SCINTII — TIMES NEW ROMAN (PALMISTRY REMIX)

⌾ LISTEN TO SCINTII, TIMES NEW ROMAN (PALMISTRY REMIX) ⌾

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Firstly an undulating wash of post-trance sound, the static sea of scathing synths and hiss that marks the start of this track feels panoramic, witch house-tinged, maybe, but less pentagrams, more amorphous futuristic mode of transport. This harsh, nebulous swirl becomes the backdrop for a restless scuttle of garage-tinged beats — the propulsion at the heart of Palmistry's remix treatment for 'Times New Roman' by Shanghai-based Scintii.

Leaving its electrified cosmic cloud behind, the track dives into a glimmering shuffle of percussion and gloopy bass, pitched clangs simultaneously rooting it somewhere physical while also darkly ringing in a metaphysical realm, a club night on another plane of existence.

While Scintii's original 'Times New Roman' sees her voice creep amid a lurching forest of synth, Palmistry's reworking fragments the vocal and scatters it like silly putty throughout, adding human — if warped — warmth to its cold, kinetic vessel. The change tempo towards the end is natural, satisfyingly so, like a train slowing for a station, further emphasising the propulsive power of the track as the track draws to a fizzy, ethereal close.

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• 🔔 This track is out now via Houndstooth. You can stream it and purchase it as your heart desires from this list of services.
• 🔔 The original 'Times New Roman' was the result of a recording session with Danny L. Harle. "The main melody came to me while wandering round a shopping mall," Scintii says of the track "but I wasn’t sure what to do with it. Then I had the session with Danny and it just worked with the beat he was making. It really started to become about me feeling sure of myself as a musician and producer, going in a new direction and really being able to maximise my own voice."

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🐣 FELDERMELDER — SHANGHAI (SHAO REMIX) [初演 • PREMIERE]

⌾ LISTEN TO FELDERMELDER, SHANGHAI (SHAO REMIX) ⌾

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By the trundling false-starts, erratic thuds and empty scrawls of shining synth and vocal sample etchings, it certainly does seem that in 'Shanghai' Swiss producer Feldermelder achieved the goal of reflecting a late night walk through a deserted area of the Chinese megacity. Based on a visual recording of that experience ("an attempt to capture nightly nothingness," wrote Feldermelder), 'Shanghai' glitches, squawks and buzzes throughout the track, a noisy, gleaming morsel with a mood ripe for remixing.

On that remix is long-time friend, Beijing-based producer and sound designer Shao. "It was last summer, on a rainy morning, I was drinking on the rooftop beside my studio," Shao remembers. "I got the message from Manuel [Oberholz, aka Feldermelder], asking me to remix a track that he did in China."

⌾ THE ORIGINAL 'SHANGHAI' BY FELDERMELDER ⌾

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Creating the remix was as simple as stripping the original track bare and then processing them with "some effects pedals, some delays" whilst adding a drum beat that matched the atmosphere.

"I just followed the feeling and the atmosphere and made a relaxing track," Shao, formerly known as Dead J, explains simply. Though focused recently on techno-flavoured production (see Shao's Doppler Shift Pt. 1), he decided to change things up for this remix.

The result is unrelaxing. A doomful doppelganger of the original, a doped dirge of surging drama like an undersea cave, a mirror to the mire of irony of lonely deserted streets in a huge city, crushing isolation told in drawn out growls of distortion and warped glitter.

And the beat, a sparse march of organic thuds, gives it a feeling of techno deconstructed, four-to-the-floor-minus-two, simultaneously creating – along with the teasing rise and fall of the synth waves – a sense of something about to teeter over the edge.

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• 🔔 This Shao remix of 'Shanghai' arrives ahead of Feldermelder's The Sound Of Remixes, out tomorrow 19th April on Zurich label -OUS. This release sees three tracks from the Swiss artist's 2018 The Sound Of EP. You can pre-order the remix EP here.

