Top 10 Remixes/Edits of 2011

In a world where remixes and otherwise altered versions can often outshine their original tracks, it would be impossible to sift through all the amazing and pathetically generic “remixes,” “edits,” “rubs,” “versions,” and “mixes” out there in music land.  I’ve decided instead to sift through our own archives from the past year and revisit some of my favorite cuts.  I found that many of these artists have come and gone. or maybe I’m just not paying attention.   If that’s the case I plan make new friends in the New Year but hold on to the old and perhaps get reacquainted.

In no particular order:


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Top 10 Albums of 2011

This has been a truly awesome year for music both in the blogsphere and live entertainment world. The music industry has shifted so much that most artists with a sound sense of marketing and publicity can get their music exploited without help from major labels or corporate muscle. Below are 10 of my favorite albums this year which have all gotten great feedback through my shows on WVUM and through this here blog. There’s a mix of well known artists and some lesser-knowns who really pushed their own albums to make sure we heard them. This was a tough list to come up with considering all the great releases that have come out this year.

Hats off to all the groups below: (no particular order)

Metronomy – The English Riviera (Domino Records)

1. The English Riviera
2. We Broke Free
3. Everything Goes My Way
4.

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5. She Wants
6. Trouble
7. The Bay
8. Loving Arm
9. Corinne
10. Some Written
11. Love Underlined

PURCHASE ALBUM

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When Saints Go Machine – Konkylie (EMI)

1 Konkylie
2 Church and Law
3 Parix
4 Chestnut
5 Same Scissors
6 Jets
7 Kelly
8 On The Move
9 Whoever Made You Stand So Still
10

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PURCHASE ALBUM

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Hercules And Love Affair – Blue Songs (Moshi Moshi)

1. Painted Eyes
2.

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3. Answers Come in Dreams
4. Leonora
5. Boy Blue
6. Falling
7. I Can’t Wait
8. Step Up
9. Visitor
10. It’s Alright

PURCHASE ALBUM

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Azari & III – Azari & III (Loose Lips Records)

1 Into the Night
2 Reckless (With Your Love)
3 Tunnel Vision
4 Indigo
5 Lost In Time
6 Infiniti
7 Change of Heart
8 Manhooker
9 Undecided
10

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11 Manic

PURCHASE ALBUM

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Junior Boys – It’s All True (Domino Records)

1. Itchy Fingers
2. Playtime
3. You’ll Improve Me
4.

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5. The Reservoir
6. Second Chance
7. Kick The Can
8. ep
9. Banana Ripple

PURCHASE ALBUM

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Canyons – Keep Your Dreams (Modular)

01. Circadia
02. Under A Blue Sky
03. My Rescue
04. See Blind Through
05. Sun And Moon
06. The Bridge
07. Blu Snakes
08. Tonight
09.

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10. And We Dance

PURCHASE ALBUM

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Tiger & Woods – Through The Green (Running Back)

01. Dr. Burner
02. Don’t Hesitate
03. Time
04.

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05. Curb Your Heart
06. El Dickital
07. Deflowered
08. Kissmetellme
09. Gin Nation
10. Speed of Light

PURCHASE ALBUM

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Ilija Rudman -  The Reveal (Bear Funk)

01. Inspectors Drive
02. Victory 2010
03. Prisoner of Passion
04.

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05. I Dub You So Much
06. Twenty Questions
07. Show Me the Magic
08. Romance Warrior
09. Gentle Fire
10. More Than a Memory

PURCHASE ALBUM

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Clap rules – Golden Hands (Bear Funk)

1 Silver Mountains
2 Get Excited
3 Fantasmi
4 Pericoloso
5 Golden Hands
6 Oh Uiba
7

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8 Aria Tre
9 Approccio
10 Ecoteca

PURCHASE ALBUM

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Timber Timbre – Creep On Creepin On (Arts & Crafts)

1.  Bad Ritual
2.  Obelisk
3. 

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4.  Black Water
5.  Swamp Magic
6.  Woman
7.  Too Old To Die Young
8.  Lonesome Hunter
9.  Do I Have Power
10. Souvenirs

PURCHASE ALBUM

Appaloosa: Patchwork

Appaloosa put out a new EP titled Patchwork, it’s almost as amazing as their previous release The Day (We Fell In Love) and includes a nice variety of remixes. The duo is Anne-Laure Keib and Max Krefeld who met in Berlin and got a head start when Kitsune picked them up on one of their snazzy compilations. “The Day We Fell In Love” is one of my favorite tracks of the last decade…no joke, it’s fantastic. Patchwork is definitely a good followup.

