The Hall EP

Ready for another new French release? No, this isn’t from some big name label or a 2008-resurgence. Rather, this is an example of some of the exciting new guard from the country with a golden touch. Pyramid is a young producer from Lyon who gained some attention this past winter with his artful remixes of Air and Daft Punk. Today he expands from the world of remix artist to solo enfant terrible with his debut release, The Hall EP. With five songs and just over 25 minutes of playtime, The Hall EP is a delightful, spacey house affair. There are obvious similarities between Pyramid’s production style and Daft Punk, but as a young French producer (or any young producer for that matter), I don’t see how one could resist their influence. As Pyramid is also a seemingly ardent fan of strings, deep synths, and arpeggios, The Hall EP harkens strongly to the TRON Legacy Soundtrack (though granted, without the thousands of dollars worth of production equipment at his disposal). Clearly Pyramid draws a lot of inspiration from the Daft boys, but he has enough raw talent and vision to make his works more nods to his heroes than mimicry of them. Track 7 Suns sounds like it could be Solar Sailor II, and the stomping In Charge (probably my favorite track on the album) reminds me a more powerful End of Line. All the songs on the EP have quite a large feel—tracks run an average of 5 minutes per track, with the shortest still clocking in at over 4—the pieces seem function more as movements than as singles. Take, for example, the first single, Solar (which Pyramid is graciously giving away for free).

Solar--Pyramid


Clocking in at just over 6 minutes, Solar is divided into three distinct parts. There is firstly the celestial intro, decorated by arpeggios and a powerful kick drum. Then, three minutes in, you’re caught completely off guard by a new pattern of bouncing synth lines and hollow drums. It hops and buzzes for a solid two minutes before winding down, but suddenly switches on you yet again. Finally there’s a coda of sorts, characterized by a sharp, metallic melody and sparse accompaniment. The song ends and you don’t quite know what just hit you—it’s clearly a house/electro track, but it’s not anything like the pop-style prominent in the scene today. There’s no chorus, there’s little repetition of verse, and it’s a bit experimental thematically. But it works. For all of its abnormalities, it sticks with you. The whole EP echoes this feel. Honestly it’s a bit ADD in places, but Pyramid manages to hold the tracks (movements) together such that despite their discrepancies, they feel wholly communal. That said though, you can hear Pyramid’s greenness in the EP; at times it feels that the abrupt pattern changes or thematic shift of a song is due to Pyramid’s indecision rather than careful calculation, but give the kid time to find his stride. This is, after all, his first effort. And if this were a test, in my book he would pass with flying colors. The Hall EP showcases a new, budding talent, who, with a bit more time and experience under his belt, will undoubtedly develop a stronger sense of personal style and at that point will become perhaps unstoppable. The Hall EP is available on Juno here, and on Amazon here. Hop on the bandwagon now, my money is on this kid.

And as if I needed to demonstrate the Daft Punk similarities any more, here is a bonus remix he did of the classic Something About Us. Now, mind you, I usually hate Daft remixes. Why remix perfection, I always say. But this one? This one is oh so right.

Something About Us (Pyramid Remix)--Daft Punk

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Belong

Photo by Timothy Keen

I’ll admit, before I started writing for this blog, I had lost touch with new music. I’d listen to some new stuff here or there, but not like years back when I was up to date by the hour. In my post-college years, I fell into the safety net of ‘90s post-punk and straight up alternative. I think I used it as a security blanket, trying to steer clear of super loud, noise-rock stuff like Health, Wavves and bands I didn’t (and still don’t) quite get. Now that I’ve trekked back into the land of the more adventurous sound, I’ve found a lot of amazing bands that I can wrap my head around. It’s awesome to see shoegaze back in full effect, and no one has piqued my interest in its resurrection than The Pains of Being Pure at Heart.