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🐣 MR LITTLE JEANS — FORGETTER (CHE REMIX)

⌾ LISTEN TO MR LITTLE JEANS FORGETTER REMIX BY CHE ⌾ Mr Little Jeans' original 'Forgetter' inhabits a dark, swaying world entrenched in sub-bass, sometimes pillowed with sun dappled breeziness. But completely destructing this darkness, turning on the light, and transporting it from the gloomy forest of the original, Che hops on a remix of 'Forgetter'.

Now psychedelic, the track cuts a groove with suburban by-the-lake bass that pops and lingers and stumbles happily along; sparkling liquid guitars fall slow motion from one chord to the next with sloppy lustre; just part of the original vocals survive, simmered thin and garbled into each other.

It's a whole new plane of existence, one into which we're inducted and ejected from with cosmic tunnels of thick synth. Mystery and pyschedlia mix in the semi-idyll of Che's remix, propelled by the gentle thump of a beat, well away from the trap dilution and shaded inflections of the original 'Forgetter'

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• 🔔 There's actually a free download of Che's weed-soaked remix of 'Forgetter' by Mr Little Jeans, which is nice.
• 🔔 And you should check out Shuco by Che, an album he released with Astro Nautico last year. You can listen to it and everything else on Bandcamp.

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🐣 RUBY FRANCIS — RUSH (INITIAL TALK REMIX)

⊚ LISTEN TO RUBY FRANCIS, RUSH (INITIAL TALK REMIX) ⊚

This remix- with the soft bounce of its toy sized plasma chords, the virtuoso bass groove, the instant glitter of its glassy synths - oozes the blocky pastels of its late 20th century inspiration; it's a buffet of 1990s flavours served up by the Japan-based caretaker of nostalgia Initial Talk (whose credits also include a Dua Lipa 'New Rules' remix).

The original 'Rush' is minimal: all space and angular, squelchy synth. It feels contemporary for its sparseness and sub-bass, but equally retro-futuristic (sounding a little like Prince's 'Kiss' actually). So it makes sense that Initial Talk has transplanted the voice of Ruby Francis into decidedly retro surroundings. In fact, it feels as though this is the way it should have always been.

Like a safari through the aural landscape of twenty-something years ago, this remix of 'Rush' chimes, bounces and glistens with its purposefully timeworn elements. Ruby Francis' voice lilts soulfully in the verse, its echo weaving through the skipping rhythm—elsewhere it provides a sprinkle of jangling '90s ad-libs: "baby, why the rush?"

But the chorus is the centrepoint for this track's magic. The two distinct parts to the addictive vocal (the simple clarity of the first 4 bars and its playful vocal melody, and the rich, winding harmonies of the second 4), the step-up into it, the faroff sparkle of it, the warm, vibrant bass, the swaying beat. It's a cocktail of everything it should be: delicious escapism.

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• 🔔 Stream and/or download Initial Talk's remix of 'Rush' by Ruby Francis via your fav service

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🐣 CLOZEE — HARMONY (AXEL THESLEFF REMIX)

As gentle and ostensibly ‘world music’ as this track appears to be, there is something darker within; it lulls you into a state of exotic pastoral bliss, with textures that swirl around like the spirit of a rainforest, percussive ticks and clicks amidst an organic drumbeat sailing through all the sights and sounds of typically beautiful Earth. But soon we are sucked into a swamp of mystery, clanging metallics in the thin air and mists crawling across the once green vista, the vision of cave mouths yawning craggy monstrous, the untameable force at the heart of everything.

These two universes inhabit the original ‘Harmony’ by globally minded French musicmaker CloZee - a sort of slow sashaying to some globular heartbeat mixed with a distorted synth drop - which is echoed in Axel Thesleff ’s treatment of the track, a minimal reworking that pits the languor of leafy slo-house against bare bubbling beats and stark synths, a contrast that retains a sense of exoticism but dilutes it out into something more generally beautiful, whilst creating tons of space in the existential thump of the drop, a wholly unnatural counterpart to the soft omnipresence of natural, forest-conjuring sounds.

