The great thing about the Lykke Li remixes that have surffeced that they are generally awesom Disco House that is easy to dance to. The AutoErotique Bootlegg that we talked about a while ago is a great track to vibe too. Punks Jump Up’s Remix of Breaking It Up is one of those songs you can never get enough of. Recently a couple of other artists have dropped some hot remixes. Gigamesh of Discotech (one of our favorite remixing crews here at SalaciousSound) has recently released a remix of Little Bit that became to compete with AutoErotique’s Bootleg to be my favourite version of the song. The Death to the Throne Remix is also nice but falls bellow the aforementioned. Pocketknife’s Remix of Breaking it up is worthy of mention but is still a far second to the Punks Jump Up version. Recently Kleerup decided to pair with Lykke Li and the result was Until We Bleed, an awesome song. It is wonderful as is, but you all know that I love a good remix and am looking forward to a mix that amps it up for the dance floor while maintaining the character of the song.

Recently, I have become inspired to learn how to DJ. There were a few factors that lead to this inspiration. DJ Cal? is an awesome DJ and seeing him practice made the task of learning appear daunting, mostly because actions that come so naturally to him are laborious tasks for me. That being said, I recently published an article where I discussed DJing being about the music and not just the ability to DJ. Listening to Treasure Fingers’ mixes has only increased my desire to start spinning because while I love hearing dirty dark Electro, I still want to move to Disco, Disco House and the like.

Hopefully people get what I am trying to say. The essence of this brief article is that I idolize Treasure Fingers mixes, love Disco House, want to hear more of it, and think Lykke Li has the perfect voice/style to be remixed into awesome Disco House.

So listen up!

The Monarch

Lykke Li - Little Bit.mp3
Lykke Li - Little Bit (Gigamesh Remix).mp3
Lykke Li - Little Bit (AutoErotique Bootleg Remix).mp3
Lykke Li - Little Bit (Death To The Throne Remix).mp3
Lykke Li - Breaking It Up (Punks Jump Up Remix).mp3
Kleerup - Until We Bleed (Feat. Lykke Li).mp3

(not the best interviewer, but awesome dude)

Related Posts

1. Tuesday Top Ten: 10 Fantastic Lykke Li Originals and Remixes
2. Lykke Li Noticed By Kanye West, Santogold, and AutoErotique
3. Chilled out Lykke Li and Wobbly MGMT

Three years ago, three producers with over a decade of experience in the music industry came together to form The Angry Kids. Beckstein (Jeff Beck), Tom Da Bomb (Tommy Causevski) and ry2 (Ryan Wilock) have worked in production, engineering, and The group is currently signed to deals with labels across the globe. Recently versions of their song have poked up on various forums on the web. When I contacted ry2K about posting his hot new track on our site he was apprehensive. After checking out the site he not only agreed to allow us an exclusive post of the song in its Ultimix form, but to answer some questions on the industry he loves and the city he is from.

Here is the Interview:

StSH: How do you feel the Internet is helping the music industry? How do you feel it is hurting the industry?

ry2K: The music industry and major labels in particular really dropped the ball, and under estimated the power of the internet back in the 90′s.  They continued to waste money on archaic methods- and created the problems they face today themselves.  They could have easily embraced technology- created their own digital streams or even alternative avenues…instead, all the major conglomerates thought they were impervious to it.
In that sense, the Internet has really hurt the industry.
On the flip side, the internet has helped broaden the area an artist can cover- you can reach the entire world within seconds, can have your music heard by trillions, and begin your path to stardom using it as your main means of promotion.  Before promotion used to cost more money than anyone can imagine- right now the artist can make a serious impact on his or her own.

StSH: How do you think the electronic music scene in Toronto compares to other parts of North America (NY, LA, MTL etc)? The world (UK, France, German, Europe Australia, etc)? What can be done to help it grow?

ry2K: The electronic scene in Toronto was bustling in the late 90′s and even into turn of the millennium.  Then it took a serious decline- it is barely a blip when compared to what it was, never mind comparing it to other places.

