Always hate to post twice on the same topic, but you have to take a look at the circumstances: Bootlegs (Yes, unfortunately these are only some very well done rips.) of two of the most anticipated remixes of this year have finally shown up and are causing a bit of commotion. Were they worth the wait? You bet. Guess who’s done it again: MSTRKRFT – Bounce (The Bloody Beetroots Remix)
And this next one’s a little ambiguous. I personally was under the impression that it was The Bloody Beetroots that had remixed Busy P‘s latest, but I’m now hearing word that it might have been Crookers? I guess there’s nothing we can do but wait… and listen of course.
This is a rather painful subject to have to address. I only mean to express my disappointment. I hope it won’t be interpreted as disrespect:
Back in 2006, there wasn’t a soul in the entirety of the electro community that would hear a bad word about Justice. Remember Coachella 2006? Remember when they did dj sets and tore their crowds apart with those heavy hitters like Waters of Nazareth and Stress? What happened? My theory: that little electro community that I speak of grew one hundredfold, and the plethora of new fans allowed Justice’s ego to grow equally large. Cross came out, and their somewhat renowned DJ sets turned into “Justice Live”, which is an incredibly confusing title considering you’re going to struggle if you attempt to find anything even remotely live about their show; A guy I know came back from Coachella this year infuriated at the fact that a whole ton of the people that saw Justice’s set were complaining that they may as well have stayed in the hotel room and listened to the cd. He said to me, “They don’t know what they’re talking about. They just aren’t listening hard enough to hear the differences.” At first I sympathized with the guy, thinking, “Yeah, I suppose their are a lot of newbies in this scene. Maybe they just didn’t know.” But after thinking it over for a few minutes, I realized that his opinion is absolutely ridiculous. The fact that you have to perk your ear like a dog to hear the good qualities of a piece of music means that the music just isn’t good. Don’t get me wrong, Cross was and still is a spectacular album, but that doesn’t mean that Justice couldn’t put a little more work into their live performances, especially considering they’re using them as an excuse to not begin work on a new album. The two have been interviewed several times in the past couple months by people curious to know what’s brewing in the Justice cauldron, and each time they have responded with something along the lines of, “We feel that we put a good deal of effort into Cross, so we’re just focusing on touring right now.” Jeez, there are only so many singles your can pull out of that single album… Okay so maybe I’m being a little harsh. (That Stress video was undeniably awesome.) They haven’t literally been up to nothing at all. The guys have recently released a remix of MGMT‘s Electric Feel. Unfortunately, it seems a little below the bar that many of their other tracks have set. Hopefully that’s merely due to the fact that this little sneak preview that’s been blogging about is only a segment of the full song ripped from a radio show, or even just because touring likely puts a heavy strain on production quality.
If you haven’t heard The Bloody Beetroots by now, don’t worry, I’ve already taken the liberty of devising a rather simple solution for you. It goes like this: Cancel your World of Warcraft account for just one month (If this proves too difficult to handle, you might want to look into Craftorette. It’s this really neat gum that supplies you with WarCraft replacement hormones and makes quitting easier.), and use that money to either buy their EP entitled “Let Your Washing Machine Speak”, or if you’d rather not be seen buying a somewhat old album, you can put that money in a jar and save it for the release of their full length, which I’ve heard is no longer too far off. In the mean time, you can check out their latest 2008 mixtape. The mix isn’t spectacular, but the sneak preview of their remix of MSTRKRFT’s “Bounce” will leave you anxious and frustrated at the fact that the next CinespaceDim Mak Tuesday isn’t for 48 hours! 🙁 If, on the other hand, you have heard of these guys, you might be excited to hear that their remix of Audioporno’s “Choo Choo” is no longer an artifact that you have to go to a MSTRKRFT show to listen to. As of mid July the track, which was originally not intended to be released at all, will be available in 12″ format through the German record label, Exploited Records. Why’d it take so long? Basically, the band that produced the original track had not planned on ever letting that song out of their hands, which naturally led to difficulties getting the remix published. Needless to say, they’ve found a way around it. If you’d like to pick up a copy, you can grab it here. You’ll have to have it shipped from Germany, but hey, that’s a small price to pay to get your hands on a track that people have been after for more than a year, right?
If you’re still not convinced, you might have to listen to this little teaser: Audioporno – Choo Choo (The Bloody Beetroots remix)
And here’s their mixtape: minimixxxx-june-2008
And just for the sake of completeness, here’s one of their newer remixes. (You have to remember that the word “new” means almost nothing when it comes to these guys. By the time you finish reading this post, they’ll probably have put out another one) Shit Disco – Virgins (Bloody Beetroots remix)
In other exciting news, the 80’s are back.
Yeah, they’re back. If Chromeo and Calvin Harris aren’t proof enough, you might want to check out the most recent remixes from the often overlooked French producer, Danger.
The guy’s a beast. I mean god’s sake, he’s managed to squeeze incredibly cliche 80’s pad synths into “American Boy” and it actually sounds damn good. Better than damn good. It’s most definitely worth the download, so don’t be shy. Use up my bandwidth and download that shit.