The New York-based indie rockers take me back into the latter part of the 20th century, even if it's only for the four-minute span of new song “Belong.” The title track to the band’s new record (out this week on Slumberland) opens up with a sound that could fit right in on The Jesus & Mary Chain’s Honey’s Dead or easily exist as a B-side from The Smiths. The quick introduction of heavier, buzzing guitars in the chorus and fills invokes My Bloody Valentine and Smashing Pumpkins. There’s definitely a lot of rad influences going on in the song. Still, what Belong boils down to that The Pains of Being Pure at Heart aren’t really ripping anything off – they just know the right bands to channel to make a track that totally rules.

The Pains of Being Pure At Heart - Belong by Slumberland Records

Idealistic (A-Trak Remix)

Not to be outdone by the recent Ed Banger hooplah, COOP Music has announced the return of German electro rock duo Digitalism. (Yesssss.) Their 2nd LP is due on June 20th. It’s going to be called I Love You, Dude, and features a track co-written by Julian Casablancas (of The Strokes) entitled Forrest Gump. Yeah, I’m serious. That’s actually what the press release says. Three cheers to the Germans—a notoriously grumpy lot—for having a sense of humor on this one.

Honestly though, expect this to be fantastic. I know I do. You know why? Because Digitalism are fantastic. Their 2007 Idealism album still sounds just as fresh today as it did four years ago. And while it might not be quite ‘fresh’, I’ve had A-Trak’s remix of their classic Idealistic stuck in my head all day. Have at it, and get psyched for the return.

Idealistic (A-Trak Remix)--Digitalism


Digitalism are playing two back-to-back ‘comeback’ shows on June 13th at XOYO, London, and June 14th at Nouveau Casino, Paris. Be sure to check your local retailer (lolz, the internet) for tickets.

Can't Stop Loving You

Photo by Thomas Van Der Zaag

Oh wow, I’ve been holding out on you guys. I didn’t mean to, I could have sworn I posted this last week…but apparently I didn’t. Well, the good news is I’m posting it now. The bad news is that you’ve been missing out for the past 5 or so days. Fresh from our friends at FRΞNCH ΞXPRΞSS comes the debut release of Mr. Chris Malinchak. Malinchak is a New York city-based (born and raised) classically trained musician. At 4 years old he began playing piano, and now more than two decades later, he’s producing disco. Now that’s a Cinderella story if I’ve ever heard one. His classical training is still evident in his music though, as he treats his productions moreso like compositions. His Renaissance EP is deep without being overwhelming, and catchy without being cliché. The first single, Can’t Stop Loving You, is a charging, sparkling dance-fest, filled with filtered vocal samples and a throbbing bass line. It’s got an undeniable sexiness enhanced by a marked level of professionalism. Clearly, Malinchak knows his stuff. To celebrate his solo debut, FRΞNCH ΞXPRΞSS is giving out Can’t Stop Loving You for free, in glorious 320k, while the rest of the album is available on iTunes here. Be sure to show the label and disco's hot new thing some love by buying it; especially so as not to miss the track Talk About It, which has a bit of a Together feel, and is totally awesome.

Can't Stop Loving You--Chris Malinchak


Speaking of totally awesome...FE bossman Leon is both a genius and has too much time on his hands. The result is this music/Top Gun fangirl video, set to Malinchak's music. Check it.

Civilization

Photo by Christian Weber

It's here.

The new Justice track, courtesy of Ed Banger Records.

Civilization--Justice * in 320


*Make sure to buy Justice music on iTunes.