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Purchase the whole thing here

Check out our last post on Appaloosa

Galapagos: Last Of The Phoenecians

This is the story about a young Austin-based producer hailing from the Southwestern suburban kingdom of Phoenix, AZ who through his sheer will and determination has established himself as a rising star within the electronic music scene, all at the tender age of 19. I am talking about a Mr. Jacob McNaughton, known to us as Galapagos.

McNaughton is what some may call a ‘prolific’ producer. He has been producing music for less than a year and has already released four EPs and has received rave reviews from reputable blogs like XLR8R and Altered Zones (RIP). From the depths of America’s suburban desert wasteland Galapagos brings to the table a unique synthesis of electronic music, a genre that has experienced a massive influx of participants and words used to describe them. Some may label him as IDM and others might call him post indie-wave-chill-step or ATX Garage, but to the me Galapagos makes straight up JAMZ that any discerning listener can enjoy.

With all these things in mind I sat down with the lad for a fireside chat to examine who the man behind the tiger mask actually is.

So, how did this all start?

I was raised in the hardcore suburbs in this town called Mesa. For what its worth Phoenix, AZ is
a giant conglomeration of upper middle-class angry white folk… very angry.

My dad got me my first guitar when I was 10 which I was really into for a while. Funny enough
he actually was an electronic musician. He sampled stuff like Prince and sang over it. He never
made it big but he was into bedroom production using a four-track tape deck and a program
called Cool Edit Pro (later becoming Adobe Audtion). This was the first digital production
program I got into as a teenager. I was first interested in folk music but the more I recorded
myself, the more I got interested in electronic music.

Musical influences?

In 8th grade I was into Postal Service like everybody else alive and was really turned on to
electronic music after listening to a collaboration between Ben Gibbard and Styrofoam, a
producer signed to Berlin-based Morr Music. From there I got into artists like Isan and Lali
Puna and the rest is history.

Has music been your only avenue of expression?

When I was in high school I made flash cartoons and got really close to attending the Ringling
School of Art and Design but couldn’t afford it.

When and how did you become Galapagos?

Halfway through my senior year I got Abelton live. It wasn’t until the summer (2010) that
I mastered it. This past December I dropped “The Gleaming“. I sent it to a blog called Life
Aquatic that I liked and you know how blogs work…it trickled down, word spread and people
liked it.

What would you say is your modus operandi to music production and preforming live?

I make music that I think I would like to listen to because I really enjoy listening to my own
music. When you hear a song you enjoy and you understand where its coming from and how it
was made, it gives you a better appreciation for the final product. I preform live every once in a
while when I can but I want to become mastered at music production before I really go hard in
the paint about playing shows.

I can say from experience after seeing him over a half dozen times live that Galapagos is, in fact,
AMAZING. I was blessed with seeing both Galapagos and his Chill Mega Chill Records label mate
Corduroi once more when they played at my going away party in Austin, TX this past weekend. As
usual their sets were simply ruthless. I am certain given time, dedication and energy both of these
talented Austin transplants will be playing at a venue near you in the not too distant future.

Tracks:

Galapagos -Gleaming

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Galapagos – Feel Things Inside

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His Bandcamp

P.S.

Because this is my last post as a foreign correspondent for Night Drive Miami in Austin, TX, I would like to give a shout out to Sebi De la Mata, Sarah Megan Ross, The Skanky Possum Family, East Side Isle and the Applied Pressure crew for blessing me with their friendship and guidance throughout my time in Austin while showing me the best music that the ethereal city of Austin has to offer. Though I am moving to Europe soon be certain I will be keeping the world informed about ATX…. Pucho out.