When I look at the rest of the world, and in particular the UK, there is something that Toronto does not have- a wide spread sense of camaraderie.  Until that changes, and everyone working in the industry start to look out for one another (rather than running around acting like a bunch of school kids trying to work against one another) the scene will be a mere figment of everyone’s imagination.  In my opinion, “the scene” barely exists right now.

StSH: What trends have you noticed internationally that you predict will take off in North America over the next year?

ry2K: That’s a tough one.  When I was in the UK recently, dub-step, and UK hardcore (155-160+ BPM) were all the rage in one area, and another was more on the tech side of things.  The one thing I did find that was common though- was that allot of it was song based.  Not just a bunch of grinding electro influenced synth lines with some drums and a couple vocal stabs- vocals, hooks, and strong leads were all present.  Maybe the chart success of electronic sounding artists like Lady Gaga will lead to something positive other than a song you can’t get out of your head.

StSH: You have clearly invested a lot into this project, clearing various samples including Mr. Brown as well as Marvin Gaye and other prolific artists. Do you feel that your productions are an update of these artists’ works or a something new that incorporates the old? What gave you the idea to sample these artists in particular?

ry2K: First- you can never make what is already great better.  I have some great business partners that allow us the opportunity to work with these artists of this magnitude.  When I first had the idea to start this project- everyone thought I was insane.  Now, three years later- we are on our way, and seeing the plan come to fruition is both rewarding, and satisfying at the same time.

I like to think of what we are doing all of these great songs as interpretive.  Not trying to be coy, but the way these ideas were thought of….it was exactly that, the ideas came to us.  We went with them, but without the belief of everyone involved none of this would have ever happened.

StSH: I recently commented that a lot of remixes tend to be sloppy these days so artists can release their remix as soon as possible in order to ‘get their first’ so to speak. Clearly you have taken a lot of time and care in producing Mr. Brown. What do you feel are the flaws and benefits of this culture that has been blossoming over the course of your career?

ry2K: First of all you have to realize that allot of the remixes out there are being done by people just to throw out there.  They are not authorized, they are just done.  There are no individual parts, no stems, nothing.  That in itself sets you back 2 steps in trying to make a record sound big and clean, forget rushing and releasing something incomplete.  They are not original ideas that are being made to make an impact, in a sense they become disposable.

Beckstein, TDB, and myself spent about 12 months getting the original version of Mr. Brown right.  In the end, I think there were no less than 4 versions nearly completed that ended up completely aborted and started over.  We wanted what we did to sound right, and knew that nobody else was doing it the way we were, I don’t see the point in rushing things.

It’s not like the 500 Internet remixes of Love Lockdown – everyone trying to get it up on the net first- have some pride!  Next thing you know some fool will try to re-sing the vocal and release their version of that (Love Lockdown) as an original idea….trying to make themselves look like some sort of genius.

StSH: On that note why do you feel hip hop songs that sample are considered “original” beats while in electronic music the same practice is often known as a remix?

ry2K: I would use the term original loosely.  The main difference rests in the fact that hip hop has traditionally been based on sampling- a sound, a few bars, a hook.  On the other side there have been cheesy dance covers of past, present, and classic tracks for years.  Some well done, and some very poorly done.  It is the poor ones that make the electronic genre lose allot of the respect it has tried so hard to gain.  To take it a step further, when dance records use a mere sample, it usually seems to slip through without being noticed.  How many people have realized that Armand van Helden’s Funk Phenomena in fact samples Method Man & Red Man’s hit How High???

StSH: Girl talk fan?

ry2K: I think what they do is novel- couple cuts on my iPod currently.

StSH: What inspired you to get involved in the music industry? To what do you credit your lengthy career in the music industry? What do you believe to be your greatest achievement thus far?

ry2K: I have been surrounded by the business of music my entire life, it just seemed like a natural fit to me, and credit the length of my career to the many facets of it I have been able to learn over the years.  My greatest achievement- that is yet to come, but when it does, y’all will be sure to know about it.

ry2K has been in the industry for 15 years, his most notable accomplishment was signing the group Eiffel 65.