Comedown Sunday: Belongings

Photo by Hannah Davis

Clock Opera are a band. That isn’t so novel because, well, I feature a lot of bands on here. This is a music blog, after all. What is novel is that they just might become my new favorite band. I know that’s a big superlative, and maybe it’s stretching it a little, but whatever these guys do they do it right, and they’ve got me hooked. In the past 48 hours I have downloaded every one of their singles I could find, preordered their latest 7”, and laid in bed, stared at the ceiling, and listened to their songs on repeat for far too long (the perfect Comedown Sunday activity). Clock Opera are from England, and as far as bands go, they seem pretty generic on paper. There’s 4 guys, one on drums, one on bass, one on synths/keys, one on guitar/vocals. But these four guys are actually anything but generic, and together craft lush electronic rock, tied together by singer Guy Connelly’s velvety and emotive vocals. God, that voice. Their soundscapes range from intimate to sprawling, or sometimes both, like in the track of the month (maybe the year), Belongings. What starts as a reflective, piano-driven near whisper of a song swells to colossal proportions at 3:45, exploding in a flurry of sparkling synths and powerful drums. Every time I hear it I get that fluttering gut feeling that you get when you discover something so perfect it’s almost painful.

Belongings is being released on May 9th on Moshi Moshi Records. You can pre-order the vinyl here, and stream it via SoundCloud below:

Belongings by moshi moshi music

Bonus:
In addition to superb original work, Clock Opera also dabbles in remixes as well. This remix of Tracey Thorn’s You Are a Lover was just released yesterday for streaming. It should round off your weekend nicely.
Tracey Thorn / 'You Are A Lover' (Clock Opera Remix) by buzzinfly

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Dystopia

"The Earth is on fire."

To be honest, I had never heard Oregon's YACHT until I got a promotional email about them earlier today. In a rare display of timeliness, I listened to the track within a few minutes of receiving it…and oh my goodness. How had I not heard this group before?? Their first single off their upcoming album Shangri-La (out June 21st on DFA Records), Dystopia, is nothing short of kickass. I fell in love a mere 8 seconds into the song, when singer Claire Evans spits, "Let the motherfucker burn." Then entered a funky, bouncing synth line, and the case was closed. YACHT describes Dystopia as a 'post-apocalyptic fight song', which is quite appropriate given the nature of the minimalistic synths and marching drum line serving to highlight the addictive, all-too-timely lyrics. If all of YACHT's songs are this good, I have some serious catching up to do. If you're like me and were previously unfamiliar with the band, be sure to go check them out.

Dystopia--YACHT

Beehives

Photo by Kim Holtermand

I don't know how I lucked out on finding out in a timely manner, but one of my favorite singer-songwriters (he's from Canada, too!), Chad VanGaalen, just released six-track EP, Your Tan Looks Supernatural, earlier this week. The coolest part is that 100% of the EP's proceeds go to the Red Cross' relief work in Japan. VanGaalen definitely grabbed a few of his more experimental songs (all the tracks are cuts that didn't quite make his newest full-length album, due out in May), but one in particular makes the $5 price absolutely worth it. Beehives is like a trip back to the Canadian crooner's Skelliconnection, his 2006 album full of minimalistic songs with just a pinch of something that forces them to play on repeat in your brain.

The Neil Young-like vocals are back, and are as haunting as ever. VanGaalen’s voice has never worked so well with the music, adding a reverberating swell to strings, harpsichords and the like. Even with all the layers, Beehives never feels too overwhelming or claustrophobic. The Canadian has been known to run the gamut in genres, his albums sometimes tend to feel disconnected at times – a little indie folk here, harder rocking tracks there, and finally a few minute-long segues of electronic beats. I think what sets Beehives apart from most of VanGaalen’s other songs is that it’s a perfect compromise between the different styles he does so well. There's also something present that's completely different from his previous work. Especially toward the beginning, the track is almost reminiscent of The Notwist or something you'd find on Anticon Records. I also won't deny the striking similarity to Animal Collective's Bees, but you know, maybe that's just how bees are supposed to sound in songs. Personally, I think Chad's song has a lot more going for it. Read: Animal Collective is boring.

Listen to Beehives here via his Bandcamp player. Then make sure to buy it, or the whole album, Your Tan Looks Supernatural to help out.

