So it’s officially summer holidays on my end, and I can’t think of a better song to celebrate with than the French house banger “Down Fever” by Dino Soccio of Chicago’s funktastic “Only Children”. It was featured on Aeroplane’s March mix, and the best part, is you can download it for free.
When I was perusing through several nu disco blogs a few weeks ago, this jam grabbed my attention immediately. Although the beat is simple, Dino incorporates jazzy, funky build-ups that avoid any degree of monotony in the entire seven-minute production. Only Children even samples Whitney Houston with a consistent rhythm guitar; it’s perfect from beginning to end.
I’ve truly missed the sound of nu disco tracks over the winter lull, but Only Children has finally brought back the heat. Roll the windows down, embrace the breezy sunshine and blast the volume on this one.
If you’re late to the Goldroom party: let’s recap. Goldroom is Josh Legg, Co-Owner of Binary Entertainment, member of synthpop band NightWaves and a great writer and inspirational visionary of the dreamwave scene. DJ/Producer/Remixer and, if you get a chance to discuss music with him, a very serious songwriter who’s passion is to take the medium of dance music and add the thought, depth, dimension and emotion that sadly often seems to be lacking.
It’s about feeling, about originality, about making great music that stands up over time. Goldroom songs are just that, actual Goldroom songs. Each tune is approached with heart and intention not just -fruity loops gone wild or -reworking old 90s R n’B songs, slapping a new title on with no credit to the original artist, and calling it good.
Goldroom is determined to make music that inspires him, his eclectic style draws from a wide variety of types and genres of music current and past. A killer ear alongside a masterful handle on the nu disco, dreamwave sounds, blissful. It is that versatility and panache that have propelled him through an incredible year that has seen a European tour, some very sexy international one offs’, epically well received remixes and originals and a place on the Bond music group roster alongside fellow Binary bro Fabian as well as the likes of Classixx, Fred Falke, Moonboots etc. Without further ado or adulation…Fifteen.
What a jam. Dreamy, sexy, youthful and full of idealistic optimism. Thoughtful as well as full of emotion and groove, this is one of those tunes that has you reflecting, thinking back on younger, care-free days. First times, the excitement of discovery, summer romance and the untouchable hope that only youth fosters.The musical maturity shines through as Goldroom shows his versatility and depth. Point blank, this is a moving and beautifully crafted song. Genre defying, gorgeous. Clear and stirring vocals by newcomer Chela, grooves by Goldroom. With his humble yet lofty musical aspirations and a genuine passion to produce relevant musical art, sky is the limit for Goldroom in 2012 and beyond. Binary approves.
When making electronic music to a recipe the ingredients and cooking duration are key. Kris Menaces’ new song- We Are, takes a great selection of refined and natural produce and mixes them together into a slowly simmering spice infused anthem that is rich in vocal flavour and works into a smokey ambience .
Final DJ’s have taken over the recipe: guerrilla-style and added their own mix of suitably well matured vintage flavours for their remix of We Are and it’s resulted in one delightfully thrilling and filling synth laden course of exaltation, exclamation and excitation!
I can’t help but feel the vocal track works much better in this remix than the original. It’s such a powerfully delivered vocal style that it’s prominence is more diminished in the original mix, like that flavour you can taste in a delicacy that you wish was more dominant. The Final DJs bring the vocal right up front, making that first piquant taste last all the more by making the emotional charged words resonate in a deeply satisfying way. The 80s flavour complements the vocal perfectly, adding even more poetry to the experience.
By continuing the synth leads into the final revelatory rain storm Final DJ’s manage to be justified, victorious and introspective all at once . We Are is just what every Final DJ’s remix should be, taking bolder new directions for ingredients that already work well together and drizzling them in a neon glow of tasty pink and cyan scrumptiousness that is sure to satisfy even the hungriest listener.
On April 6, Discotexas released the long-awaited remix package to Zimmer’s “Horizontal Disco,” one of the finer nu-disco EPs from last year. As is the case with all things Discotexas, it’s groovy. The standout track is the slowed down and smoothed out Lou Teti remix of “Cruisin.” Because Zimmer’s sound wasn’t sexy enough already, Lou Teti infused what can only be described as an aural Valium. First heard on the Bag Raiders exotic monthly mix, Teti’s remix is a smooth jam. It’s impossible to press play and listen to this song without immediately being transported to a very happy place. Indulge.