And since we’ve briefly mentioned Kanye West, I figured this video is relevant and good for a laugh.
Kanye West gets way more respect than he deserves. His ego is disgusting.
One final note:
My roommate invented two new words recently. Normally this wouldn’t be anything to post about, but after hearing these words, I was almost angry that they weren’t already in the dictionary. If you have nothing to say about the rest of this post, at least tell me how awesome these words are, and how happy you are that they’ve been invented:
swervature – A unit measure of an object’s ability to swerve, usually a skateboard.
bomblet – A damn good omelet. The kind that leaves you feeling like the rest of the day doesn’t even matter, because your breakfast was enough to be able to tell people that you did something today.
Remember these two guys?
No, MSTRKRFT haven’t decided to release their September album early, but what they have decided to do is to film the music video for their single “Bounce” (ironically covered in yesterday’s post) at the Roxy theater in Los Angeles tonight! (Conveniently located 6 miles from my house :P) But wait, it’s gets better. The filming is to be followed by a free show, with names like LA Riots and Felix Cartal also on the bill. If you’re in the Los Angeles area tonight and you aren’t fuming over this incredibly short notice, I expect to see you there!
Whether it be due to the fact that her younger brother is Chicago’s J2K, a talented dj better known as one half of the Flosstradomus duo, or simply because her relentless flow is an irresistible piece of ear candy, Kid Sister is (and has been for quite some time now) where it’s at. And see the crazy thing is, it just won’t stop. She’s created a kind of mix between hip hop and electro house that I feel is safe to say has never been done before, and it’s destroying the walls that separate the two genres, and getting her attention all across the musical spectrum. Naturally, the remixes are dropping all over the place. Who would have known that the release of Royal Rumble‘s remix of “Damn Girl” was only the beginning? It’s been nearly nine months since that release, and the tracks are still coming strong. Give her two weeks and she’ll have scored a remix with every legitimate producer on the face of the earth. I personally cannot wait for the release of “Harder Better Faster Sister”, but while we wait for that, we’ve got remixes by TEPR, Bag Raiders, LA Riots, and A-Trak to keep us entertained.
If you’re one of those guys that’s laughing at the fact that it’s taken me this long to throw up a Kid Sister post, you’re clearly already a fan, in which case you might want to check out this summer’s HARD Festival. Yes, it is the same guys that put on the NYE show, and yes, it’s going to be just as epic. Of course, Kid Sister will be there, but that’s not the half of it. Here’s the full lineup:
The Bloody Beetroots
Squeak E Clean
Tickets are on sale now, so check out HardFest.com and grab ’em while they’re still around!
What’s that? You want more delicious electro meets hip hop tracks? Well I’m sure you’ve heard MSTRKRFT‘s “Bounce”? You haven’t? Child, you’re in for a treat.
The prospect of starting a blog in order to praise the incredible musical artists that I adore has been on my mind for what seems like forever, and honestly, it’s taken me far too long to actually get around to doing it. There are so many things that need talking about these days. The music scene, especially here in Los Angeles, is in the middle of what seems like a huge process of change, and for once, I think it’s headed in the right direction. If anyone had asked me in 2006 whether I thought dance music could make a comeback, my answer (sadly) would probably have been no. I never thought I’d live to see the day where frat guys choose to play Justice’s Cross album over the formulated hip-hop that’s ruled Los Angeles for so many years, but I was wrong. Electro and Indie-electronic is popping up in little niches and alleys all over So Cal, and it’s happening fast. Granted, Justice is now probably the furthest removed you can get from the heart of the hipster scene, what with these incredible producers popping up all over the place, but hey, when even the frat guys are taking steps in the right direction (tiny as they may be), you know it’s something big.
So I suppose the primary reason I’m starting this blog is to hopefully rid our enlightened disco dj’s of the need to constantly turn down the angry requests for “Crank dat” (Don’t hold me to the spelling.. I still haven’t figured out how to write street language), and bless them with those carefree, euphoric requests for our beloved Daft Punk (no, not featuring Kanye West).
Disco is the second reason I’ve started to write. There are still way too many people out there that, upon hearing the word disco, immediately dismiss it as a genre of music that died back in 1976, and that my friends, is a crime. Disco never died. You know what happened? People got sick of the Beegees, and since they didn’t know what to call them besides Disco, they threw the whole genre out the window, and left all the dance producers stuck without a genre, wondering what happened. In fact, the term dance was only invented because people needed a name for the style of music, but were unable to call it disco due to the fact that no one would ever listen to it if it were so named. This definitely needs to end. No one should ever have to call their music, “That kind of music that you can dance to that they play at clubs that isn’t rap or hip-hop.” It’s Disco. Disco Disco Disco. And after thirty years, I think we might just be ready to admit it. Uh oh!
On that note I’m going to leave you with a single track today. I know it’s been around for quite some time, but if you listen to it straight through, I’m sure you’ll find that it’s more than relevant.