It Took a Month, But It Was Worth the Wait

To be honest, I was a little disappointed with the way our generally insatiable electro community rang in the new year at the start of this month. ¬†Seeing as a good chunk of the people that spend their daytime hours reading this blog are fanatically energetic partygoers who run around in colorful clothes screaming things like, “All I do is party, ha ha ha ha!” I expected that the opportunity to define the sound of 2009 would have had nearly every worthwhile producer scrambling to outcompete everyone else’s tracks, in what would–erm… should–have been a sonic battle of epic proportions. ¬†Unfortunately, I was (for the most part) let down.


That is until about two days ago, when, for some strange and completely unknown reason, the electronic anthems that should have been blasting at our new years parties started pouring into my inbox. I can only assume that the worlds most respected and admired producers were suffering from the effects of the same musical drought that I myself (and I would expect most of you would include yourselves as well) had been struggling through, and were therefor compelled to tap into their reserves and quench this unexpected and entirely unnecessary audio thirst, because after listening to a third consecutive sweaty, peak hour banger, I found myself struggling to convince myself that I was, indeed, at home at my computer, and not losing my mind on a hotly animated dance floor. (And no, Daft Punk was not playing at my house.)

Chewy Chocolate Cookies & JFK


Considering everything the guy touches turns to gold, I feel it’s quite unnecessary to have to comment on the quality and originality of JFK’s work, but may I say that when combined with the blurry confusion of Chewy Chocolate Cookies, it only gets crazier. In fact, placing this track first may have been a mistake, seeing as it’s a gamble as to whether you’ll be capable of reading any further once this smeared mess of sound has been rubbed all over your face.

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Alexander Technique – Nightlovers (JFK & Chewie Chocolate Cookies Remix)

SPA and Steve Aoki

steve aoki

Now is definitely an opportune time to make yourself aware of Dim Mak’s newly signed artist, SPA, seeing as your failure to acknowledge their increasingly loud presence in this tightly knit community could result in a flat out slap to the face; You’ll be owned harder than the meathead in DJ Mehdi’s Signatune video. If you ever cared to know what the soundtrack to Steve Aoki’s life sounds like, here’s your chance to find out.

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SPA – Pets Dance (Steve Aoki Remix)

The Bloody Beetroots

You heard Cornelius. You thought it was a sick track. But you had no idea there was a music video coming, and you were certainly not prepared. The fact that the whole thing was filmed using the generic handicam seems to suggest that The Bloody Beetroots have keenly embraced Justice’s now notorious cinematography, however, the style with which it was put together is able to truly capture the sense of complete chaoss and loss of control far more vividly than either A Cross the Universe or Soulwax’s Part of the Weekend Never Dies even came close to delivering, and it’s only three minutes long!

This needs no further explanation. Watch the video, and trust me when I say you won’t regret it.

CORNELIUS from borntofilm on Vimeo

Sweden Always Seems to Do It Right

Having been smothered underneath the black wave of far too many Justice-fueled “producers” as of late, being allowed to perk an ear toward an artist who pulls off the heavier side of dance in a dignified and stylish fashion is a well deserved breath of fresh.

Mr. Miyagi

I’ve been hoping to toss Mr. Miyagi up for a good long while now, but until recently, I was stumped due to the fact that the Swedish music scene is not something most (including myself) have been lucky enough to experience first hand. I had no idea if they, like so many others, were following the trend that France started a few years back, or if I’d stumbled across a chunk of industry that simply happened to coincide quite nicely. Fortunately, I was lucky enough to grab an interview from the two, so you won’t be forced to settle for my nonsense. Here’s what they have to say:

1. To start, you’re called Mr. Miyagi. Is that just due to a spontaneous, Karate Kid induced whim, or does it go deeper?
On the first question our answer is A.

2. Being based in Sweden, what type of a connection would you say you have with the rest of the electronic world? Does Sweden have its own style?
The connection we have is probably the same as every other person around the world who has an internet connection. As for a swedish style, we don’t really keep track of it if there is one.