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• 🔔 Finnish producer Axel Thesleff's remix of 'Harmony' is out on Gravitas Recordings and you may stream and download via these various links.

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🐣 LINDSAY LOWEND — GT40 (MAXO BOOTLEG)

Wow. Jumping off the back of the moving vehicle that is his October-released Skyriser EP, Maxo flies through the air somersaulting as he does and forward rolls landing very safely, spots something glinting in the sky and sprints to catch it as it falls – ping! It glows as it's caught, this object. Oh it's a USB! Maxo turns gold all over and spins off into the clouds. Centuries later he returns with it shining ever brighter: a bootleg remix of the classic 'GT40', opening track on Lindsay Lowend's pretty legendary Wind Fish EP, an ancient tome in the realm of internet music.

Though it runs along the same lines as the original, Maxo's version has of course had some magic infused; it's 20 seconds shorter and 500 times as fast. The breakcore values now imbued in this track give it a constant gleaming uzi-fire of hi-hats, the original lounge chords now rapid-fire and jolting, smeared like paint, rewound, scuttled and rebuilt; an intense keepsake of glitch. The bridge in the middle, usually a moody tract of VGM-juke, now has its sample mysteriously slowed-down as the beat continues its neon gallop to the finish. And Maxo on the back of a smaller flying whale uses the USB and opens a portal to the next area.

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• 🔔 Maxo's amazing track arrived at that tricky time of year to be noticed for anything other than a Christmas song: Christmas. So it may have been slept on by many. Including us. But don't worry because, well, just don't–it's bad for your health.

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🐣 SARO — LOOKING (CITY FATHER REMIX)

The bristling insectoid sounds of night, the found sounds of the world, the swirls of dust and debris in our everyday waking hours come to life and trickling nocturnal with a moon hanging in the sky seeming to swing like a pendulum. This track certainly is night, unsociable and filled with bustling beats like the unkempt untamed thoughts of a restless mind in the body of a human out walking to put themselves at ease. It's a remix of LA singer Saro's track 'Looking', a much slower number that booms along with heavy walls of synth, as opposed to this frantic and clattering juke-ish rework by fellow LA resident and producer City Father; "I wanted this remix to be like a distorted reflection of the original work," CF tells us in an email. "I tried to respond to its ideas with sounds and textures that would tell the same story, like samples of Saro's breath and field recordings I made wandering around downtown LA in the middle of the night."

And in the new nighttime feel the vocal from the original – "hope you find... what you're looking for" – is the main refrain in this interpretation, now rapid and repeated, bright and hopeful amidst tumbling angular polyhedrons of percussion clacking and bursting for that tarmac pavement (asphalt sidewalk) concrete glass, hard urban materials that give a harshness to the cityscape as much as the beats lend their polisve clatterings to a harshness in the soundscape. Inspired by the "dark" undertones of the original, City Father explains that he wanted to give everything a "hazy, metallic, solitary color" in order to represent the "subtle messages within the original song." So there are bristling impersonal samples, unclaimed and writhing and ambient, the cold textures of the city—and the synth chords, which do not respond to any offerings of company or social gatherings but wait and then walk alone, melancholy and resolute.

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• 🔔 This remix was released in association with Mateo Sound, an artist collective located in LA.

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🐣 CHLOE X HALLE — USED TO LOVE (MOZADO REMIX)

Half sleekly clinical space-age white with reflective smooth screens, half organic heartfelt body and muscle and historical small streets and cafes, this track is a clear split, a love-letter to real humanistic flavours told with synthetic electronics, the hip shuffle of salsa bossa nova patterns exude through the syncopated piano that pulses cosmopolitan below the wonderful velvet vocals that skim warm richly throughout. These are the voices of sister duo Chloe x Halle, this track being a remix of their song 'Used to Love', a gorgeous a cappella composition filled with sultry lilting lines thick with harmony, solo parts powerfully cutting through and soaring gutsy above these choral comforters, impatient spoken-word "ok…ok…" and handclaps perforating the languor with potential energy.

