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GODFORSAKEN ROADS
GODFORSAKEN ROADS
Offered by mrtopseller
Price: £2.50

5.0 out of 5 stars Blues From A Gun, 13 Oct. 2014
This review is from: GODFORSAKEN ROADS (Audio CD)
It's been quite a long voyage for Arnaud Rebotini to get to this, "Godforsaken Roads", the long-awaited Black Strobe second full-length release proper. After many successful "electro-clash" singles in the early noughties (which largely defined that genre on their own), he surprised everyone in 2007 with his outfit's debut album, "Burn Your Own Church" which, while paying an obvious tribute to metal rock, also showcased the man's versatility, in terms of musicianship and production skills alike. If that record was much maligned at the time, it didn't take much long to one of its tracks, the abruptly reorganised Bo Diddley cover "I'm A Man", to be featured in quite a few movie scores (first and foremost Guy Ritchie's "Rock'n'Rolla"), teasers (Quentin Tarantino's "Django Unchained") and adverts within the same year. Interestingly, this cut is also the one that paved the way, a mere seven years later, to Rebotini & Co's new found trademark sound : the roots of Americana songwriting, thrown through the prism of European soundscapes that could rank from vintage post punk to electro techno of the most radical order.

After having burned churches (at least thematically), it seems Rebotini and his band were keen enough to enter them, as testifies a feverish yet sincere and meaningful faith that runs through all of the songs here : tales of luxury and despair jump right off to stories of dedicated commitment and hope for redemption, sometimes within the same track. If opener "Broken Phone Blues" adapts the old scheme of the leaving loved one, it serves as well as a modern complaint about the fragility of technology reduced to its most current artefact, the mobile phone. Driven by a heavy synth line, astute guitar lines and powerful drumming, it's followed by an even harder number, "Monkey Glands" which is both graced by filthy verses and a hell of an anthemic chorus. Think of The Cramps jamming with the late 70s Blondie and you're not even close. Even the slower numbers like "He Keeps On Calling Me" or the aptly-titled "For Those Who Came On Earth Thru The Devil's ***hole" are fuelled with a tension that keeps the listener well and truly awake : the former managing the trick to invoke the devil, without ever mentioning his name, to a typical delta-blues offbeat, while the latter precisely succeeds in the opposite, reclaiming redemption as a trophy not a grace, over a saturated wall of cheerful noise. Between those two growers, stands the towering "Blues Fight", which allows a mammoth guitar riff to ride a contagious devastating beat, both supporting Rebotini's voice yelling "Lord Lord Lord / I wanna spell your name". It's probably the hardest gospel-tinged thing I have ever heard, and yet it works, both as a killer dancefloor cut and a revitalised prayer. By the time you reach the middle of the album, two tracks provide a welcome and gentle pause, yet not for the same purposes : the all-keys no guitar cover of Johnny's Cash' classic "Folsom Prison Blues", which would perfectly fit as a soundtrack to an obituary and then the feverish electro-acoustic sweep of "Swamp Fever" briefly makes a light pour out of the twisted shadows that preceded.

It's right at this moment that "Godforsaken Roads" suddenly dwells into even darker and explicitly sexier themes while, somewhat oddly, verging on the more upbeat side of things : "House Of Good Lovin'" is a true rockabilly stomper, that nevertheless gets soon outshined by two of the sharpest grooves Black Strobe have ever commited to tape, in the glorious shape of "Dumped Boogie", all furious synths and spiralling, agressive effects at full bombast, and "From The Gutter", driven by a vicious stop-start breaking rhythm, as contagious as it is violently punishing. The two following numbers were already released as singles in the two-year gap prior to this record, and it's telling of Rebotini's confidence in his new batch of songs to have relegated them to the rear end, as both "Going Back Home" and "Boogie In Zero Gravity" (featured in the last GTA V soundtrack) are groovy as hell while being a lot funkier than previous offerings in the running order. Never a man keen on fillers, Arnaud Rebotini kept his secret weapon for the epic finale, a stunning blues-rock love song, "Promised Moon" which, with its heavily-processed vocals, seductive rolling drumbeat and dreamy guitar, provides the perfect tense comedown to a truly invigorating album.

It's quite puzzling a record so thematically intimate and intricately produced (not a single sound is left by chance, not even in the psyched-out coda to the otherwise invincible "Blues Fight") both succeeds in sounding like a timeless classic and a powerfully cutting-edge modern rock long-player at the same time.

