One of the reasons I haven’t been posting lately is that I have been moving back to my home province of Alberta. I was in Montreal for over a year and loved it like a second home. I’ll be taking Calgary and area like a villain (hopefully), but until I make my big break I’ve got some tunes for you.
NROTB or Nu Ravers on The Block have been flexing their dancefloor muscles around Montreal for a while now, and played with some of the best. I’m upset I didn’t get more of a chance to see them live, but here is a bit of a make-up…
The boys just released Droplet to the blogosphere and when I asked them if I could blog it, they sent me a good cross section of their other works as well. Droplet is nice and moody, while Miam Miam has a great pac-man sample that reminds me of the first rave I went to when I was still too young to buy beer (but is still fresh enough for any club night).
Knocked up in a hotel in Sydney during their recent Australian Good Vibrations tour (which saw the Stantons playing next to Deadmau5 and Fatboy Slim), this track was originally intended to be an intro tune. It quickly became the biggest tune of the set and the most demanded tune from the other DJs of all different persuasions. The video was knocked up on a laptop by the Warriors themselves and they have even blended in their very own behind-the-decks camera footage. The track captures the Stanton’s raw energy and their ability to make dance floor bombs out of the widest genre spanning ingredients.
If you thought that the Stanton’s remix for Rye Rye was good, this track brings the meaning of bang to a completely different level. The track starts with a simple break with the obvious tones and vocals from The Beach Boys. A token snare rush and warped sample from Loretta Holloway’s “Love Sensation” lets us know there’s a little bit more to come. Indeed. The sky falls and the earth shatters when the bassline drops. No hyperbole here, this will be the biggest tune of the year.
The STANTON WARRIORS are currently in the studio working on their as-yet-untitled new album.
Local hero DJ TWENTYTWENTY tweaked out this oscillating jam equipped with a cavernous low-end and a break that should keep your heart skipping for days. If you think something sounds familiar, your right. The track samples Jay-Z’s “A Million and One Questions” although it’s subtle – you’ll have to listen carefully.
The single is a bit of a turn-around from the duo’s previous ventures. This time around Hans Edquist and Violca Yryku (aka MANSION) supress their tendencies to wobble and replace them with enough sugar and cream to flood the world’s glitziest dancefloors. In other words, this track is smooth and has easily taken the title of best house tune of the year.
‘Kemptown’ is a full blooded, roof raising slice of electro tech madness with the trademark Dylan Rhymes production providing the perfect base for Decoders off the hook vocals. Distorted, twisted synths mesh with a solid rhythm track and driving percussion to create and energy filled vortex of a record that draws in all in it’s path.
Alongside the original version, there is a dub for those that prefer things vocal free, and then there are the remixes. First in the saddle is fellow tech funk legend and co-label owner Mark Pember AKA Meat Katie who strips things back and turns in a searing slab of techno in his own inimitable style. Bringing the vocal to the fore over sparse sections of the back tracking before cutting in with an intense barrage of rough riffs this mix is bound to create dancefloor devastation wherever it’s dropped. Next up we have Barcelona based DJ Memo. A regular fixture on the Spanish festival scene he found himself playing alongside Dylan Rhymes some years ago and now joins the Lot49 team to provide this full bore cut and paste re-edit that is a superb addition to the package. The penultimate mix comes from London Swede Peo de Pitte who chops into the original and creates a bouncing groove laden version that is sure to please breaks and house heads alike. Finally we have awesome Sharooz who shows that he more than lives up to the hype with this outstanding production. A great mix that draws out the parts into seven minutes of wonderfully atmospheric electro tinged house.
SCION A/V are one of the frontrunners in terms of music sponsorship. With their latest venture they seem to be taking a bit of a risk. BORIS is a Japanese noise / metal band who formed in 1992. They’ve released 17 studio albums, several EPs and a handful of collaborations in styles ranging from drone, sludge, and doom metal, to psychedelic and noise rock. Always exploring new territory, the band always keeps it heavy, consistently push boundaries and redefine their sound.
Their latest EP is a remix package with support from Todd Edwards, Mixhell, Optimo, and Nosajthing. Each of the remixers take their version far from the original and somehow place it on the dancefloor.
TODD EDWARDS’ take on Boris is an upbeat, dancefloor friendly house version. A simple but thumping drum pattern, cleverly auto-tuned and chopped vocal and synths, and a catchy melody make this one an easy choice for the more mainstream dancefloors. Check the dubby, octave jumping bassline for instantaneous positive vibrations.
MIXHELL‘s Hypnotic 4 on the floor dance remix of “Buzz-In” is underpinned by a rising and falling arpeggiated squelch and driven by a monster kick drum. Somewhat reminiscent of a more industrial version tune from the late 90s it is at the same time extremely dubbed out and focused.
The UK’s dancefloor heart-throb BURNS is set to release his third EP, just in time for the end of summer. As the daylight hours shorten for those of us who inhabit northern locations we’re psychologically preparing to hibernate (okay, maybe it’s just me) and this EP will help make those long nights seem much shorter. The EP features three tracks with remixes from Fred Falke and His Majesty Andre. Here’s the title track, full of acid and enough skittering piano to stay in perpetual motion.
…and just in case you missed this, Burns remixed KASABIAN‘s “Where Did All The Love Go.” BREASTFED / 21:12 RECORDS father figure calls it “the best remix of a rock band since Justice reconstructed Franz Ferdinand? …maybe?”