But musicmaker and serial remixer Mozado, clearly seeing the promise of these incredibly endearing vocals, as well as the non-instrumental setting, turned this from an album intro light and airy as that time between asleep and awake, falling into slumber in the warmth of the sun, takes this feeling and through rhythmic permutations of Latin sashay and ticking trap brings out the bubbling energy of its heart, the powerful vocals now washing through the thudding beats that Mozado punctuates with luscious percussion chiming pots-and-pans tinkering and the warmth of the plasma synth matching the richly layered vocals, the hefty sub-bass, the dynamic of it all, this instrumental sliding along like a cloud-filled dream as much as it bumps and whips with pumping blood panache, this remix a vital reaction to the raw honest beauty of the original.

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• 🔔 Mozado's remix can be downloaded for free via this little link here.
• 🔔 'Used to Love' is taken from Chloe x Halle's debut self-released mixtape, The Two of Us. You can listen to this collection of goodies on YouTube. In addition it can be streamed or purchased variously via this link.

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🐣 SHLOHMO — SLOW DESCENT (TOMMYJARVIS REMIX)

The chaotic original 'Slow Descent' by Shlohmo, with its spooky twisted rounded organic synth sounds and vital menagerie of clipped click-clacking tight tumbling percussion, a dark shade of broken beat flavours, gets a reworking here courtesy of French musicmaker Tommyjarvis, styled after the Friday the 13th series protagonist of the same name. This new version takes the almost breakbeat speed and agility of the original and crushes it, that jittering nervous mood eradicated and replaced with something that has been under the hardships of life, a tract of overdriven saturated noise, the kinetic energy transformed into that of jostling saturation, a condensing of synth flavours.

The flighty acrobatic beat is no longer, and if any remnants of it remain in this new greyscale moss-ridden ruin of a track, they are slowed down, crippled from their original outing and now pulsing occasionally beneath the new viscous shroud of the track, Tommyjarvis creating crashing crowds of crinkled synth that spin damaged and zinging, the semblance of a melody on this dark nocturnal breeze, the rest of it a swamp of curling crunch, the power sapped from its abrasive bubblings by bassy kicks that fall into the electrogasm of it all and ripple slovenly, a trial of despondence and screaming noise that crouches in the corners of your mind, the abyssal yin to the original track's cascading yang.

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• 🔔 So the Tommyjarvis remix of Shlohmo's Dark Red album track 'Slow Descent' can be downloaded for free, as you can see on the SoundCloud player above.
• 🔔 Tommyjarvis is a part of Rouen-based musicmaking collective KNGS.

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🐣 EMSEATEE — PEER (LOMEA REMIX)

Shuffling sheafing leafs of metallic whooshing hi-hat fluttering electric with glitching staccato sharpness, the thin cutting veilsome foundation of this track, the garage offbeat swing tending to our hearts and nerves with its gratifying regular irregularity the extra monomolecular blades that swish through the air, here is the overriding rhythm of it, London-based Lomea's remix of 'Peer'. The original track by Oxford dwelling producer Emseatee is a brooding quick march with a heavy atmosphere and similar glitching electronics, which glitters and stutters with broken down computer aesthetics towards its end.

This new version holds onto that glitchiness, twins it with satisfying organicity in the realness of its percussion, the real rattling rasp of its hi-hats, the snapping clack of the snare as it gets cut-off and left to resonate alternately, the shuffling pattern of the booming kick. Juddering stabs of electro wonderland begin to jostle as the track starts lift-off, rising synths creating a blinding blare of bright light, more and more electro parts joining and crammed together and now this intensity, this grind and buzz with still that sizzling garage rhythm, an airy track that takes the original and feeds it steroids and incants strange magic to it, grows it some wings, flies it too close to the sun.

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• 🔔 Lomea's remix of 'Peer' is taken from The Nostos Remixes, a collection of remixes taken from Parts 1 and 2 of Emseatee's previous Nostos EPs. You can listen to it on SoundCloud or download it from Bandcamp.