A masterpiece not to be missed.


Swansongs
Swansongs
Price: £18.16

8 of 8 people found the following review helpful
5.0 out of 5 stars NYC's best kept secret - deep, sensitive and jawdropping, 28 Sept. 2010
This review is from: Swansongs (Audio CD)
Marc Anthony Thompson must be the embodiment of all underrated songwriters on his very own. The fact this guy has stayed virtually unknown from the mainstream for the whole 26 years of his career is both a scandalous injustice and a gift for those empassioned enough to have followed him through his somewhat erratic but rewarding recording history.

"Swansongs" is his sixth album proper, the fourth under the Chocolate Genius alias, whose first release as such, 1998's "Black Music" was the closest the man got to stardom. And yet, even then, he couldn't be categorised to one single genre. Being championed by spot-on fans such as Lou Reed, Meshell Ndegeocello or Bruce Springsteen, who enrolled him in his Seeger Sessions Band in 2006, didn't even help make him the great crossover artist he so blatantly deserves to be.

But hell does he care ? His music pours soul, pop, jazz, rock and heartbreaking poetry by every bit, and this new release, his most intimate sounding yet, is no exception. His warm and seductive voice is this time the blatant centerpiece of proceedings, yet such delicate sonic invention is no letdown either, with "Like A Nurse", "Kiss Me" or "Polanski" being obvious highlights, but on second thought you might as well quote all eleven selections here. Those elegiac 34 minutes are to hold and cherish like your everyday milk and butter, believe me. If you've never heard Marc Anthony Thompson yet, and start with this new album, I sincerely envy you. Some may have sold their soul to the devil to earn their skills, yet this guy sounds like he stole the grace of all angels at once.

Highly recommended.


Live At Roundhouse
Live At Roundhouse
Price: £8.99

5 of 5 people found the following review helpful
5.0 out of 5 stars Ladies and gentlemen... FAT... FREDDY'S... DROOOOOOP !!!, 16 Sept. 2010
This review is from: Live At Roundhouse (Audio CD)
It is of general agreement that Fat Freddy's Drop's unique blend of reggae, soul, jazz and hip hop works best live. Their discography testifies this, as with this new release, the New Zealandish combo has now put out as many live albums as studio ones (two of each, that is).

What makes "Live At Roundhouse London" so special, is that while appearing a year after the much successful "Dr Boondigga & The Big BW", it actually does not document their subsequent tour, but the one before, when their new songs were not fully formed and had yet to be tested live before they were to put final touches to their studio versions.

Recorded in December 2008, at their final european date at the time, it showcases (with the notable exception of "Flashback", from their critically acclaimed debut, "Based On A True Story") only new tracks that were unknown from their audience at the time. In pure FFD tradition, the soon-to-become classics "The Camel", "The Nod" or "Pull The Catch" are given the epic jam treatment, turning to lengthy renditions (13 minutes being the average running time of these), which only goes to emphasise the spaced-out, dub-inflected aspects of their material. It has to be noted, too, that the most radically different take comes from the final "Shiverman", whose relatively underrated club spine on record is taken to a trance-like vibe that is quite unusual from Wellington's downbeat best.

So, including only 6 cuts but clocking in just under the technical 80 minutes' limit of the standard CD, you could guess that it would be quite fair to bet this is Fat Freddy's Drop's most representative output. And you'd be right so.


Heligoland
Heligoland
Offered by Bridge Media UK
Price: £6.97

50 of 58 people found the following review helpful
5.0 out of 5 stars Not the most exhuberant come-back, but..., 7 Feb. 2010
This review is from: Heligoland (Audio CD)
Massive Attack.

Just the name itself suggests waves of dubby synths, deep basslines, martial yet half-asleep beats and croony vocals. Sure, they helped define a genre for the 90s, that lame "trip hop" tag so many claimed to be part of and so few deserved, producing much groundbreaking music, especially in the shape of their debut "Blue Lines" (1991), which helped set DJ culture into the mainstream, and "Mezzanine" (1998) that added heavy, howling guitars in the mix to a mostly stunning effect.