Embody

Photo by Irina Werning

I'm a few days late, but here is the better-than-expected (read, amazing) new single from Ed Banger's SebastiAn, Embody. Though his remixes have been stellar, after the questionable (read, kind of boring) solo showing on the Let the Children Techno compilation, there were worries that his long-awaited debut album was going to be a bit of a disappointment. The release of Embody has proved that those worries were horribly misplaced. The song, a glorious piece of downtempo filter house (filter funk?), is true to the old-school SebastiAn while remaining firmly rooted in today--it's an homage to house's honored years gone past while remaining wholly modern. Plugging along at 105 BMP, it grooves and swoops, decorated with a sexy funk bass line. This isn't the type of music you're going to lose your cool to, it's the kind you use as the soundtrack to your freshest-feeling moments. The accompanying video, directed by SO ME--who is arguably the most consistent of all the Ed Banger artists--wholly embodies this freshness. This kid, whoever he is, is the flyest kid on the block. Or your girlfriends block, or your best friend's block, or your cousins block, or your grandma's block or hell...anywhere.



The Embody EP is out April 4th (big, big day for Ed Banger it seems). SebastiAn's debut album, Total will follow on May 30th.

SebastiAn - Embody by edbangerrecords
*Though this is just a Soundcloud stream, I assure you you can find a download somewhere. Just be crafty and go look. It looks like there's been takedowns, and since I'm not one of the lucky few to have been sent a promo copy (powers that be, please get me on that list), I'm not going to illegally host.

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Of Stars/From Suns

You might remember Datahowler from a couple months back. If you don't (you should), he's the Dallas-based spacelectro (space + electro, get it?) master who is helping put Texas electronica on the map. This week's Monday Mixer [the weekly, multi-blog playlist started by Metropolitan Jolt that we contribute to] theme was 'Local Artists.' When I heard the theme I immediately thought of Datahowler, and shot him a request for a song. He went above and beyond and was kind enough to send along an exclusive, unreleased LIVE recording of his two sister songs Of Stars and From Suns. Though on his debut album, Slowdrifter, the two songs are separate, his live show fuses the two in a mist of twinkling keys, blissed-out guitars, and warm bass. This is a perfect representation of Datahowler's range of artistry (he did, after all, play every single one of the instruments on his album). Not only is this a killer live track--the fusion is seamless and silky--but the style incorporates everything from funk to lounge to psychedelic at parts. It's exotic and yet comforting, like a big sandy beach and a just-hot-enough sun.

Right Click to Download:
Of Stars/From Suns (Live)--Datahowler

Climbing Walls

Painting by William Benhamou,
who's debut exhibition lasts until March 24th here in Paris.

Ok Australia, it's time to let us in on your secret. Is it something in the water? Do you have special talent farms you send your children to? Are you aliens? Just HOW do you keep producing these crazy amazing musicians?

Australia is at the forefront of the feelgood electronica and electropop movement, and doesn't seem likely to be dethroned any time soon. Strange Talk are the latest addition to the cult of awesomeness they have going on Down Under. They emerged on the scene in the middle of last year out of basically nowhere. Now they're signed to New York's Neon Gold[standard] label, and just released word that their debut EP, and a subsequent tour, will be coming later this year. While we wait for them to dominate the market, have a listen to their first single, Climbing Walls. It's a stomping bit of powerhouse pop, complete with shiny synths and--my favorite possible vocal element--upbeat 'oohs', this song is absolutely infectious. It's ironic that it's about refusing to heed another, instead 'trying to run away,' because this song has made me a full believer.