Guest Post by: Laurence Pucho Henriquez

Tornado Wallace Interview

It’s been nearly impossible not to have heard of Tornado Wallace over the last couple of years. Following an explosive debut with the Tornado Never Dies EP on Sleazy Beats Recordings, The Australian Tornadian (a.k.a. Lewie Day) has rapidly become a breakout act of the flourishing Melbourne scene he hails from. His productions combine earlier house influences with mid-tempo, sample-heavy disco leanings, resulting in something utterly entertaining and intriguing. Further releases have called home to revered labels such as Delusions of Grandeur and Instruments of Rapture, and he also keeps busy remixing up-and-comers (Nile Delta, Loin Brothers) and indie juggernauts (Cut Copy) alike. Last month saw the release of his third EP on Delusions, and as you’ll find out below, next year promises to be even bigger.

I was recently offered the chance to ask the man himself a few questions ahead of the new record, Underground Sugar Caves, along with a full-length excerpt, Insect Overlords, for your listening pleasure (you may have noticed that he likes The Simpsons).

ND: You just finished a summerlong tour around the UK and Europe. How did it go? Did you notice any new developments since your last visit?

TW: It was great. A pretty relaxed affair really, given that I moved into an apartment in London with my girlfriend for the 6-month duration. So I guess in that way it wasn’t so much a tour, but rather a temporary relocation – which made the whole experience more comfortable and worthwhile.

On a whole, I could see that the ‘UK sound’ had become much more prominent in nightclubs throughout UK and Europe. The stalwarts of that scene seemed to be much busier, and those DJs who would usually not be associated with that sound tended to play several ‘bass’ (for lack of a better term) tracks in an otherwise house/techno set. I believe the more variation a DJ set has, the more enriching the experience is for the audience, as long as it’s done with thought and precision. So it was great to hear said variation, and great to see the crowds responding well to it.

ND: Your most recent release was on Graeme Clarke (The Revenge)’s Instruments of Rapture label. How did you end up working with him?

TW: Graeme really helped me get my Tornado Wallace material out in the big bad world. What started as me sending him a yousendit link on MySpace in 2009 inadvertently ended up with my first EP on Sleazy Beats, which really kick started all the other opportunities I’ve had since. So I’ve been in touch with him for a while.

But there’s actually another story behind how the Instruments Of Rapture EP came about. Graeme was in Melbourne and my manager thought it would be a nice idea to take him out on his boat (I was out of town at the time, so please allow a 20% margin of paraphrasing-related error). G’s not too good on boats usually but after some convincing and being the good sport he is, they set off only to stop a few hundred meters into Melbourne’s bay when the engine started smoking. As James (manager) pretended that everything was ok and that he knew how to fix the problem, G calmed the growing anxiety levels and after a tense hour the engine sputtered to life – minutes before the passengers resorted to *cannibalism.

Perhaps it was gratitude at the realization that they weren’t going to spend the next couple of days slowly drifting towards Tasmania, but James had my newly completed ‘Rainbow Road’ playing over the sound system and G liked what he heard so he contacted me about a IOR release, and I of course said yes.

*Some journalistic assumptions were made.

ND: What is it about Melbourne that has made it such a thriving hotspot in today’s underground house scene?

TW: I think your guess is as good as mine. As far as I see it, it’s the same bunch of dudes doing the same thing they’ve done for years. The globalization of the music scene via the Internet has made it much easier to get the music to the right ears. It used to be hard to be taken seriously if you live so far away from the musical hotspots such as UK and Europe, but I think the Internet has taken the emphasis off the importance of where you come from, and has placed more value on the music itself.

I remember only a few years ago Mic Newman and I had a hard time getting our music released. The music didn’t suit any local labels, and none of the international labels who we sent our music to would even listen to our music. We had neither the connections, nor the know-how to start up our own label, but we eventually found a couple of European-based Beatport-only type labels who were willing to put the music out. The sales reports we got back were hilarious. These tracks that we spent so much time working on would sell between 20-100 digital units and that was it. But the music somehow sieved through to a few tastemakers and we started catching some breaks with releases on labels like murmur and Dirt Crew and Delusions Of Grandeur.

ND: Your material draws heavily from the 70s and 80s. In what ways do you put your own spin on the music you are sampling or editing?