Poolside disco/tropical euphoria/horizontal disco at its finest. This remix is all class. The whole remix package is worth picking up, as the remixes from Broke One, Moon Boots, and of course Xinobi are also stand-out efforts. We’ve covered Zimmer’s brilliance before (which is also on display in his live sets–trust me), so let’s get a little more acquainted with one of Brooklyn’s finest: Lou Teti. If there’s a nu-disco artist that has a chance to be this year’s Goldroom, one candidate is Lou Teti (along with our boy Lancelot and Poindexter). Lou Teti, who’s output over the last year or so is vast, has the touch. He knows how to work his synth in the sexy, dreamy waves of lore we so adore.
Uplifting, melodic, and catchy. Like Zimmer, Teti makes music fit for a horizontal romp on the beach. Easy melodies dripping in moisture. Lou Teti’s beats are made for the summer, and should immediately be placed on your Tropical playlists.
I’m frankly surprised Teti’s name and label Tigers on a Leash haven’t popped up more frequently across the bloggosphere. His music really fits the mold as the kind of tropical/happy nu-disco/”90s dance” that is shaping up as a force to be reckoned with (French Express, Gigamesh, etc). And when he got Drop Out Orchestra (fast becoming my favorite producers in the game), to rework one of his tracks, the result is infallible.
Hell yeah. This jam…So good. I know I have no choice but to blog something when it hits me this hard and stays in rotation. The original, the remixes. Feeling this. StereoCool aka Andrea Cipria of Catania, Italy has outdone himself with a nice EP that does exactly what a superbly crafted EP should do,grab your attention, hold your attention and leaving you aching for more. OK, maybe aching is a little much but the EP is rad and we are loving it. See for yourself.
Synthy goodness, optimistic and full of life. The well played vocals, the flanged out funk guitar…check….breaks and drops to get you moving….check. This is just a “simple” song that gets in your head and stays there. well done StereoCool.Well Done.
U.K. Producer/DJ/Remixer and all around badass Go Go Bizkitt! aka Tom Nelson takes the already dope original and brings a laid back Nu Disco bounce that adds a playful feeling suitable for pimping and or cruising in your ’64 on a sunny california day. Brilliant remix.
Where Go Go Bizkitt! chilled it out, Fare Soldi rev it up, faster, funkier and chopped like only Fare Soldi do, this one destroys the dance floor, with class. At 2:35 when the beat drops sick like, bass pumping,tempo throbbing….they own you.
Grum. Josh and I throw around songs to include on the blog. When he hit me off with this one I was excited and surprised, excited to see new Grum and surprised that I was not yet up on it…Grum has a dreamwave sound that flirts with commercialism but in a cool way, not full-on Calvin Harris / “arena ready banger”- red lipstick and fishnets proposition style- more like – indie librarian sitting at the bar amused and yet extremely approachable and confident style….anyway. His sounds are always bouncy and sunshine twinkly in a retro meets current combination/orgy of energetic groove. Dig.
Classic Grum vibe. the big builds, the driving groove, the Russ Chimes-like synth (older Chimes). In a guilty pleasure way I have to admit I kind of miss these cuts, vocals and all that bring me back to a couple of years past where my playlists were loaded with somewhat similar jams. There is something liberating about surrendering to the borderline -mainstream- aspect and just having fun. Let go when this one comes on at the club, sing-a-long in the safety of your own car or apartment getting ready for an eventful night of adventure.
What do you get when you combine one of the more unheralded male producers with one of the more unknown female producers/singers in the electropop game? Distorted Love. Shook‘s new track featuring Ronika, which is aptly named so, is a typically funky and smooth Shook work that falls somewhere in between his phenomenal remix to Louis La Roche’s “The Wall” and Kimbra’s “Cameo Lover”. Bouncy synth lines, flowery vocals, and a flawlessly executed rhythm–all Shook staples–are once again eminent.
Shook’s identity remains a mystery, but his music is fast becoming a surefire win. He’s simply one of the best synth-pop/disco producers out there. The genius of Shook is his ability to perfectly accentuate the vocals he’s operating with. Time and time again (whether it be with the aforementioned remixes, Ellie Goulding, or Penguin Prison), he’s shown the uncanny ability to flawlessly build his beats (primarily synth oriented) around his subjects. Shook never overshadows his subjects’ voices. Instead, as is the case with any skilled producer (Gigamesh, Goldroom, etc.), he accentuates them
His remix to The Wall describes this talent better than that paragraph did.