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🐣 COOL COMPANY — BENEATH THE LIGHTS (JEAN TONIQUE REMIX)

While the original 'Beneath The Lights' by Brooklyn duo Cool Company is an intimate stream of warped ukulele sounds and trickling textures, exuding this atmosphere of sun-drenched romance, some fluidity of emotion existing in its slow closeness, the lips-to-ear silken vocals—while all this is true, this remix turns things up a notch, takes this atmosphere and expands it, increases the tempo and casts a level two spell of danceability with undeniable body moving effects. Set now to a lightly shuffling house beat, joined by electro tom accoutrements, a soft indomitable bassline swoons with subtle elasticity and low robust tones, gorgeous repetition of the plaintive groove the actual backbone of this new rendition—"adding a groovy spin to it to make you nod your head," the remixer himself Jean Tonique tells us.

The quicker pace of this track takes away the personal nature, somewhat, of the original, with the vocals now faster, more like something you can sing along to rather than something to be serenaded by, as in the original. With this, cool mists of synth veil the beat, pockmarked by sidechain, melting paradise steel pans, sharp guitar licks adding to this sense of tropico-casual, this hand-in-pocket slow sway with a holiday romance feel of it, the undeniable cool now heightened. It feels very much like the precursor to or the aftermath of the intimacy of the original track, Jean Tonique moving the soul of it from the sultry confines of four walls and carnal romance and leading them outside, out into the open to feel the world, truly under the lights, for a spin beneath an aching vast sunset on a tropical sky.

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• 🔔 You can download this track for free, as you can see above.

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🐣 ANNE DEREAUX — ROCK AWAY (SHINES REMIX) [初演 • PREMIERE]

"I listened to the original quite a few times and really just tried to put myself in that situation," Shines tells us, talking about the creation of this remix, debuting today on yes/no. The original 'Rock Away' by Nashville-born LA-based Anne Dereaux is imbued with a brooding attitude and beset by hard thudding beats. Shines takes that looming atmosphere and stretches it out over a collage of percussion, knife-edge cymbals and clanking hi-hats and organic clops and clicks, sub-bass glooping with subtle confrontational booms, vital and spooky, like noises of a nocturnal forest. Dereaux's vocals float ghostly with reverb, resonating in the mysterious thickets of sound.

The track moves via an insectoid flourish at 01:45 from its first, trap-inflected tract to a midsection whose lo-fi clacking beats underpin a bubbling cauldron of synth, tick-tocking in its slow-motion clock swaying rhythm, heady ambience swirling with phasing coils of twinkling sound like watching a meteor shower in an intoxicated haze, the sound building from the sparse yet viscous brutalism of its first section into something ambiguous. The third and final section is doused with clarity, the sounds warmer, less abrasive, glimmers of glitter as the vocals call out and whirl like dappled sunlight. "The goal was for you to go on an introspective trip," explains the producer—and as we move from the dense depths of the forest, lost, stumbling unwittingly through thick undergrowth, and make it into spots where finally you can see the sun through gaps in the trees, it feels as though this goal was thoroughly achieved.

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• 🔔 In related news, Shines' self-titled EP is out now.

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🐣 TCTS — DO IT LIKE ME (ICY FEET) FEAT. SAGE THE GEMINI & KELIS (MELÉ REMIX)

TCTS's original 'Do It Again (Icy Feet)' is a brooding slice of funky house that features rapper Sage The Gemini and the lilting voice of Kelis aching in the almost taunting pseudo-hook "icy feet…"—but in this re-do the Manchester producer's track gets more than just a facelift: the cold synth syncopation and robust rigid beat, the dark aura, the digitised mechanical body of the track – as well as all its shuffling funk – gets new life injected into it, becoming a warm, organic, living-breathing track courtesy of Merseyside producer Melé. Snare rolls drop in and snake through lively rattlesome, carnivalesque percussion clatters between bars: it lives!