Climbing Walls--Strange Talk

Beards Again

So I get home from work and pop open my computer and start trying to brainstorm just what I’m going to post tonight, and BOOM, a new MSTRKRFT single is staring me dead in the face. I guess I missed the boat when they released it last night. Oops. Whatever, I’ve been busy. You know who else has been busy? JESSE F KEELER APPARENTLY. (Al-P too.) If you’ve read more than one post on this blog you know all about my DFA1979 obsession. Well, that extends to all related projects. Between the DFA1979 rehersal videos and now this, I can’t even sit still. MSTRKRFT are one of those groups that gets me so pumped up I start swearing. I can’t help it, they’re just so fucking cool. Anyone who defected from the MSTRKRFT cause after Fist Of God (you poor, misguided souls) is bound to become a believer once more after hearing Beards Again. It’s not like anything MSTRKRFT has done before. Then again, no successive MSTRKRFT release ever sounds quite like its predecessor. Three minutes of harmonizing guitars and a simple drum pattern that is yet wholly imperious, undercut by that ever-present MSTRKRFT grit-synth, gives way at 3:10 to a full on techno drop—the kind that would cause me to absolutely lose my shit if I heard it live. I feel like everything I love about electronica just showed up at my doorstep covered in leather and sweat, bringing with it a bottle of jack and the command to “Get Down.”
Yeah, this song is dirty.

Beards Again--MSTRKRFT

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Comedown Sunday: Wolf & I

Hat by Barbara Keal

Oh, Oh Land. This Danish chanteuse has it all, and seems destined to become an international star. At least, one would hope. She’s got all the prerequisites necessary: criminally good looks, catchy hooks, a great voice, and an upcoming album on Epic Records. But as we all know, the US popular market is a dark and twisted place. Perhaps Oh Land isn’t trashy enough? Perhaps it will work against her that she’s beautiful without showing skin, and writes her own music? I guess we’ll see in a week when her album is released. No matter what happens, she’ll remain a superstar in my eyes. If it’s anyone who has the “it” factor, it’s her. Her unique brand of whimsical electropop, accented by her adorable but subtle accent, is friendly and almost folkloric, but upbeat enough to hold its own against the MTV pop brigade. Winter’s blog hit Sun of a Gun evidenced what I’m talking about. Just try listening to it without getting it stuck in your head. Unfortunately it’s a little too upbeat for a Comedown Sunday song, which is why I’m featuring the just-as-great Wolf & I instead. Wolf & I, one of the slower numbers on her album, is about one of those unfulfilling relationships that aren’t really relationships, because you only see the person after sunset (I think we've all had one of those...). She compares her lover to a wolf, and herself to the moon, and while she romanticizes it, ultimately she knows that it isn’t the ideal situation. Throughout the song she uses vocalizations to—artfully—mimic wolf howls, and you feel her discontent echoed in the ‘ooh’s.’ Like everything Oh Land does, it's creative and yet unpretentious, serving to draw attention to her talent and yet remain completely relatable.

*Oh Land's debutself-titled LP comes out in 2 days (March 15)! With the album launch so close, the label has asked that I refrain from posting the mp3 for free download, and only include the Soundcloud stream instead. Buy the song/album here on Tuesday when it comes out.

Wolf & I by OhLand

Bonus:
Not Comedown Sunday-like at all, but as I’ve really slacked on the blog this week (sorry, I’ve been painfully busy), here’s an upbeat extra. Yuksek, who like Oh Land is also criminally attractive, did a funky remix of the aforementioned Sun of a Gun. Like everything else Yuksek does, it’s fantastic.

Sun Of a Gun (Yuksek Remix)--Oh Land

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Friend Crush

"I wanna be your friend."