As a bonus, here’s one of the few Ronika tracks I’m familiar with, a remix by Fear of Tigers (who’s second album, if a brief preview is any indication, just might be on the horizon…)
I was supposed to write about this song in November, but for some reason, it sort of slipped beneath my radar. I’m glad I jotted down a note about it and rediscovered it a few weeks ago, because a sweet sweet jam it is. It’s one of those smooth, chilled out tracks that has the ability to almost cure a hangover.
It’s quite interesting that the few (two?) Bag Raiders remixes around are all relatively downtempo. It goes to show just how talented this duo is and how diverse their sound and tastes are. The signature mark in this one has to be the snapping that is just eerily reminiscent of one of the songs that got me into electronic music: Shooting Stars. From there, the song takes on a more tribal feel, as the dudes’ signature percussion touch kicks in. As always, the result is pure bliss.
The Bag Raiders are funny guys. Their music is practically undefinable. I was speaking with Zimmer last evening in Costa Mesa (he killed it) about what music we were into, and naturally the Bag Raiders came up. I said they’re like “tropical electro-pop infused with disco, bongos, and sex.” I failed. I can’t really describe them as anything other than the word I tend to describe all perfect music with: Lush.
Their live sets are also a site to behold. When they play a DJ set, funny enough, they play really obscure, helter skelter deep house/disco sets with some really random tracks tossed in. And they dance like mad men. Good times,GREAT tunes.Bag Raiders.
Yes! Andy Faisca of Mustang fame is now a solo artist and is destroying the mf dance floor with synthy goodness. Between his mixtapes and the handful of notable remixes he has knocked out, A.N.D.Y. has been making a name for himself beyond the shadow of Mustang. His latest remix, a transformed Jupiter track entitled One o Six is ace. Instant love. Behold….
Damn….The song builds beautifully to a sexy and elegant bounce that is both dreamy and refreshing.High energy, synth laden and catchy. This song gets you moving. As a dj, the broad appeal and welcoming groove are pure gold, guaranteed to motivate a broad spectrum of listeners or rooftop/backyard party goers not to mention the club….driving in you car….after hours……you get the idea. At 3:30 when the song breaks and the tempo slows its a sexy, syrupy serenade. Just enough of a welcomed break to breath and look around before the bounce returns, energetic and urgent, once again transporting us to altered spaces.
A.N.D.Y. , you have our full attention. Thank you for the creative and beautiful art that you are creating. And a free download as well…too kind. Binary approves.
If one of these nights you feel like gettin’ down, be sure to do it alongside MAM’s fre.E.P., brought to us by Soul Clap. The UK’s Matt Hughes and Miguel Campbell are two producers who have the ability to time warp their fans back into the 80’s, and inspire us to want to hit funky town harder than ever before. I would classify Miguel’s original productions, such as “Route No. 1” and “Journey” to be more nu-disco, whereas the duo’s fre.E.P. has a distinct, bona fide disco sound.
“Can’t Live Without Music” is the first of the funky productions from the release, as heard from the Wolf & Lamb Black edits. It reminds me of a Daft Punk production, with its robot-esque vocals and a consistently slow, sexy groove. Appropriate, considering Matt and Miguel met online via their mutual love for Daft. It’s a throwback to authentic funk, which is in harmony with the vocals “They say the music died, but they lied”.
“One of them Nights” (Alternative Mix) is a rendition of MAM’s most coveted song from their Wolf & Lamb Black release. MAM riffs Billy Ocean’s “Nights” from the young 80’s, and infuses a thumping beat and bass line to the original. This single from MAM is the embodiment of both authentic and modern disco house.
Last but not least, “Reel Sweet” is a completely new release from the duo, and my personal favourite on the EP. It’s straight-up catchy from beginning to end, and the constant thumping drums arouse a natural tendency to bounce to the beat. Although the duo introduces a modern disco sound, I believe that this heated tune would still be a club hit in the 80’s.
We’re thrilled that Soul Clap chose MAM as the group to release their third official fre.E.P. So pump up the volume, blast MAM’s seductive trio of tunes, and let the boys guide you to the disco.