3. Which one of you is the rock musician, and which the computer geek?
We’re kind of like AC/DC, we swing both ways”

4. What got you doing what you’re doing? Is there a particular artist that you hold responsible for your being who you are today?
We blame Vitalic and Rex the Dog.

5. How did the Pick Your Poison JFK remix come about? How do you feel about it?
It started out with a request for our Rack Hunters remix which quickly led to a deep and wonderful friendship and the rest is history. We feel that we like it.

6. If you could work with any other producer for your next project, who would it be?
It’s a secret.

7. Have you taken a side in the war between analogue and digital?

8. What direction do you see your music headed in? Is there anything you wish you could do differently?
More Africa and faster.

9. What goes into a Mr. Miyagi track? Does the idea have to come before you’ve sat down in the studio, or does sitting in the studio bring you ideas?
First we get a little seed from our ears that we plant in a pot filled with jellybeans. we then water it with hot cocoa and blood from a black rooster. after about six weeks we get a weird looking plant that kind of resembles the artist meatloaf in the “I would do anything for love” video. we each take a bite out of meatloafs ears and then head to the studio where the black magic happens.

10. Nike’s or Puma’s?
Pumas without a doubt, nikes are for insecure guys who need big manly shoes.

11. Any plans to come work your magic in the states?
We call them dreams.

12. Anything else you’d like to say that I haven’t mentioned?
Free Dawit!

I bet if we all donate a buck we can bring two bobbing heads out for a bit of a good time, but while we wait and see, you might enjoy a teaser or two:

*Certified Products of Awesometown, Sweden*

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Melomanics – Get You (Mr. Miyagi remix)

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Mr. Miyagi – Pick Your Poison (JFK remix)

DatA – This Genre Meshing is Relentless

I know I’ve done a lot of eighties revival coverage in the last couple weeks, and I hate to keep poking at a topic that’s probably long been dubbed “old news,” but I feel that this latest development has once again made a bit of commentary necessary.


By now we’re all no doubt quite familiar with the distinct post-retro style of Ekleroshock giant, Danger, and therefor it probably isn’t all too shocking that the saw-tooth electro label mate, DatA, has adopted a similar style. What is surprising, however, is the fact that the French producer has managed to summon the likes of Sebastian Grainger (former vocalist and drummer for Death From Above 1979) to take part in his latest (available as of last week) single release, “Rapture.” Upon listening, I immediately thought it rather strange that both former members of DFA79 have now officially converted from their previous distortion-happy endeavors to poppy, synthy electronic music; fortunately, I was soon after presented with the opportunity to ask JFK of MSTRKRFT (DFA79‘s other member) for his perspective on the unusual conversion:

What do you think about Sebastian Grainger‘s teaming up with Data? It seems rather unusual that both DFA79 guys would quit rock and move to electronic. But then again, I suppose the genre is pretty irresistible as of late.

JFK: “rock music in its present form is dead. pounding away at it is like going to university to study latin. like, its fine if that what you want to do but what satisfaction can a creative person derive from doing something thats already overdone?”

As sad as it is to admit, I’d be lying if I said I could deny any part of that statement. It seems that the reason electronic styles have become so popular in recent years is not because of some sudden massive public discovery of the fact that dancing is fun. Rather, (and please, if you disagree, I’d enjoy hearing your thoughts on this one) I believe that the migration between genres is due to a yearning for new sounds. As epic and emotional as the wail of a crying guitar sounds, fifty years of repetition has proven enough to dry up the past. I see a day, not too far into the future, where the guitar that used to lay under the Christmas tree has been replaced by a stack of software and a copy of Pro-Tools.
Strange? Yes. Sad? Yes? Exciting? You betcha.

And as for the actual track that’s sparked this digression: It’s golden. As much as I hate to admit it, Grainger‘s vocals over DatA‘s vintage synth sounds and pumping compression are *grits teeth* quite possibly better than they ever were in DFA79. The original DatA track unlocks emotional tones in his voice that I had previously never noted, and on top of that, the remix gives the track a bit of an interesting indie feel. Needless to say, they’re both well worth your time.