The serious slightly screwface nature of the TCTS track is, like a frown turned upside down, put on its head and has in this remix all but dissipated, with Melé adding a few cups of French touch-flavour impiousness, the bassline up-front and playful as it bounces through. Similarly the vocals get a slightly oddball treatment, warped and layered and twisted with atonal robotic pitch-shifting, taking the brazen almost cocky nature infused in the original vocals and making them less confrontational, more fun and trivial and leftfield as they repeat unrelenting, "I bet you can't do it like me…" Melé has birthed a yang to the yin concocted by TCTS, conceiving and delivering not just a light side, but a lighthearted side for his body-moving remix.

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• 🔔 'Do It Like Me (Icy Feet)' is available to download from various outlets now.

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🐣 FLUME — HYPERREAL FEAT. KUČKA (LACED REWORK)

With the skipping vocals of Kučka whirling around, the wonky shuffling beat and its doof-doofing kick, the glitching ectoplasms of synth like electronic phantasms of auroraborealis offcuts, Flume's bonus track 'Hyperreal' is a paragon of its titular promise. There's a dim darkness effused by the track, framed by a sense of cold futurism, something minimal and menacing, and it's this theme that Laced seems to have picked up on in their reworking. With a decided focus on those thudding kicks, the musicmaker strews them in four-on-the-floor formation for a deep and devastating house feel; hi-hats like daggers unsheathing and cutting the air add rasping sharpness to the shuffling rhythm; a constant synth rumbles balefully below.

And then you realise at around 00:58 that a lot of those sounds weren't hi-hats at all but overlapping inhale-exale breaths sampled and shivering, isolated for their impact before a tidal wave of sound begins, a break in the house regularity, a swaying from rapid gloopy kicks and sub-bass bwaoom to clacking rolling snare and a twinkle of metallic ticking. An unexpected part of the song, splitting sounds in two and letting them crash into the slices of silence, this segment does not refrain later on but instead remains a totemic midsection between the hard thudding house vibes, the garage-tinged shuffle of everything—it's a natural evolution of the original track (like the artwork: a darker version of the artwork for Flume's Skin Companion EP II), but it's replete with a dark and dusty emotiveness of its own.

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• 🔔 Listen to more Laced tracks over on their SoundCloud.

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🐣 DUCK HOUSE — FLAW (CHRIS VERSAS 2K17 REMIX)

'Flaw' by Duck House. It's a nice song isn't it, a hazy portion of slo-house, a track like melting fog, like distilled summer feelings condensing on the inside of your mind. But then imagine this song faster and less melty and your conclusion will come closer to something like this wonderful remix from Hamburg musicmaker Chris Versas, a clear avenue of funky house, a cyclical trail that lets Duck House's original elements add to the summery veil hung over the legible pulse of this dance-destined reworking.

At once it's that bass, reminiscent of the original bassline, its syncopated rhythms, its rounded muted half-sharp flavour, running the show. From here the drums shuffle with pop-out swing replete with metallic hi-hat and tambourine jangle, offbeat handclap snare running along this etching this carving of rhythm. House, the glorious repetitions, the progressive feeling as different parts flow in and out—those sun-soaked vocals, the squeals of guitar, hovering clouds of ambient sound. And from around the 3-minute mark there is a crescendo of synth, a rising up whooshing and soaring into the sky, before the track settles back into its plain but poignant groove.

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• 🔔 You can find some more remixes by Chris Versas, as well as mixes, at his SoundCloud.

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🐣 ZEALYN — TALK:LISTEN (SLEEPING LION REMIX)

Whilst Zealyn's 'Talk:Listen' is a gentle foray into the constant hum and buzz of electronics, this remix by Boston-based Sleeping Lion turns up the gentleness for a decidedly stark and beautiful reworking of the original. The vocals have been enriched with layers that turn it into an instrument in itself, warm tracts of textured tone issue forth and glow in the empty space with emotive lyrics: "I know you like to talk but never can you find the time to listen."