Other than the original my favorites include Agent X’s mix and the Love Assassins remix with an awesome breakdown into the original by Bob. I am not a big fan of the Ian Carey Mix. I am sure Ryan and the rest of the Angry Kids would love to hear your feedback!

Bob Marley and Angry Kids - Mr Brown (Ultimix).mp3

(Unavailable in Player)
Angry Kids – Mr. Brown (Ian Carey Remix)
Angry Kids – Mr. Brown (Agent X Vocal Mix)
Angry Kids – Mr. Brown (Pablo Deconders Kill Mix)
Angry Kids – Mr. Brown (Love Assassins Remix)

Get the song @
More Love Assassins @
More Ian Carey @
More Agent X @

Related Posts

1. Angry Kids Will Make You Happy.
2. Winner of the Remix Contest Drops Exclusive DJ Mix With All Original Tracks!
3. Interview and Exclusive Track Release With G-reg

It’s funny how attitudes change.  Last year, when DJ’ing at clubs was becoming a very real possibility, I told myself that I would refuse to “sell out” and play stuff that I didn’t like – shitty rap, pop club bangers, etc – just to get jobs.  I had a party coming up at the end of the year, and I swore to myself that there was absolutely no way I would play Flo Rida.  Inevitably about 5 people at the gig asked me to play the damn song, and in my tastes (far superior, of course, to any one who could possibly want to hear Flo Rida at a party), I hadn’t burned it and had to disappoint.

These days I am approaching gigs much differently.  This isn’t just a hobby I’m doing for fun anymore – I love what I do, and I know that if I want to continue doing it and have further success, then I have to be a ‘professional deejay’.  So how does a pro DJ a gig?  Quite simply, he reads his audience with skill, and plays to them.  Sure, people want to hear new stuff (if it’s good) – you’re the DJ because you take the time to research, listen, and sort out the good from bad.  But people want to hear that new Britney Spears track, or that one by Weezy (even if it does talk about menstruation and vagina cheese).

A regular reader asked in a comment if a couple tracks were good for his party, and despite what you think my response might be given this article, I’m going to say almost definitely, yes.  While I always play it by ear, I also make a point to plan a few different segments ahead of time, and at least have a few big hits in reserve if a song flops with my audience.

If the 12+ black tie events I’ve been to in the last year are any indication, people want to dance no matter how they’re dressed.  Sure, at a white tie, the night will probably open up with a 4-8 piece band, but later in the night people are going to want to dance – a DJ almost always comes on around midnight or so at these things (I assume this is why the reader asked, right?)  These tracks are pretty safe bets for an unknown audience, though you can bet that it’s going to be 25+. They’re funky, not too hard, and most importantly (in the Bee Gees’ case) you can expect good song recognition.

Sia - Buttons (CSS Remix).mp3
Sia - Buttons (Jimmy Vallance Remix).mp3
Sia - Buttons (Chris Lake Remix).mp3

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1. Disco is Playing in My House
2. After Hours – The Year We Never Slept
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Diddy had nothing to do with it. In a world where a song’s life is affected and effected by a variety of musicians, producers and engineers, dub music is this world’s forefather.  The genre has given rise to many central tenants of modern music culture. The power of producers and DJs in the current climate of the music industry is undeniable and we must give thanks to originators such as Lee “Scratch” Perry and King Tubby for exploring musical production and allowing us to see music in a different light.

Dub came out of the Jamaican music culture of the 60s and early 70s. The culture involved the inclusion of instrumental “versions” on the b-side of records, this was the instrumental or “riddim”. This allowed DJs and producers to manipulate the track with a lot more control. Often they added reverb, echoing and other effects to the track while opting for heavy drums and bass – these elements became the definitive characteristics of Dub music. The use of effects to alter the track was done by sound engineers and producer who  transformed recording soundboards into the instruments themselves. After a while DJs began to talk over records (the DJ in Jamaican Dancehall culture is a Master of Ceremonies while the person who plays records is know as the selector) this  was known as toasting and once exported to New York was the basis for Hip Hop’s development.

