Everyone is getting super excited over this remix, and with good reason. Sister trio HAIM have taken Aussie band Tame Impala‘s ‘Cause I’m A Man and made it their own, but amazingly without losing any of the magic of the original. With new vocals and a fresh new ambience, HAIM’s remix/cover is awesome is a real joy to listen to. It’s so nice to see such a successful band show their appreciation of another successful band in this way, just because they’re fans, as HAIM’s Danielle said in a statement on facebook;
“In 2009 I was in japan playing the summer sonic festival with Jenny Lewis as her guitar player. On a day off of the festival we played a side show at astro hall in tokyo with a band from Australia I’d never heard of called Tame Impala. I remember standing in the crowd and not really understanding how this MASSIVE sound was coming off the stage with just 4 people playing. They were one of the best bands I had ever seen live. When I went back to my hotel, i downloaded their ep immediately- told my sisters to also- and since then we’ve seen their incredible shows all over the world at various festivals and loved every record. Sooo needless to say, when we were asked to do this remix we jumped at the chance!! but we’ve never really done a “remix” before so we decided to put out our own spin on the song. Go get Currents if you haven’t yet- you’ll be stoked. – Danielle”
I love Ghost Beach, and For You is definitely up there as one of my favourite tracks of the year. The boys have flung their tropical pop magic over Fickle Friends single from earlier in the year, and it works beautifully. The track has turned into an indie dance floor gold, despite feeling as though they could have amped up the electronica they do so well, even more than they have.
Have some sweet, sweet deep house for your Monday night blues. This is an example of an on-point collaboration; BANKS‘ indie pop original is moody and exact while Hotel Garuda‘s influence turns up the beat and and Gryffin sustains it with lashings of languid guitar, transforming the original without losing any of Jillian Banks’ impassioned vocals.
Completely late to this party, but it’s too brilliant not to post. Beyoncé and Nicki Minaj have merged to create a remix of The Visual Album‘s (arguably best) track Flawless, which is causing a stir due to Bey’s acknowledgment of the infamous Solange/Jay-Z elevator scrap, with the on-point lyric ‘Of course sometimes shit go down when it’s a billion dollars on the elevator.’ The track also samples OutKast’s SpottieOttieDopaliscious and some mind-blowing lyrics courtesy of self-proclaimed queen of rap Nicki Minaj. A+.
Everyone’s favourite part of Bound 2 is Charlie Wilson‘s gorgeous hook, if you say it’s not then you’re lying. It also makes for excellent remix fodder; most famously Sigma‘s Nobody To Love reworked the clip into a four-minute-long dancefloor filler, which is great, but I would argue The Rooftop Boys attempt is far superior. It doesn’t use Wilson’s lyrics as a crutch, more so builds upon them, adding deep shattering bass lines and slick percussion for one blistering rework. Listen to this one with headphones on.
Diplo‘s humorously titled remix for Lorde‘s Tennis Court (well, the full title is actually Diplo’s Andre Agassi Reebok Pump Mix) was previewed via his Instagram back in May but released in full today. Diplo has spun some excellent EDM magic into the pristine pop production of the original, turning up the bass, percussion and and energy to transform Tennis Court into a rousing club friendly jam.
What’s great about remixes, is that from time to time, two seemingly opposing genres crash together to create something truly sublime. Indie favourites Future Islands have added a whole new dimension of chilled out & subtle soundscapes to Phantogram‘s trademark industrial electronica. This mix of Black Out Days is slowed down, but re-weaved beautifully in the sentimental fashion Future Islands has become known for.