So, what's to expect from this, their 5th album proper in a mere twenty years career ? Well, as many other reviewers noted, a bit of the same and something different at once. First striking thing is the actual sound of the whole record. Some pointed out a supposed return to the coldness of "Mezzanine", but that's not at all what I hear here. If "100th Window", their 2003 effort, was a letdown to many fans, being more of a 3D solo effort than a collective work, in fact it furthered the post-punk hint "Mezzanine" suggested, replacing the loud guitar shriek with icy electro beats. The results were, to say the least, mixed, but at least it was still seeking forward, sonically speaking. On "Heligoland", by contrast, everything is understated, from the drum patterns to the shy basslines, from a quiet organ part in the background to voices you feel are more dreamt than actually performed. That's a record that almost begs forgiveness for existing at all, rather than punching its pride in your face, which is why it probably won't get among die-hard fans (let alone the mainstream) the same praise as their giddy peaks mentioned above.

Take, for example, languid opener "Pray For Rain", magnified by TV On The Radio's Tunde Adebimpe ; on previous records, songs like "Safe From Harm", "Angel", "Protection" and even "Future Proof" were kicking proceedings in panache and style, but here you get a moody lament over a tense rolling drumbeat that keeps things tight but never to the point of explosion. If there's a revolution this time around (and as far as I know nobody pointed this out yet), that's precisely the fact that, for once, Massive Attack seem to have opted for a rather organic simplicity instead of creating the beat monster everyone expected (especially in the wake of the awesome "United Snakes" released in 2006 as the flip to "False Flags", and that could have been a welcome addition here).

Yet for all simple it appears, "Heligoland" is a much thought of record, being neither minimal nor easy, it's just that the main body of work hides behind the curtains. As always, the vocalists guestlist must have been quite helpful too : the two Martina Topley-Bird contributions, on the false calmdown "Psyche" and the tense "Babel" shine on, while, oddly, the exquisitely lightweight "Paradise Circus" - an obvious choice for the single - could have been an outtake from that singer's great LP, "Blue God"... except that it's performed (almost haunted, more like) by ex-Mazzy Star diva Hope Sandoval. Also, while not being a big Elbow fan to be frank, I have to give an accolade to their frontman Guy Garvey, who provides his wonderful, almost atonal falsetto on "Flat Of The Blade", making that difficult seemingly weird song sound like an early Peter Gabriel lost gem. Overall the record is less diverse but more consistent than other Massive LPs ; like another reviewer rightly pointed out, there's no real standout tracks yet there's no filler either (I still can't figure out, though, why Damon Albarn has been casted for the relatively dull "Saturday Come Slow", apart from his obvious friendship with the band).

Still, for all great those guests' performances are (and it has to be noted that for each one of them, the backing tracks seem to have been made up especially this time more than ever), it's from 3D himself and regular partner Horace Andy that the best comes again here ; at first together with Daddy G. on the narcotic anthem "Splitting The Atom", then the latter delivers on "Girl I Love You", which despite what its unworthy title might suggest, is a broody reggae-rock hybrid, driven by an epileptic bassline, while, like on "100th Window", the former gets to sound alarmingly worried and warmly seductive at the same time. At that, "Rush Minute" and "Atlas Air" are arguably the best things here, almost towers of song reaching the same heights the frightening "Antistar" did as the closer on the much maligned predecessor to this album.

So overall, "Heligoland" might not be as groundbreaking as the stuff Massive Attack are most known for, but it showcases a collective (with the back of Daddy G, largely absent from the previous decade's output) daring to experiment in his own field, which will be fair enough for some, and disappointing for others. But believe me, a bit like their underrated "Protection" (1994), that beast of a sensitive record (their best effort in my opinion, still), this really, almost physically, GROWS on you.
Comment Comments (4) | Permalink | Most recent comment: Jun 10, 2014 2:28 AM BST


Athens
Athens
Price: £12.76

15 of 17 people found the following review helpful
5.0 out of 5 stars If only their own recent records could be THIS good..., 22 Nov. 2009
This review is from: Athens (Audio CD)
Having been a huge Underworld fan in the late 90s, I consider Darren Emerson's 2000 departure to have left Rick Smith and Karl Hyde in some kind of trouble a la post-"Final Cut" Pink Floyd, after that band parted company with founding member Roger Waters ; sure they had every right to keep the name for themselves as there was an Underworld BEFORE Emerson joined, but the special task that made "Second Toughest In The Infants" or "Beaucoup Fish" such groundbreaking pieces of intelligent techno-pop (genre-defining on their own) had somewhat been largely diluted on subsequent "Hundred Days Off" and "Oblivion With Bells" efforts. If the songwriting skills were more or less still there, the production duties had become more common than genuinely unique by then.