House and Electronic music is equally indebted to dub as Hip Hop. While music without lyrics may have always existed, the interaction between the DJ or Producer and the music itself was limited to arranging or playing songs. By changing this relationship to stress the importance of how the song is played and the effects used in production, the DJs and Producers importance increased. Mixing techniques, whether they be in the production or performance (a dj set for example) of tracks, increased in complexity. Eventually this led to the birth of House. Frankie Knuckles may have been the Godfather of House, but Lee ‘Scratch’ Perry and other artists gave birth to the child.

Last night I checked out the 5th anniversary of Andy Poolhall’s Dub and Beyond. The DJs dug deep into their crates and spun some amazing wax that these ears have never heard before. Hearing unique remixes which paired commonly known tracks with deep, lesser known Dub tracks from a record allowed made me appreciate the effort that was required to unearth some of these tracks. This night has been going for 5 years and shows no signs of slowing down.

I expect Dub to rise to the forefront of our electronic music scene over the next year in the form of Dubstep. Now Magazine predicted the rise of Dubstep in 2008. This British evolution of Garage and Drum & Bass is bass heavy with a syncopated beat. This genre is extremely hard but has the driving energy required to become a influential member of electronic music’s history.

Here is a collection of relevant tracks. I’ve included some Lee ‘Scratch’ Perry, Thievery Corporation, some tracks that I feel are in some way relevant, as well as a variety of different examples of Dubstep including Rusko’s Essential Mix!

Katy Perry – I Kissed a Girl (Rusko Remix)

further reading:

http://en.wikipedia.org/wiki/Dub_music

http://en.wikipedia.org/wiki/Dubstep

http://www.potentbrew.com/skaregdu.html

Lee Scratch Perry - Favorite Dish.mp3
Thievery Corporation - The State Of The Union (Rewound by Thievery Corporation).mp3
Pattie Blingh And The Akebulan 5 - Brother The Point (2562 Remix).mp3
MIA - Paper Planes (Remix For The Children by Adrock).mp3
Kid Sister - Pro Nails (SMD Remix).mp3
Joker - Snake Eater.mp3
Crookers and Kid Cudi - Day N Nite (Agent X Remix).mp3
Capleton and Mr Oizo - Flat Tour (The Heatwave Refix).mp3
Appleblim and Preverelist - Circling.mp3
Appleblim - Girder.mp3

Rusko - Essential Mix-12-12-2008.mp3

Tracklist:

Rusko feat Clipz – Scareware

Jakes – Rock The Bells

Rusko – Gogogadgetrusko – Sub Soldiers

The Quemists – Dem Na Like Me (Subscape mix) – Ninja Tune

Stenchman – Prime Time Swine

Rusko – Jahova – Sub Soldiers

The Prodigy – Breathe (Numbernin6 mix)

Rossib And Luca – Dont Cry Soundboy

12th Planet – 68

Jonny Osbourne – Rudeboy (2008 mix)

Rusko – Mr Muscle – Sub Soldiers

Tc – Wheresmy Money (Caspa mix / Jack Beats mix) – D:Style

Skream – Meta-Lick

Skream – Horny – Tempa

Enur and Natasja – Calabria (Bomberman mix)

The Others – Kingpin – Subsoldiers

Redlight and The Voodoos – Superkurl

Stenchman – Run Rabbit Run

Chase and Status feat Kano – Against All Odds (dubstep Mix) – Ram

Rusko – To Da Floor

Kid Cudi – Day N Nite (Rusko big trombone mix) – MOS

Rusko feat Crookers – Oy!