TW: I’ve been writing electronic music for about 10 years and only in the last 4 years have I really taken sampling seriously. So it is a relatively new thing for me. I used to see it as cheating, which helped my production skills as I learned how to use synthesizers and play instruments myself – but after admitting to myself that most of my favourite dance tracks of the past 20 years unashamedly used sampling in some capacity, I gave it a chance and found that there was a richness and soul that I wasn’t getting otherwise. So I got a bit sample-happy there for a while, but I’ve since found that a marriage between both approaches is a medium that reaps the best results for me.

ND: When it comes to vinyl-only releases in the MP3 Age, do you feel there is a difficult compromise between the special, tangible quality of a rare record and the limited exposure resulting from its exclusivity?

TW: It depends who you are and your reasons for doing it. I think vinyl-only labels can be placed into one of three categories. There are those labels who have always put out vinyl-only releases and have done it because they love records, only ever play records and aren’t interested in the extra income a digital release might potentially bring. Then there are the labels that are worried about sample clearance and who don’t want to take a risk of releasing something digitally, which might get them into some legal hot water down the track. And then there are a few labels out there who I think are a bit guilty of doing a vinyl-only thing because deliberately creating something rare in this market in turn makes it a bit more special. I have at least a crateful of records I have bought under this pretense. Records I have rarely (and sometimes never) played as the idea of the record being scarce overwhelmed the actual music.

Please excuse my appalling generalisations.

ND: Do you ever make a conscious decision to release on vinyl before being published by a label?

TW: I like to play records as well as CDs, so I like my music to come out in both formats. For the time being, I would not release any of my original productions in a digital only format. The lay of the land will of course change over time, and I am happy to adapt to the market but when a release is done through the right label and distributor there is still a way of justifying the costs necessary to press records.

ND: House music aside, what artists and producers have caught your ear lately?

TW: I love everything ESP Institute, International Feel and Golf Channel put out. There are ‘house’ flavours to some of the releases, but in general that sometimes balaeric/sometimes jazzy/sometimes rocky sound that all three labels maintain really floats my boat time and time again.

I don’t listen to too much new non-dance music. Between digging through old records for samples and trying to keep up with the endless barrage of new dance releases I have a hard time fitting in any other music. It’s a bit pathetic and one thing I wish to change in the future.

ND: Are there other styles or genres you’d like to try your hand in, possibly under a different pseudonym?

TW: At the moment I’m working on a project with a friend from Melbourne, which will feature another mate who is becoming an increasingly popular singer here in M-Town. We have self-named our intended style as ‘krautback’. We are hoping to have some releases ready for early 2012.

ND: Beyond the upcoming EP on DOG, what else is in Tornado Wallace/Lewie Day’s near future?

TW: Aside from the aforementioned side project, I am working on an album for Delusions which I hope to have ready for a release around the middle of 2012.

ND: Finally, describe the first image that pops into your head when thinking of Miami.

TW: I guess a silhouetted palm tree against a pink sky. Pretty cliché huh?!

As promised, we have an exclusive stream of the track Insect Overlords in its entirety

You can buy Underground Sugar Caves on 12″ vinyl here. It will also be available digitally in early January.

 

Tornado Wallace- Insect Overlords

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Tornado Wallace- Paddlin’

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Guest Post by Luciano Medori

Kurtz & Bomber

 

I recently ran int0 Richard Haig (Panic Bomber) at the Electric Pickle during Art Basel week. I was playing a house set when he came up to the DJ booth and told me about his new collaboration with Troy Kurtz. I’ve been all about Panic Bomber’s music lately (especially his “Visit From the Grave” track) but I honestly had no idea Kurtz knew anything about production. Anyway, I met  Kurtz once at WVUM and…I’ll just leave it at that. Richard however is an old friend and one of the nicest most humble producers I know, guy’s got the Midas touch. Panic Bomber has been instrumental in putting Miami on the national indie-electronic music radar.

The track below is a sneak peek of what’s to come from these two. Great to see more and more Miami personalities collaborating with each other.

