and ultimately sharing new music. Sángo, a hip-hop and soul beatsmaster, is known for his Drake, Aaliyah, and Kaytranada remixes but has also collaborated with artists SPZRKT and WALDO and produced track for artists like Tinashe’s debut album. It goes without saying that Sángo never stops. Sángo takes rap and fuses his mellow-funk style, creating beautifully intricate beats.
Sángo is just cooler than cool. He’s part of the AGO music collective and has friends like Kaytranada and the rest of Soulection (i.e. Ta-Ku, Mr. Carmack, Sam Gellaitry). He built an environment that’s so creative and innovative and chill that it’d instantly put you in a musically induced coma.
As part of Relentless Records’ release of Joey Bada$$’s single “Teach Me ft. Kiesza”, Sángo put his own twist on Joey’s lyrical and rhythmic genius, slowing down the track and it’s flawless.
And because one remix isn’t enough, Sángo also tweeted, yes TWEETED, out a link to dropbox with a free download of his “Company ft. Travi$ Scott” remix. With Drake’s latest mixtape just dropping, it’s no surprise Sángo wanted to give it his golden touch.
Hopefully all this new music is a sign of an upcoming, patiently waited for followup to his 2013 debut album North. He leaked back in September that his new album will be titled In The Comfort Of and I expect it will be as beautifully smooth and meticulously constructed as his recent remixes.
And who is the mysterious Amom Abdallah? The unknown producer magically dropped out of the sky last night and landed four brilliantly produced cleverly titled tracks on soundcloud. Amom Abdallah has no digital footprint, besides his soundcloud, which is incredible in itself.
Right now many speculate Amom is a Sángo alias (and by that I mean I’m crossing my fingers hoping it’s true!). It wouldn’t be hard to believe considering Sango was the first to endorse the newcomer’s music. Like I said, fingers crossed.
American big electro and bass music stands at a crossroad. Its bubblegum freshness, after much gnashing of teeth, has been reduced to a Molly jaw ache. If the concept of big electro and bass is to maintain, it needs to be rethought. With that in mind, one wouldn’t expect the Glitch Mob, a big electronica act out of LA that has found a way to make a dollar from big cash grabs like the Tron Soundtrack remix album, to proffer much to stir the pretensions of music bloggers.
Through the architecture of the remix, Emalkay has redesigned the Glitch Mob’s ‘Skullclub’ into something that speaks to the integrity and rich tradition of hard UK bass and at the same time gives American audiences something to consider for the future of their bass scene.
There is a mature and sophisticated overall impression to the track that owes its essence to the unaccustomed restraint executed in the remix; the aggressive aesthetics of electro-bass loses its Dada shock to the Bauhaus-esque smoothing of edges and new-found functionality.
The remix still features the expected elements of American-style bass; complex fidgeted vocals and noise, hard and stacked drums, and searing midrange voices. However, never does a monstrous drop come. I can imagine hearing younger Detroit royalty drop the production as a functional plateau to bridge a set from a sexier warm-up to a manic finish. Here we have the defining characteristic of this bass track – sublimity in the plateau. We are exploring a new territory, Progressive Bass.