Jakes – Modem – Hench

Rusko and Diplo – Major Lazerr

Rusko – Woo Boost – Civil Music

More Fire Crew – Oi – Go!Beat

Skream – Murderer (VIP)

Rusko – Period

Benny Page and Zero G – Majestic

The Others – Bazooka – Dub Police

Unitz – The Drop Vip – Dub Police

Katy Perry – I Kissed A Girl (Rusko chapstick mix)

Benga – Bengas Off His Head – Tempa

Skream – Dutchflowers (Rusko Babylon mix) – Tempa

Doctor – Raise He Temperature – Souljazz

Chase and Status – Saxon – Ram

Marcus Visionary – Black Panther Riddim

Distinction and Kromestar – Zappah

Rusko – Lets Go

Rusko feat Lutan Fyah – Soundguy Is My Target – Subsoldiers

Caspa – Louder (VIP) – Subsoldiers

Skream – Woinky

Benny and Vincenzo – Burberry Boy

Chase and Status – Eastern Jam (VIP) – Ram

Rusko – Hammertime – Subsoldiers

Reso – If U Cant Beat Em (Rusko VIP) – Civil Music

Rusko feat Virus Syndicate – Dirtydirty

Dz – Down – Black Acre

Zero G – Ranzom

Leon – Bring It On (Rusko mix) – Island

Skream – Fastlane – Tempa

Rusko – Do U Wanna Have A Party

Giant – Rocker

Kidsister – Pronails (Rusko mix) – Atlantic

Bun vs Ill Bill – Choppa

Kid Sister – Switchboard – Atlantic

Benny Page – Liar Liar

Rusko – Moaners – Subsoldiers

Rusko – Cockney Thug (Buraka Som Sistema mix) – Subsoldiers

Marcus Visionary – Flying Dubs

Benga – Night (Buraka Som Sistema mix)

Rusko – Mr Chips – Subsoldiers

Rusko and Clipz – Rats In The Kitchen

Rusko and Clipz – Rats In The Kitchen (Clipz mix)

Pendulum – Showdown (Clipz mix) – Warner

Clipz – Offline (VIP)

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Today DJing isn’t just spinning records and playing tracks; it has become an interactive music performance in the sense that DJs perform other peoples’ music. Whether the artist is spinning using tables, with or without Serato, or with a sequencer like Ableton, DJing is no longer just letting the record play. The Panic Mechanics utilize intricate adjustments in pitch, as well as effects and sampling to mix and blend different songs into one cohesive unit. The mixing in Daft Punk’s live tour was accomplished through many controllers and Ableton’s sequencing software. Other artists who use Ableton include Armen Van Burren, Diplo, and Greg Gillis (Girl Talk) uses a similar application called audiomulch.

Recently I was looking for more information on Ableton to figure out exactly how I felt about the controversial software. To me it is just another avenue DJs can use to express themselves. Whether people want to argue over its authenticity is irrelevant. This video posted by Youtube member Realtablist shows some of the awesome capabilities of this program prompted this post. This artist has had plenty of experience as a battle DJ and hails from Belgium and has more recently mastered the use of Ableton Live. With various controllers and two tables this artist is able to craft his own song sampling and sequencing on the fly. Overall this an awesome example of how someone can sample tracks to create something all their own in Ableton.

The problem people have with Ableton, and to a lesser extent Serato, is that the art of beat matching is being lost on some younger DJs. Turtablists view the art of beat matching as a basic skill that any DJ should posess, and I most certainly agree. However, I have to say that DJs with strong fundementals are able to exploit this techonology to its fullest potential as this new avenue seems have few limitations on its horrizon. While some may argue that using Ableton or comparable sequencers is not the same as playing live, you cannot deny the fact that these artists, whether they use two decks or Ableton, are doing more than just letting the record play – they are playing the record their own way. We would love to hear some feedback from our readers on the subject of Ableton, DJing, and whether either of these constitute Live Music!

Yours Sincerely,

StSH

P.S For More information on Ableton Live:

http://emusician.com/sequencers/ableton_live7/

http://www.ableton.com/pages/artists/list

http://www.hipsterrunoff.com/2008/05/the-great-ableton-debate.html

and a couple of related videos and tracks for your viewing/listening pleasure!

Daft Punk - Face to face vs Harder Better Faster Stronger vs Short Circuit(Live).mp3
Dead Prez - Hip Hop (Diplo Remix).mp3
Armin Van Buuren - Live at Cream 15th Birthday in Liverpool (Radio 1).mp3

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