Still, I was puzzled they delivered as compilers one of the best volumes in the "Back To Mine" series back in 2003 ; melting Gil Scott-Heron to old school techno cuts, it spurred with life out of the speakers and came together incredibly well as a selection, even though a rather eclectic one at that.

On this new compilation, the duo team up with their studio alter-egoes The Misterons to build up something altogether very different and very much the same: the same because as proper music fans they have put together tracks they were digging and that got them "scratching their head in the studio" (in their own words), very different also because as it is (brilliantly) sequenced, you get the impression of a full-hour jam session involving the very same band from start to finish. Which, considering the diverse nature of the material selected, is something of a triumph in itself.

Starring such legendary acts as The Mahavishnu Orchestra, Soft Machine, Roxy Music or Carl Craig through his Detroit Experiment alias, it has sort of an overall "jazz not jazz" vibe that would probably have Gilles Peterson eat his hat, and yet, with the inclusion of rare cuts by Moodymann (the wet club lavishness of "Rectify"), Squarepusher (the broody "Theme From Sprite") and Laurent Garnier (an Afro Broken Beat take on his awesome "Gnanmankoudji", taylormade for discerning dancefloors), it always keeps an open eye (and ear) on the most modern aspects of that genre.

Add to this Alice Coltrane's cult world-jazz classic "Journey In Satchidananda" as a breakthrough introduction, the little known classic "New York City" by maverick jazz-rock bassist Miroslav Vitous and an exclusive be-bop rework collaboration with producer Brian Eno as a closing credits end theme, and you eventually have to admit you're actually holding the best mixed compilation in a long while, beautifully sequenced and dreamily crafted.

Chocolate for ears, or so.


Final Flame - Digital Remaster 2009
Final Flame - Digital Remaster 2009
Price: £7.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Back, stuck in mind, body and soul... and remastered !!!, 24 Sept. 2009
Yes, That Petrol Emotion are back and have been touring the UK this early July(2009) and this record is the purest available document of their incredible energy as a live act. It has just been remastered for digital download, and has been augmented by six bonus tracks, including live favourites "Last Of The True Believers", "Creeping To The Cross" and "Swamp", as well as a stunning medley crossing The Beatles' "Helter Skelter" and Iggy Pop's "Loose". For more, check their official website. Below is an update of the original review I wrote 3 years ago about the 2000 official CD release.

Original review :

That Petrol Emotion really were, as writer Keith Cameron pointed out in his sleevenotes for their 2nd album "Babble" (1987) reissue in 2001, "a band ahead of their time, beyond their time, very much of their time" (1985-1994 R.I.P.). Indeed, they took their thrilling tones from Sonic Youth, their swamping grooves from a Gang Of Four-Gun Club-The Fall virtual axis and their melodies from the best of the Sixties darlings (i.e. The Beatles & The Beach Boys). As it looks (and looked) promising on paper, TPE kept on record something a little bit shrill and thin in their sound that didn't help make them the great crossover band (in terms of success) they should have been. The closer they got, sonically speaking, to the most chart-worthy material, was on the "Chemicrazy" (1990) album, which managed to sell even less than its 3 predecessors.

So this didn't really came as a surprise when they decided to disband in 1994; but before that, TPE offered their fans two farewell gigs in London and Dublin, and the "Final Flame" CD, released only in 2000, is supposed to showcase the best moments of these shows.

And it does, as it is also a more than fine documentary both on their killer singles career and their incendiary live performances: "Catch A Fire", "Too Late Blues" and "Abandon" are even more viciously hypnotic than their otherwise brilliant studio alter egoes, "Genius Move", "Big Decision" and "Hey Venus" provide tiny reminders that the bombing of their sales was a full-scale injustice and, at last, the closing encore provided by "Chemicrazy", "Blue To Black", "Scumsurfin'" and aforementioned tribute medley "Helter Skelter/Loose" proves that this band was capable of noisy epic finals without losing an ounce of their high-focused deep grooves.

INDIE POP-ROCK AT ITS BEST.
Highly Recommended.