Note: The original track has a strong reputation of being torn down pretty fast from the blogs, so I suggest you grab it while you can, and once you decide you love it, that you pick up your own copy from Fnac music.

DatA – Rapture

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DatA – Rapture (Pacific! remix)

A Few Fancy Updates


Just a little heads up for those of you that frequently find yourselves engaged in spontaneous dance-offs, break-battles, and foot fights, if you do somehow make it through tomorrow without taking a bit of time off to listen to Chromeo‘s latest audio upgrade, you could be at a significantly higher risk for an embarrassing loss: The re-release, cleverly titled, “Fancier Footwork”, will not only include the entire slightly less fancy album, as well as a whole bunch of other goodies that may well prove useful, including a series of five music videos (Fancy Footwork, Bonafied Lovin’, Tenderoni, Needy Girl, and (oh god yes! (Hey wait I just put parentheses inside parentheses…)) DJ Mehdi‘s catchy, Chromeo-enhanced I Am Somebody), nine remixes, and a mini, four-song greatest hits section. Needless, to say, knowingly skipping out would be nothing short of self sabotage, and you’re just not one to act in such silliness, right? Here’s a few of the tracks that you’ll certainly be hearing again shortly…

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DJ Mehdi feat. Chromeo – I Am Somebody

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Chromeo – Bonafied Lovin’ – (Yuksek remix)

JFK and Kid Sister

And just as a bit of a toss in, in case you’ve got a heavier dj set coming up soon, or if you just happen to be one of those guys that lives for the sweaty electro kickers, you might check out JFK of MSTRKRFT‘s recently released remix of Kid Sister‘s, “Control.” The mix is quite possibly one of the loudest, most obnoxious and beautifully impatient floor shakers I’ve heard in quite some time. And no need to worry about playing it out; You can always count on MSTRKRFT‘s tastefully polished production to hold everything together. Long live the king.

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Kid Sister – Control (JFK remix)

Random Finds and Updates

Thought I’d toss up a mini post for a couple of the better tracks I’ve stumbled across recently. No real theme to them, except for the fact that they’re all pretty spectacular. Check it out:

Thunderheist & JFK

JFK (the mustached half of MSTRKRFT) has recently finished a remix for fellow Canadian party-goers, THUNDERHEIST, which is a cause for celebration considering electro/hip-hop hybrid tracks given the MSTRKRFT touch always seem to get the bodies bouncing. Here’s the remix, as well as the original:

Thunderheist – Jerk It (Nasty Nav + JFK remix)

Thunderheist – Jerk It

On a side note, how would you like to be in the front row at one of Thunderheist’s shows…


Also, I just had Kitsune’s most recent compilation album tossed my way, and I must say, those Parisian’s have got quite an arsenal of artists going for them. Though the entire album is very well done and quite worth purchasing, I was particularly impressed by the London duo, autoKratz, who had me up and grooving with their track entitled, “Pardon Garcon”.
I’ve included that, as well as another of their rather danceable tunes.

autoKratz – Pardon Garcon (rework)

autoKratz – French Girls Play Guitar


I’ve got to give credit to DiscoDust for picking this next guy up. Japanese producer RayFlash is an electro dream-come-true, what with his heavy kick-snare drive layered with the perfect combination of distorted, vocoded, and reverbed synths. It’s like he took a piece of everything that’s ever been done in electro, from Daft Punk to Boys Noize, and threw it all together in one ultimate track. And as a plus, he’s finally put Japan on the electro map, which opens up a whole new world of producers and possibility. I’m looking forward to seeing what kind of a response the rest of the Japanese world has to this new found genre.

RayFlash – Flash Dancer

The Bloody Beetroots

And finally, I simply must comment on a particular Bloody Beetroots track: I don’t have much to say about it, except that it makes me feel like I’m about to fight Bowser in an epic game of Super Mario. Kinda makes me wonder what they were trying to accomplish with this interesting piece of music. What do you think?

The Bloody Beetroots – Verra la Morte e Avra i Tuoi Occhi