And then there is Sleeping Lion's employment of swaying rhythm and sparse beats, the deliberate avoidance of utilising space and silence for sound but instead leaving it as it is, sending up soft booming kicks and wide all-encompassing synths to make their impact in the electric potential of the quiet either side. There are snippets of the vocal strewn around for ornamentation, gleaming synth melody paints pastel dreamy mists, insectoid percussive blips and clicks skitter around, and the synths arrive robust and pulsing with energy for the finale: these sounds are like a loving touch, a graze of the cheek, brilliant sunlight.

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🐣 SAMPHA — (NO ONE KNOWS ME) LIKE THE PIANO [LTMR REMIX]

The straight-from-the-soul beauty of Sampha's single '(No One Knows Me) Like The Piano', taken from his debut LP Process, gets a sunny reworking courtesy of Philadelphia resident LTMR. What this stands for is a mystery; acronymfinder.com suggests Less Talk, More Rock or – my favourite – Long-Term Multilineage Repopulating. But we're not here for acronyms—we're here for this remix, which crackles with vintage warmth, to where LTMR leads us, through a breezy garden sprinkled with birdsong, into this room heavy with nostalgia and resonating with dusty piano chops and heartfelt vocals, light filtering in through half-open windows.

It's the original alright, but sped-up, taken up a gear and bumped by the thud of a beat, a gratifying sidechain softly pockmarking the proceedings. Raw metallic hi-hats shiver along with it, galloping to the beat as the original track plays out in its new casing, one that highlights the loving touch on the piano keys in particular. Parts of LTMR's remix feature vocal and piano chopped with scalpel precision, strewn over a new smartly clacking beat with the snap of snare starting and the kicks ba-bump ba-bump heartbeat swing creating a sway of rhythm in this breezy atmosphere. We leave through the garden again, blue sky, birds chirping, feeling better for having heard this, a soul-cleanse, and then walking into the life of spring and the uplift of nature.

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• 🔔 This lovely little remix can be downloaded for free, which is also lovely.

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📠
☟ LTMR Internet Presence ☟
facebook ⚘ soundcloud ⚘ instagram

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🐣 YOUNG SUMMER — PAUSED PARADE (LINDSAY LOWEND REMIX)

Whilst Lindsay Lowend originally became known for the now seminal Wind Fish EP, his sound has continued to evolve since his VGM and juke infusion impacted on the nebulous infancy of internet music. Different styles effuse into the world from the mind of Tony Mendez, for instance this smart and snappy track from last year, and such is the case with this recent remix of fellow Washington-D.C.-er Young Summer's 'Paused Parade'.

The original track is a slinky number cradled in the arms of jazz with haphazard cymbal licks and flashes of crystalline piano. Lindsay Lowend transforms it into something else entirely, lifting the vocals and brushing them like watercolour strokes over a bold bustling backdrop grounded on thudding kicks that roll along a rumbling wobbly bedrock of bass.

It's a frenzy of juddering stabs of clanking chords and simple synth melody played that rifles along a few notes, ornamented with rasping metallic hi-hats and the occasional sparkle of electronics that sounds like a chime sweep, a subtle nudge away from the song's dark and vacant feel into higher more heavenly climes.

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• 🔔 'Paused Parade' is from Young Summer's 2016 You Would Have Loved It Here EP.
• 🔔 Check out Lindsay Lowend's SoundCloud for a back catalogue of music. Much if not all of it can be downloaded for free. You will also notice that comments are disabled and numbers of likes/plays are hidden for pretty much all his tracks.
• 🔔 In addition, under his real name Tony Mendez, Lindsay Lowend uploads experiments in sound design on his Vimeo, mainly in the realm of videogames.

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📠
☟ Young Summer Internet Presence ☟
Facebook • SoundCloud • official site • Twitter • Wikipedia

☟ Lindsay Lowend Internet Presence ☟
Facebook • SoundCloud • Vimeo

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HYPERJUICE – CITY LIGHTS (PARKGOLF REMIX)

PARKGOLF's moniker no longer appears in all caps on his SoundCloud page so I'm really not sure how to address him anymore. For ease (since I am not much of a caps lock user and can't be bothered to hold down shift every time I type his name) I will refer to him as Parkgolf. Eeesh, but it doesn't look as good, does it? It's ok. This is change and progress probably.