Ciao!
Ciao!
Price: £15.03

4 of 4 people found the following review helpful
5.0 out of 5 stars This should have made Tiga a huge star, 8 May 2009
This review is from: Ciao! (Audio CD)
"Ciao !" is the second Tiga full length release, following 2006's "Sexor", and really should propel his creator as the Prince of Electro.

Like its predecessor, it creaks with potential hit singles, and has an incredible cast of collaborators (Jesper Dahlback or the Dewaele brothers from Soulwax and 2 Many DJs, and newbies LCD Soundsystem's James Murphy or Jason "Gonzales" Beck). "Beep Beep Beep", "Luxury" and the first single "Shoes" (which does NOT feature backing vocals by Madonna, unlike web rumours suggested) are all designed to drive dancefloors crazy, while "Mind Dimension" or "What You Need" are more harsh bleep house electro efforts. The songwriting element has been reinforced here to devastating effects, as testifies the awesome 10 minute-long disco epic final "Love Don't Dance Here Anymore". Overall, it has to be noted that the Canadian artist seems to have learnt from his debut that a bit of diversity helps; where "Sexor" was a string of rather straightforward cuts, "Ciao !" showcases some lot more varied arrangements, sometimes within the same track.

Lyrically and thematically, it explores more tales of sex, lust and money, but not in a making-fun mock kinda way; Tiga's not at all a cynical dude and drives a sincere love and praise for all things showcasing social richness, and manages to sound touching and relevant at that.

One of 2009's triumphs, no doubt.


808s & Heartbreak [Digipack]
808s & Heartbreak [Digipack]

2 of 3 people found the following review helpful
5.0 out of 5 stars A "Closer" for the hip hop generation, 3 Jan. 2009
First and foremost, I'd like to express my exasperation at hearing or reading people moaning at some - currently successful - black artists (Kanye West being one of them), accusing them of having betrayed the so-called "original true spirit of hip hop". These, behaving like self-proclaimed guardians of some private temple, seem to forget that hip hop, like every other form of art, is a mean not an end.

I also recall the great Mos Def was once asked, a few years ago, what he thought of his peers parading in videos with lavish ladies and expensive cars instead of providing supposed conscious statements in their music. His answer has baffled me for years (and still does): he said that it was precisely this (i.e. the fact of seeing black people behaving that way in front of huge audiences of, say, MTV proportions) that was revolutionary, more than any kind of political contest. And so, whether you fancy it or not. I can't agree more, as it seems, more generally, that a black artist is, still nowadays, supposed to deliver what's expected of him: making "black music".

Sorry for that somewhat long introduction, but I thought those two distinct points could be helpful to fully understand what Kanye West's fourth album proper is all about, and what it aims to be. On the previous one, 2007's "Graduation", he already considerably extended his sonic palette (sampling Daft Punk or legendary german krautrockers, Can), yet after that, last summer he produced, in the form of his duet with the promising Estelle, the wonderful "American Boy", which can only be described as the single best musical mainstream moment of the year, all straightforward dancefloor power and heavy beat science upfront.

"8O8s & Heartbreak" is an altogether very different beast to both those releases; having recently both lost his mother and ended up a longtime relationship with his fiancee, Kanye West isn't exactly in a partying mood here, to say the least. Yet, and it's what makes this record so satisfying, he still manages to entertain while expressing his utter sadness and pouring his deepest doubts over every song featured. From the first few bars of "Say You Will", it's understood Kanye's probably unleashed his landmark piece of music this time: over a bleak, possibly new wavish rhythm synth, he croons in a desperate yet suggestive and seductive manner about the loss of his love. The much-publicized use of the auto-tune process, supposedly a limitation, in fact allows him more freedom than ever: some reviewer pointed out he's not Nas nor Guru (he actually barely raps on the whole LP, mind you), and heaven knows he ain't Marvin Gaye either, but if the spine-tingling lament that is "Heartless" or the broody hypnotic complaint the first single "Love Lockdown" manages to be fail to move you, then nothing ever will. On the only upbeat track, "Paranoid", Kanye West even delivers the most perfect slice of pop angst ever heard since, say, Depeche Mode's "Enjoy The Silence" (yeah, that good). Perhaps only the quite blank "Robocop" is a relative failure, as every other song is a fascinating trip through this visionary artist's mind, even the somewhat rawer-sounding live freestyle "Pinocchio Story", that closes proceedings with an overwhelming tearjerking class.

