Fog’s back with a wickedly fresh remix of Renegade’s Threshold. This one’s a fair bit quicker than Renegade’s original, but sticks close to it’s original vibe – adding a cheeky vocal sample from one of Barack Obama’s speeches.
Visitor caused a great stir almost a year ago when their song “Los Feeling” was unleashed in the blogosphere and remixed by a couple of great musicians like TM favs Fear Of Tigers, Bit Funk, Freak You!, Flashmen, etc.
The official single is now released on Vulture with “Love” as a b-side. Here’s the club edit of this awesome tune:
Miami Horror from Australia have just released their new single “Moon Theory” which is a stellar piece of pop. Of course, we didn’t expect anything else after “Sometimes” and the “Bravado” EP.
“Moon Theory” has gotten the remix treatment by Punks Jump Up, Sam La More, Baby Monster, and Yacht.
For your listening pleasure, we here present two of them. Punks Jump Up bring a tiny bit of distortion to make the tune a close-to-banger. Sam La More takes the track to a Big Room. In a good way though!
Hello TM readers. Pardon my train of thought but I thought I’d post a tune that is the EXACT reflection of my state of mind right now. Imagine working countless hours on something that involves executing a surrealist creative direction (sorry can’t go into detail since I signed a NDA), daydreaming about taking a holiday around the world and then allowing your delirium to twist the two into a hypnotic whirlwind of sound, harmony and rhythm. That is basically what happened as I gave El Remolon remix of Tremor‘s Viajante a listen.
It started with a South American feel, using “SAYA”, a rhythm from the high mountains of the Andes as the backbone of the song. Then Balkan, South American and pan-European instrumentals laid their way in. My personal favorite happened 2/3 of the way through when I began to hear tango accordion in combination with some Ray Parker Jr. style Ghostbustin keyboard synths!
The symbolic analysis above was borrowed from Autostraddle‘s lengthy, biting critique of how Taylor Swift is, in fact “a feminist nightmare.” According to “Riese,” a contributor over at Autostraddle, America likes Taylor Swift because she embodies “a palatable conservative ideology in the form of a complacent, repressed feminine ideal. It’s working ’cause Swift writes good songs and America is terrified that its children have been scarred by Britney Spears’s psychotic vagina and Miley Cyrus’s obnoxious adolescence.”
The author explains that Swift’s music videos reinforce gendered double standards such as the virgin/whore dichotomy, then goes on to address the fact that the narratives within those music videos are quite unimaginatively lifted from bad 90′s teen films. And yeah, nobody’s original, but some people are more creative with their copying and reproduction than others.
Most importantly, she worries that Swift may set a dangerous precedent towards the “vanilla-fication” of popular music, to which Rob Harvilla over at the Village Voice responds, “Are we all aware that 2008”s Album of the Year trophy went to Herbie fucking Hancock, doing Joni Mitchell covers? That Steely Dan beat Eminem? That the allegedly august company Swift now joins includes Natalie Cole, Norah Jones, “Smooth”-era Santana? Peep the past decade of AOTY victors and our virginal heroine comes out looking like the goddamn Sex Pistols.” Fair enough.
Brandon Soderberg also chimes in with a discussion of whether or not Ke$ha‘s commodified “edginess” is any better than Swift’s ernest innocence. Among other things.
Anyways, I thought the diagram was brilliant, the debate is interesting (if a little sensitive), and that in fact it is DEEPLY shameful that Swift beat out Gaga and Beyoncé for the big Grammy win.
While we’re on the subject of gender, music, and sexuality, I stumbled over to Patent Leather Daddy the other day, only to find a FABULOUS mix/compendium that’s packed with everything from Gaga remixes and Nicki Minaj to Hudson Mohawke and Marilyn Manson. All of which is accompanied by an equally FABULOUS little film from Anthony over Hotgymnast.com… anyone know if this man is serious or not? I guess it doesn’t matter.
Anyways, the mix is an eclectic blend of off-kilter, noise-y indie vibes, ethereal 4×4 beats, and epic half-step hip-hop syrup. It displays an unusual curatorial instinct, and manages to make me give a few moments of tolerance to jams that I would usually skip immediately. And it’s TOTALLY PERFECT FOR GETTING YOURSELF AMPED AND READY 4 DA GYM.
Hello new friends, Max Pearl (aka, DJ Kat Fyte) here checking in as the newest contributor to Trash Menagerie. For my first post, I’d like to take all of my new readers on a guided journey of those winding corridors and dark hiding-places that I like to troll as I make my way through the blogosphere. That means recommendations, people!
I’d like to keep it multi-media, as much as possible, so here are a few treasures that deserve some exposure, from audio-visual art music to critical commentary on the state of the contemporary moment.
First up, here’s an astoundingly well-edited promo video for the current reigning champion of the drum machine, AraabMUZIK. I’m pretty sure that everything you’re hearing in this masterpiece is generated by this dude triggering samples off of the MPC console he’s working with, even the gnarly chug-a-chugs!
In this day and age where DJs are exchanging their turntables for laptops and MIDI controllers, yet trying to find ways to keep digital DJing as impressive for the eyes as it is for the ears, an MPC prodigy is pretty much exactly what we’ve been looking for to satiate our tiny attention spans. SOMEBODY BOOK THIS DUDE AND I WILL GLADLY ATTEND YOUR PARTY AND BUY EVERYONE BEER. By the way, ‘dude does much of the production for the one-and-only Cam’ron and the Dipset crew. Makes sense.
In the simplest terms, he addresses the use of sound as a structuring technology- a sonic architecture, if you will- from night-time sound bombs used to create an environment of paranoia and fear among the colonized, to high-pitched frequencies used in malls to prevent teens from gathering, all the way through to the careful crafting of good or bad vibes by soundsystems operators in the context of the global dancehall session. Kode9, by the way, is the curator behind the virtually infallible Hyperdub record label, a leftfield electronica institution that’s centered around wonky hip-hop and dubstep, with releases from acts like Ikonika, Burial, Zomby, and Joker. Act like you know.
Lastly, let me round out yet one more border to which my artistic and cultural interests extend, and make the jump from super METAL gangster beats and Sonic Warfare over to the contemporary state of Latin American and Caribbean party music! I don’t mean to blow up anybody’s spot if you’ve been hoarding music from this bizarre little outlet in the global digital, but these guys deserve some props! Check out the wonderful, regularly-updated music blog, Flow Cartagena, “EL BLOG OFICIAL DEL DANCEHALL Y REGGAETON,” for seriously cutting edge reggae/hip-hop everything. Much of the music available at this site is from amateur producers and remixers, and a lot of it is unreleased, bootlegged, or really poorly mixed and mastered. Still, you can find some gems if you’re willing to hit up google translator and spend an hour navigating the sketchy mess that is this website’s interface.
One of my favorites is this track here, an upbeat, layed-back hip-hop joint from Jiggy D and Mosta Man. Just so you trust me that this site is in fact quite bangin’.