Kurtz & Bomber – Never Sleeping

Psychemagik

The UK’s Psychemagik has been hitting it hard the past few months with some quality disco edits, remixes and original productions.  After appearing on Metronomy’s latest remix EP of their single Everything Goes My Way, they got my undivided attention.

Their latest self-released Heelin’ Feelin’ edits were released recently, honing in on a cosmic-disco-rock tip.  It’s genre-bending experimentation like this that keeps disco interesting and anything but monotonous.  Looking forward to more fun from these guys.

Listen to Heelin’ Feelin’ below, buy it from Juno HERE

[audio=http://dl.dropbox.com/u/54109086/01%20Boogie%20Drome.mp3]Psychemagik-Boogie Drome

[audio=http://dl.dropbox.com/u/54109086/02%20Diamond%20Star.mp3]Psychemagik- Diamond Star

Downloads:

[audio=http://dl.dropbox.com/u/54109086/04%20Carnaval%20De%20Trancoso.mp3]

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[audio=http://dl.dropbox.com/u/54109086/Everything%20Goes%20My%20Way%20%28Psychemagik%20Remix%29.mp3]

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Posted by Patrick

 

Benny Sings

Benny Sings is Steely Dan, Giorgio Moroder, Christoper Cross, and The Bee Gees combined into one dude, yes holy shit is right. This guy answers the question “what happened to yacht rock?” I’m so impressed by his latest album ART and can’t wait to be invited on someone’s boat so just so I can play it. Fantastic stuff!!

Benny’s thoughts on ART:

Benny Sings has finally graduated. With his new album Art, which was released on 27 May 2011, the multifaceted producer/composer/singer feels that it has all come together. ‘Making albums is a learning process. “After every album I felt as if I completed another year at the Benny Sings Music University. And Art is my graduation project. It’s the finale to my ten years of toil. I now have my diploma. It represents my first work as a mature artist – my first real “work of art’’.

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[audio http://dl.dropbox.com/u/47451477/08%20Each%20Other.mp3]

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[audio http://dl.dropbox.com/u/47451477/01%20Big%20Brown%20Eyes.mp3]

Buy ART
[youtube=http://www.youtube.com/watch?v=OkVti5vHnP8]

The KDMS X Morgan Geist X Felix Martin

Disco vixen Kathy Diamond and producer Maximillian Skiba are KDMS and they just hit the charts hard with their single Tonight off Gomma.  Now everyone is raving about the Morgan Geist remix simply because it’s amazing, but I’m really digging what Felix Martin (Hot Chip) has done.  Definitely harder, more techy, but balanced with Kathy’s soulful vocals.  This entire release is worth the purchase.  It’s like the original is the soulful warm-up, MG’s cut is prime for peak hours while Martin’s holds it down until sunrise.

[youtube=http://www.youtube.com/watch?v=x733Ea-nTKo&eurl=http%3A%2F%2Fwww.gomma.de%2Fthe-kdms%2F&feature=player_embedded]

Download:

[audio=http://dl.dropbox.com/u/4285163/03%20Tonight%20%28original%20extended%29%201.mp3]

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Stream:

[audio=http://dl.dropbox.com/u/4285163/01%20Tonight%20%28Morgan%20Geist%20remix%29.mp3]The KDMS- Tonight (Morgan Geist Remix)

[audio=http://dl.dropbox.com/u/4285163/04%20Tonight%20%28Felix%20Martin%20remix%29.mp3]The KDMS- Tonight (Felix Martin Remix)

Posted by Patrick

Mickey Moonlight: and The Time Axis Manipulation Corporation

Yay! Mickey Moonlight finally came out with his long anticipated full-length release (off of Ed Banger Records and Because Music). It’s called and The Time Axis Manipulation Corporation and its got Moonlight’s Sci Fi flavor all over it. The songs range from disco muzak to indie pop, but there’s no single genre that would describe the whole thing. I have to admit I was expecting a much dancier debut album considering his previous singles and remixes, but all in all I’m just happy he finally came out with something more than a remix EP.

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[audio http://dl.dropbox.com/u/47451477/05%20Close%20To%20Everything%20%28feat.%20George%20Lewis%20Jr.%29.mp3]

_______________________

Check out our last post on Mickey

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