Being very intimate, sounding entertaining at it and clearly conscious of what he does, somewhere between Kool & The Gang produced by New Order and the late and great Al Green stuck with The Neptunes in an elevator, Kanye West has achieved, minor weaknesses aside, a truly perfect pop album.

In a world that enjoys nothing as much as pigeonholing people of every kind (let alone artists), that alone is a triumph in itself.

TO ENJOY, CHERISH AND TREASURE...


Live In Concert Ep - Roskilde Festival 2007
Live In Concert Ep - Roskilde Festival 2007
Price: £9.91

5 of 5 people found the following review helpful
5.0 out of 5 stars Four astonishing live cuts plus three worthy remixes, 4 Nov. 2008
Yeah, unlike the tracklisting published might suggest, only the first four tracks from this EP are live recordings, originally released through iTunes. It seems it must have been quite some kind of success for the Lord of perfectly-crafted dark moody electro, as it's now released on CD through Poker Flat, Anders Trentemoller's usual label, augmented by 3 bonus remixes.

Still, the main attraction is the live renditions of four classic cuts from 2006's "The Last Resort" LP, recorded at last year's Roskilde Festival, and they all sound awesome and very different from their studio original versions; only accompanied by guitarist Mikael Simpson and drummer Henrik Vibskov, Anders unleashes a monstrous "Take Me Into Your Skin", incorporating in the end section a few bars from New Order's "Blue Monday" classic gimmick to devastating effect, delivers a surprising drum'n'bass take on "Snowflake" and gives us his very personal interpretation of electro afro-beat with the possessed "Into The Trees". A chilled-out shortened "Miss You" ends this first live half of the CD quite nicely, before we drop to an almost entirely acoustic stripped-down treat (courtesy of previously mentioned Mikael Simpson) to the much-revered "Moan" featuring bluesy harmonica, strings and still Anne Trolle's purely haunting voice. A pumped-up "Vamp" remix by Kasper Bjorke follows, before we are confronted with the most surprising thing on this delightful set : the Gluteus Maximus Remix of "Miss You" which takes the originally ambient track to a much more ethnic vibe and ends this collection in a rather hypnotic voodoo house mood.

No new stuff yet from the Danish genius here, but I can think of far more useless ways to spend your money than to invest in these deep, rich and emotional 50 minutes.
Comment Comments (2) | Permalink | Most recent comment: Sep 5, 2009 11:32 PM BST


The Rex The Dog Show
The Rex The Dog Show
Price: £9.74

8 of 8 people found the following review helpful
5.0 out of 5 stars Hi-energy electro pop from producer Jake Williams, 21 Oct. 2008
This review is from: The Rex The Dog Show (Audio CD)
So now, here finally comes the first Rex The Dog full-length, after several seminal cuts released over the last four or five years ("Prototype", "Circulate" or the recent "Maximize", all present here) and a busy job as a much-requested remixer (two such works are even included here, along original works). While the title suggests this might be some kind of mixed-up compilation showcasing producer Jake Williams' key tracks released under that moniker, it's in fact sequenced as a real album, said tracks just having being edited enough (only the spaced final "I Look Into Mid Air" lasts for more than four minutes) to fulfill an exact 45 minutes running time. Such a relatively radical choice, considering the obvious clubbish nature of his material, reinforces the pop element to his music, which is no bad thing at all: previous singles quoted above stand proudly along newer gems such as the Yazoo-sampling "Bubblicious" (which is mainly built around Alison Moyet's chorus dropped from "Midnight"), the sexy mood to "Gecko" or the more hip-hop oriented "Itchy Scratchy", which features punchy vocals courtesy from The Ping Pong B**ches.

The overall sound of this release evokes a cross between Vince Clarke-era Depeche Mode (for the songwriting and addictive hooks) and early Kurtis Mantronik stuff (for the shake-your-booty to wipe the floor dynamics and colossal basslines), while aiming toward a more cutting-edge dancefloor sound, closer to the likes of Calvin Harris, Tiga or even a few Soulwax stuff. The "Heartbeats" remix for The Knife is rightly included here, as it actually really sounds like an original work. Those of you knowing the song by Jose Gonzalez' stripped-down hit cover version might be in for a bit of a surprise !

As the great George Clinton (of Funkadelic and Parliament fame) would howl like in '83, "A-TO-MIC DO-OU-OW-OW-OWG" !!!


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