ANNIE MAC PRESENTS 2013

Having been a big-ass fan of Annie Mac Presents 2012, I thought this would be worth sharing. The album is out in just under a month, and features renowned DJ and BBC Radio 1 host Annie Mac's typically vast array of musical tastes. Disc 1 is for the club: featuring such huge tunes as 'Jack' by Breach and Chase & Status' 'Lost & Not Found', it's sure to get feet tapping and heads bobbing. Disc 2 is much more introvert, with the likes of Tensnake, Sampha, and Cyril Hahn. Based on the minimix provided, and the ridiculously good quality of AMP 2012, I think we can predict good things from 2013's offering from one of the world's biggest female DJs. When I've got the money, Imma be all over this.

PHOENIX - TRYING TO BE COOL - REMIXES

So, over the past few months, I've come across various remixes of French indie rockers Phoenix's 'Trying To Be Cool.' The original track is a true summer record, with the layered guitars, rolling rhythms, and Thomas Mars' vocals all interplaying brilliantly. But these 4 versions take the track in various directions. All are avialable for free download, just look at the soundcloud widgets below.

GRUM:
As expected of the retro master, the song is given a club-orientated 80's refit. The track features some great synth sounds, and some strong build-ups. However, when the track 'drops' so to speak, I can't help but feel a bit disappointed. There is such huge preparation in the build-ups, but then every time, the drums and bass come in feeling a bit mediocre. Personally, I feel the drums are too sparse, and the bass notes too long - it doesn't feel either hypnotic or intense, instead somewhere between the two that leaves me a bit wanting. But y'know, this is just opinion.

BREAKBOT:
Nothing revolutionary here, but that's no criticism - this is the sort of excellent disco rework we've grown to love. All of the slap bass, syncopated guitar and synth samples are spot on, and the snappy drums compliment it all perfectly. This is by far the funkiest remix. But nothing overwhelming to me, just something fun and funky.

RAC:
So, once again André Allen Anjos has added his touch. This is much like many other RAC remixes out there, but much like Breakbot's attempt, there's nowt wrong with that. This, along with Breakbot's, is probably most true to the original's summery vibe. Smooth, easy, and SUPERBLY produced, it's been one of my songs of the summer.

A-TRAK:
Having only just reviewed his EP, this is something a little different. This moves away from the club-dance orientated sounds of the 'Tuna Melt' EP, instead using some very warm vintage chords and a rather French-inspired vibe. The bassline is thick, the drums punchy, and the staccato synth is perfect. This is the perfect dance remix, avoiding the cliché sounds of the post-Swedish House Mafia era. And in turn, I think that makes this my favourite remix. A-Trak's done it again.

A-TRAK - TUNA MELT EP

LISTEN TO THE FULL EP HERE

Again, a little behind the times... 3 quarters of a whole year. But oh well, I went on an iTunes spree and came across this.

A-Trak is a force to be reckoned with, having worked with everyone who's anyone. His remixes are outstanding, and his work with Armand Van Helden resulted in the insanely popular (and slightly irritating) 'Barbara Streisand'. This EP gives us a true sense of the broadness of his tastes. The EP's title track, produced alongside mainroom house producer Tommy Trash, centres around a well-made staccato bass line, with typical huge chord breaks complete with disco toms and pitch-bent vocal stabs. However the tune is made by one of A-Trak's signature build-ups, with intense snare rolls and filtering before returning to the same chugging bass. Following this is a collaboration with urban dance music up-and-comer Grandtheft, 'Landline', a smooth trap-influenced track that really throbs and swaggers. But its not at all menacing, like trap can inherently be. There's something quite... "Miami" about it, cruising along palm-lined boulevards and all that shizz. And it includes a crazy little sound, something like an auto-tuned Woody the Woodpecker. Third is 'Jumbo,' featuring Galantis. This track initially seems a little boring, but giving it time, it becomes quite the interesting little piece. It's reminiscent of Boys Noize, with its acid and rave undertones, but with A-Trak's typical polished production style. And closing the release is one of the best tracks - 'Disco Nap' featuring LA boys Oliver. This track is one of those collaborations that really shows the best of both parties. It features a great disco-inspired chord progression complete with soaring lead, and vocal chops that are funky as fuck. Then this is thrown together with A-Trak's chunky basses, creating that typically dancefloor-friendly sound that seems oh-so-common following Madeon's rise to fame. But whilst it might not be ultra fresh, its damn good fun.

The EP as a whole though is something quite special. Rarely in 4 tracks do you hear such a variety - its not often you can apply the words 'trap' and 'disco' to the same release. And its all as well crafted as youd expect. This stuff, on a dancefloor? It'll go off.

JUSTICE - ACCESS ALL ARENAS

So, I might be somewhat behind the times with this. But I've just purchased it, so whatever. "Access All Arenas" is the latest album from one of my all-time favourite duos, Justice, and it follows much in the footsteps of their 2008 live album "A Cross the Universe." The main difference between the two is obvious: AAA follows the release of the french pair's second studio album "Audio Video Disco," from which certain tracks have been taken and mixed into stalwarts like 'D.A.N.C.E.', 'Phantom,' and 'Waters of Nazareth.' The effect is noticable, for whilst their initial live sets were very electro driven, here there is a far clearer rock edge. What's more, not only have they roughened up their classics, but theyve also added some grit to their new works, with 'Canon' and 'Audio Video Disco' being especially impressive. Whilst the similarities between rock and modern dance music have been seen many many times, never before has classic 70s rock, disco, and distorted electro sounded so very good together. And as a side note, the album's presentation is pretty damn cool, sexily boxed in a solid white case with a matte finish and golden lettering.

There are certainly certain downsides, though (I may be a bit of a superfan but I'll admit where it's not so strong). Firstly, the album does nothing new. It is simply "A Cross the Universe 2.0", so to speak. Also, there is an inherent potential issue with a live album - the crowd noise. Now for some, such as myself, it simply adds to the ambiance. But others do find it incredibly irritating. So just a warning. And the main issue is for anyone expecting a follow up to their first live album, there is NO documentary this time. Nowt. This is no real shame, but it has to be said... it would've been nice. And £10 for a CD that's been out for a few months and doesn't actually contain any 'new' material is a little steep if you ask me. But hey, maybe that's just HMV for you.

So really, this is nothing phenomenal. It's just more of what we love, and it definitely proves that 'Audio Video Disco' has some damn fine material on it. Now I've just gotta try and catch these guys live...