If you don't know: PARkgolf is a musicmaker from Sapporo, Hokkaido, Japan. He first caught the attention of YES/NO after he remixed 'I Don't Care', a brash and sweltering iridescent reworking of the Tofubeats original that appeared on the latter's remix version of his album Lost Decade back in 2013. Since then he's been dropping ever more electrostatic pearls of plasticine playfulness, sometimes in the form of originals, other times in the form of remixes, always jittering with untetherable energy.

And with that, here's his latest: a remix of 'City Lights' by Tokyo duo HyperJuice; maybe I'm just a sucker for a Seinfeld-esque bassline, maybe this is just the kind of music to sate my overstimulated mind – either way: expect nerf gatling gun bass popcorn laced throughout.

It's safe to say that this is an out-of-control ferris wheel of fun, turning the original track into a fireworks celebration of the vocals by EVO+ (unless they have exactly the same name and I've got this wrong, she is an utaite, which means she's predominantly, or at least started out by, posting cover versions of mostly VOCALOID songs on Nico Nico Douga), with gentle piano belying the jet takeoff that awaits with Parkgolf's mastery of plasma beam chords, a decoction of pulsing rhythmic-explosion dynamism and crystalline fluidity.

The drums are full-bodied, thick, like the sound of that thing astronauts train in as it spins WHOMP! - WHOMP! - WHOMP! The scree of bass notes jumbling with complexity, a wonder of virtuoso sonic storytelling and summoning energy in the listener – who with each phantasmic blast of synth sound sets our minds and bodies aglow with rainbow frequencies, careening dopamine hailing from neurone to neurone in orgasmic succession.

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• There's a free download of the track via Dropbox right here (clicking).
• 'City Lights' appears on recent HyperJuice release, Lights.

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☟ PARKGOLF Social Media Presence ☟
Facebook • SoundCloud • Myspace • Bandcamp • official site • Twitter • Tumblr • YouTube • Wikipedia

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ARIANA GRANDE & THE WEEKND – LOVE ME HARDER (BLACKBIRD BLACKBIRD FLIP)

Call it a flip, call it a remix, call it a re-rub, rub-a-fuckin-dub-reworking – whatever: It's a different angle on an existing song. And in this instance Blackbird Blackbird has improved upon the original. The Weeknd teamed up with maybe-heir-to-Mariah's-throne (if that exists) Ariana Grande for the sexual epic, 'Love Me Harder' – the video is a pretty standard allusion to orgasms, a sleek drawn-out euphemism. Hm. We see this everywhere. New mouths sing about old things.

But it's ok, everyone does it. It's just great that people want to remix songs like this, people who can see the promise and potential in the words and vocals and take these energies, this human spirit, and place them in a new setting, a new musical vessel from which they can shine a different light.

As such, San Francisco-based producer Blackbird Blackbird's version of 'Love Me Harder' features pitch-shifted vocals, sometimes low and rich, sometimes high and chipmunk-like, sometimes fluctuating dynamically between the two, set in a gently swaying fantasy world of feeling. Fragmented beats mark out the sensual journey, rolling melodic snares and rattling hi-hats playing above gloopy heart-boom kicks. Soft electric piano chords mutate into fizzing tremolo synths, winding and wiggling through your mind and conjuring a hazy, narcotic lust – A far cry from the crescendoing fireworks of the original.

Attentive breaks in the beat appear throughout, making the track gloriously slow and considerate, allowing you to better hear delicate music box twinklings. It's an honest reworking, more true yet with more fantastical elements throughout (take the chipmunk vocals, for instance), a variation on the idealistic elements at work in 'Love Me Harder'. And there also seems to be a sample of a dog whining, which basically feels like the perfect epithet for longing lust.

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☟ Social Media Presence ☟
Facebook • SoundCloud • Last.fm • Songkick • official site • Twitter • Tumblr • YouTube

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