This song is impossibly cool. I knew it was going to be cool even before I heard it because it was sent to me by my friend Tyler, who works at Playboy¹. Playboy is really cool; you do the math. Then I actually listened to this song, and by god, it proved to be even cooler than I expected. A song by a band called Friends, about a friend crush?? It's such a universal subject matter, why didn't anyone think of it sooner?? It was so cool that I immediately did a Google check to see if this band hadn’t been written about 1,000 times before and I had just missed the boat. I should have trusted cool Tyler’s opinion, as it hadn’t. However, I did find a few reviews, although they all frustrated me. Most reviews of this song described it as semi-stalkerish and almost creepy. I beg to differ. This isn’t creepy; this is real life! Don’t try to tell me you haven’t had a friend crush before. A ‘friend crush’ is that feeling that you get when you meet someone, or know of someone through the grapevine, and think “God, that person is really cool, if only they would hang out with me, we would make SUCH a good team.” I know it happens to me all the time. In fact, my current best friend is the result of an ENORMOUS friend crush I had that eventually came to fruition. Sometimes with buddies, much akin to romantic relationships (but different), you just know. That’s what I think Samantha Urbani is singing about when she croons “I wanna ask your advice on a weekday, I wanna plan something nice for the weekend.” That doesn’t sound so sinister to me. Just because the lighthearted lyrics are pitched by Samantha’s languid demeanor, minimalist drumming, and pulsing, sexy bass line—the song’s true breakout star—doesn’t necessarily make it sinister. It makes it cool, dudes.

Friends were just signed to Lucky Number Music and are currently working on an album. Look for it later this year. In the meantime, check out their Bandcamp.

Friend Crush--Friends

¹In reality, Tyler is only an intern at Playboy. But that doesn't sound quite as nice now does it?

Armistice (RAC Remix)

It’s going to be a good week. Want to know why? RAC (Remix Artists Collective), who as far as I’m concerned are some of the top—if not the top—remixers in the game, have released their second compilation of remixes, Volume 2, completely for free. Are there any of you out there who have yet to experience the golden touch of the Remix Artist Collective? I hope not. Their dogma is simple, and yet far too novel in today’s landscape of run-of-the-mill, formulaic, and oft ostentatious reinterpretations. To quote the RAC don, Andre Anjos himself,

“One of the main reasons I started RAC was out of frustration with the current remix scene...I strive to create remixes for music lovers who want to hear the song re-invented, not just re-interpreted and chopped up. I hope people experience the original songs in a different way that not only complements the original, but takes them somewhere else.”

It is that, and that sentiment alone that makes RAC one of the artists (or rather, collective) I most respect. Not to mention that RAC tends to produce exactly what I want to hear. I have yet to hear an RAC reworking I fail to connect with it, and I doubt I will ever see the day when that happens. You see, these guys get it. It’s evident in the way Anjos talks about music, and it’s evident in the way he creates it. This is a man—and by extension a collective—who practices what he preaches, and his consistently impeccable remixes are the ultimate testament to that fact. Usually press releases are laughably bad, but the mission statement on RAC’s website actually sums it all up better than I ever could:

"We provide re-interpretations/remixes of individual songs for artists/labels. Above all, we strive for excellence and good taste regardless of genre. We aim to maintain a style of remixing that strays from the “club mix” archetype, creating new incarnations of songs that stem from the original structure, but expand on their genre and musical arrangement."

I spoke on Sunday of the perfect indie-electro fusion in remixing. RAC completely embodies that ideal. Too often, remixes of instrumental tracks stray too far from the original mold. That is, rather than enhancing a song, they completely reinvent the wheel. In my opinion—which is clearly the opinion of RAC as well—a remix should do justice to the original by capitalizing on its potential rather than seeking to erase all traces of its former self. This particular notion is most readily seen in remixes of instrumental (indie rock) tracks, which if put into the wrong hands can easily become gaudy club bangers with none of the original mood or sentiments, or even tonal center retained. RAC’s indie rock remixes are nothing of the sort. Instead, they take original components of the song’s instrumental and vocal lines, polish them up, add a bit here and there, and roll out with something so fresh yet familiar that it sounds akin to how that first spring breeze feels. RAC does it again here with Phoenix’s indispensible Armistice. Is the remix better than the original? No—it’s an extension of it. And it's so perfect because that’s exactly what it should be.

