frankles free fridays

Banks worked with producers like Schlomo and T-E-E-D to craft a dark, brooding album that served as the perfect environment for her likewise sultry voice. Not unlike Lana Del Ray, it also made me wonder how her voice would sound in a mix of bright synths and thumping bass of house. Well, Griffin and Hotel Garuda threw out much of the instrumentation of Beggin for Thread and crafted the remains into a serene deep house masterpiece. Hopefully it opens the doors for more electronic treatments.

Do you remember the Sheperd Fairy-created Obama ‘Hope’ posters from the 2008 election? There was a site where you could “Obamafy” your own pictures. It seems like Odesza may have created the technology to apply a sonic filter and “Odeszafy” other people’s songs. Slow Magic‘s “Waited 4 U” is a mild, but happy downtempo delight. The closest it comes to Odesza is it’s use of a high-pitched vocal/falsetto sample. When the remix starts out, it sounds much the same as the original. Muted, but intact. Then…holy shit. There’s the Odesza filter in all it’s glory. Just when you’re in the groove and feel like you’ve wrapped your head around their changes, it pauses ever so briefly, then 1:11 happens. Game over. I love the roll Odesza is on. Add this to their Pretty Lights remix and their stellar warping of “Faded” by Zhu.

Now for a little silliness for your Friday. Matoma paired the psuedo-reunion of Ice Cube’s “Hello” with Notorious BIG’s “Party & Bullshit,” and made it into a strange, but addictive trop-house ditty. I have no other way to describe this. The lyrics and delivery are full of attitude and hard, but the juxtaposition against the upbeat major key is…I guess I already said it, but it’s silly.

I usually only do four, but occasionally I find another song that I simply can’t help but to include. Such is the case Autograf and his “cover” of Swedish House Mafia’s “One.” I’m not sure where the line is that a remix changes into a cover. Maybe that means rebuilding the song from your own material and bank of sounds or samples. It’s slow and gradual on the uptake, but the payoff about halfway through is golden. Autograf deftly manages to leave his own mark, while keeping the most prevalent qualities of the original intact, enough that it’s still instantly recognizable.

 

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