Armistice (RAC Remix)--Phoenix





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Comedown Sunday: Matter of Time (Cécile Remix)

Photo by Egor Shapovalov

Cécile is a criminally under-appreciated disco producer from Milan, Italy. Having received some early attention from the French collective Valerie, he is now signed to Gomma Records, “the German DFA.” A jack-of-all-trades, he has been known to produce everything from undeniable bangers (including a contribution to the Bloody Beetroots’ unforgettable Romborama album), to some of the most uniquely understated, dreamy songs I have the pleasure of including on my ‘chillout’ playlists. iori’s eyes are a 3-piece band, also from Milan, of whom I had never heard until Cécile uploaded a remix he did of their song Matter of Time to his Soundcloud. He describes iori’s eyes as “one of the most capable young bands in Italy,” and though I know nothing of them, after hearing his take on their latest single, I’m very much inclined to take his word for it. It is hauntingly beautiful. A perfect indie-electronic fusion, it starts off acoustic, so that you wouldn’t even know it’s a remix, until Cécile begins echoing and layering the vocal line. The sentiment “I know” is repeated in an almost chant-like manner before the gentle accompaniment swells before dropping into a deep, warm bass line. “I know” continues its steady, repetitive assertion, with ethereal “ahhs” wrapping the statement in mystique and longing. Almost eerie in its subtlety and repetition, this is one remix you wont soon forget.

Cécile states on his site that the remix of this song should be released for free in upcoming days. When and if that happens, I’ll be sure to update this post with a link to the download. In the meantime, stream here.

Iori's Eyes - Matter of Time (Cécile remix) by Cécile

Love Birds

I was feeling rather rough after a long night and a considerable amount of some weird ass vodka-mint drink, until I opened up my Soundcloud and what did I see? A new Moonchild EP, including remixes by two of my favorite artists, Russ Chimes and The Phantom’s Revenge. While music might not have the ability to beat a hangover, this is helping considerably.

Those of you familiar with my writing over at Binary might remember Moonchild from the gushing post I did over the summer of his remix of DCUP and Yolanda Be Cool’s powerhouse, We No Speak Americano. Likewise, you may recall Russ Chimes from the rave review I gave of his Midnight Club EP (which remains one of my most-played releases ever; if you don’t have it yet go buy it). As for the Phantom’s Revenge? Well, I haven’t had the chance to enthuse about him yet, but not for lack of wanting, merely lack of time. If you know me and this blog, you know I’m usually adverse to posting two tracks at the same time, especially two remixes of the same track. But I can’t help myself with these guys. Maybe it’s because I love both the remix artists, maybe it’s because each of the reworks are so amazing in their own right (they are), but asking me to pick a favorite would be like asking me to choose between puppies or kitties.
*For the record, if baby kittens grew into dogs, that would be my perfect animal.

03. Love Birds (Russ Chimes 'Remember The Summer' Remix) by Moonchild

First up there’s Russ Chimes’ ‘Remember Summer’ remix. The longest on the EP, it takes the [killer] filter disco-house original and stretches it to 7 glorious minutes of constantly-shifting yet symbiotic styles, tied together by a driving bassline. In typical Chimes fashion, it features a rather gratuitous addition of melodic vocal samples, marked by the ever-present intensity Chimes maintains in all of his music. Win. Next up we have the brilliant house remix by the Phantom’s Revenge’s. With chopped vocals, fade-ins, and a stomping beat, this ‘Angry Bird’ remix is almost as addicting as the game. TPR is one of the premier producers in this genre; if you’re a fan of good old fashioned, by-the-books-but-better house music, look no further than this man. This remix just serves to further demonstrate his talents.

02. Love Birds (The Phantom's Revenge 'Angry Bird' Remix) by Moonchild

The Love Birds EP comes out “one month from now” on Vamp Music. Be sure to buy it on iTunes, Beatport, etc. when it does. In the meantime, stream the tracks on Soundcloud, and disco.

Beam Me Up (Jacques Renault Remix)

Photo by Ninelle Efremova

No time for a long post tonight; I finally have a life. Not that I didn't before (...this may or may not be a lie), but now I really do. You see, I got a job. Well, an internship. I can already tell it's going to render me pretty busy. So if you notice any really short posts every once in a while, please don't hold it against me.

I've had this song stuck in my head for about the past month. It was an old song, so I felt relatively uncomfortable posting it. That is, until I visited Sweden two weeks ago. Every bar I went to in Stockholm played this song at least twice during the duration of my stay. So I figure, if Sweden's doing it (and let me tell you, Sweden really is as beautiful/great/friendly as you've heard), I can do it too. I give you: Jacques Renault's remix of Midnight Magic's infectious Beam Me Up, a collaboration so sexy, so perfect for a plush, smoky club, it could only be the product of two groups (persons) from New York.

Right Click to Download:
Beam Me Up (Jacquest Renault Remix)--Midnight Magic

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Galilean Moons

Photo by Dalton Flint

Since indie-rock week is officially over, I thought I’d go out on a limb and try to post a song in a genre that’s definitely out of my comfort zone. Mikayla is the connoisseur of electronic, dance and chillwave tunes – I’ll be quick to admit I know little about the genres. However, I recently stumbled upon the music of Jim Smith, who goes by the musical moniker of Teeel. The New Jersey DJ’s debut album, Amulet, was released on Moodgadget Records last week. So without further adieu, I present Galilean Moons, a track that may have me rethinking my position on electronic, synthy, heavily ‘80s-inspired music.

Teeel’s debut has a lot of awesome tracks on it, albeit a couple sound the same (not necessarily a bad thing – Amulet really clicks when listened to from front to back). It was easy for me to quickly fall in love with Galilean Moons, as it holds the most weight as a stand-alone track. I feel listeners will hastily compare it to Head on the Door-era The Cure, New Order or The Psychedelic Furs. To me, the song is more in the vein of late ‘90s electronic-rockers Antarctica, which is probably why I connect to it. The catchy synth and drum beats work so well in their progressively layered structure that Smith's droning, minimalistic vocals are just an added bonus. I’m not really sure if that’s how all chillwave, electronic music works, but if it is, Teeel’s got it down. Also, the song’s length is where it’s at; it clocks in under the four-minute-mark, which is always a serious plus for me. While I’m off to find more stuff like this, enjoy the track and make sure to check out the entirety of Amulet - now available on iTunes.

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Galilean Moons--Teeel

Phantom Limb (The Shins Cover)

Photo by Jon Estward

After yesterday’s semi-embarrassing confession of being very much less-than-up-with a plethora of new music, I feel the need to compensate. In light, here’s a band that you’ve more than likely never heard of. If you have, get in touch because we are clearly meant to be friends (people who read Binary or are from Chile are exempt from this offer; cheaters).

Mecanico are from Chile. I think they're only one of two artists in my entire iTunes library from that country. Surprise: they’re an indie pop band. Not just any indie pop band, though, they’re a synth pop band! With keyboards from the stars and a singer with one of those glorious almost-whiny-but-PERFECT-for-singing-along-with type voices, they’re gold. Like most of the greatly under-appreciated synth pop bands I listen to, I first discovered Mecanico on Binary, when their glittery, insanely addictive song Barcelona was featured. Unfortunately, apart from Barcelona they haven’t released much, their 4-song Mecanico EP being their only bit of discography to date. (Which, by the way, is available for free download in its entirety at their website.) A few days ago, while on the hunt for new material from the band, I stumbled upon this gem on their Soundcloud. A 2009 cover of The Shins' Phantom Limb doesn’t exactly qualify as ‘new material,’ but it’s new to me so it will suffice to tide me over. Not to mention, it is very very good. A forewarning to you indie rock purists: this is not James Mercer. Don't expect the same type of wistful charm of the original. Mecanico's version is more upbeat, it’s poppier, it’s sparkly, and there are even flashy guitar arpeggios. No, don’t expect the Shins; welcome Mecanico.

Phantom Limb (The Shins Cover)--Mecanico