Kris Menace & Miss Kittin’s ‘Hide’ video

This week German Electro Disco don  Kris Menace released an album of collaborations, Features, that included a track with ElectroClash icon Miss Kittin. Hide is a hypnotic slice of AcidPop brilliance that has just been released in video form.

Check out the clip, directed by Mathieu Bétard for some really stunning animated visuals.

Kris Menace’s Featuresis out now.

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Russ Chimes reMixes Bastille


The sounds of London based ElelectroPopper Bastille are making some serious waves, majestic and dramatic, yet pretty introspective they are the perfect fit for this post-TEED world. However, things get really interesting when you add a little of  Russ Chimes in the mix.

Flaws is Bastille’s signature tune, and it’s about to get re-released complete with reMix package. Headlining this is Mr. Chimes with a full-on Chicago House created from that dense production styles that we love about him so much. Rather than frantically throwing out whatever track they can knock together, every week, like most producers seem to have been bullied into doing these days, Chime’s tracks are few and far between. But you can see why, each tune is a labour of love, and obviously something that he has taken an immense amount of time and care over. The production alone, with so much going on, yet everything having room to breathe, must have taken ages. Let along the composition itself, a hyper House workout with an infectious bassline hook and complex intertwining melodies. just the right snatches of Bastille’s vocal have been used to give the track an anthemic quality. this one will be packing dancefloors for months to come.

♫ Bastille – Flaws (Russ Chimes reMix)

Flaws is out soon.

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Good Night Keaton reMixes Saint Lou Lou

Saint Lou Lou

If you haven’t picked up the new single from Australian girl duo Saint Lou Lou, released this week in Kitsuné, you should. It’s been stuck in my head since last week, and that’s not a bad thing. If something is going to be on repeat in your mind, then this is a pretty good song to have stuck. If you need any more convincing check out the reMix from Good Night Keaton.

Good Night Keaton, is, you’ll know by now, Aaron Shanahan, drummer form the mighty Miami Horror. having just reMixed Gigamesh he’s going from strength to strength with his deep Disco tracks. With Maybe You Good Night Keaton brings his sweeping, all encompassing, Disco to the mix which seems  to completely lift the girls catchy vocal hook to a breezy Disco place. Tropical percussion and stabbing retro synths are all present and correct, but Shanahan production style owes a little to the Indie-Elector of Miami Horror, resulting in a fresh summery slice of euphoria.

♫ Saint Lou Lou – Maybe You (Good Night Keaton reMix)

Saint Lou Lou ‘s Maybe You is out now.

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An interview with Arnaud Rebotini/Black Strobe

Arnaud Rebotini

An imposing figure in electronic music, Arnaud Rebotini has seen it all. A legend amongst producers who has never been afraid to walk a different path, and the path Rebotini walks usually ends up being emulated by the masses a year or so later.  An analog experimentalist who has ploughed through EBM, Detroit Techno, Acid House, ElectroClash through to and French Electro and Disco leaving a trail of ground-breaking 12” in his wake.

Whether in his solo synthesizer noodlings or as part of ElectroClash come Electro-Rock pioneers Black Strobe, Rebotini continues to push boundaries and inform, rather then follow, current dance music, and even Indie,  trends. He’s latest output being a return to Black Strobe for an ungodly Electro/Swamp Rock hybrid that is as grimy as it is funky.

Amidst all this pioneering and ground-breaking, Arnaud took some time to chat with us about just where the madness comes from.

ER: So, I think you came onto our radar back in 1998/99 with Black Strobe and since then played around with electronic music styles both as Black Strobe and with solo releases. But we get the feeling there’s a lot more going on in your past. Can you fill us in on your musical background, what influenced you to start writing music, and what your musical journey to the point we are at now was?

AR: I starting music in Noisy band influence by band like The Jesus And Mary Chain, My Bloody Valentine and Sonic Youth, after that I was singer in Death Metal band, in the same I’m starting electronic music, I released my first 12” around 1995 it’s pretty Experimental Techno. I was influence by early Warp Records and Detroit Techno. I always listen some very different kind of music, was I was teenager my favorite records was Herbie Hancock Head hunter, New Order’s Power, Corruption And Lies, and Muddy Waters: fathers and sons. I don’t thinks that’s changed that much.

ER: From the electronic side of things, as well as the obvious House influences, we hear a lot of old school EBM in your music. What electronic styles have influenced you over the years?

AR: I like all good electronic music, from early Electro Funk stuff, to old school EBM, Detroit Techno Chicago House and Krautrock have a great influence on me. And form Techno a mix between ambient Krautrock band like Cluster or Tangerine Dream and Disco.

ER: And the, of course, there’s the Southern Blues. Especially with the new releases there is a big Swamp Rock vibe going on. There’s a kind of darkness, a kind of seedy sexuality and a kind of lost souls feeling, that this kind atmosphere. When did you decide you wanted to try to combine that with electronic music, was it something you always had in mind?

AR: This sound come may because now I listen a lot of Nu disco stuff and southern rock and blues. At I think it’s really cool to mix it with disco. Like Johnny ‘Guitar’ Watson have done in certain way. And the biggest success of Black Strobe are Italian Fireflies and I’m a man, so tried to mix its all in a on one and unique style.

♫ Black Strobe – Italian Fireflies

ER: When do you tell if a track is going to be a Rebotini track or a Black Strobe track?

AR: Rebotini is pure electronic music, and a solo project in studio and on stage. Black Strobe is a band and not only electronic music, you have drums, guitars, vocals.

ER: And your style switches from Bluesy to more electronic and back again. Does that happen organically, naturally, or do you set out to make a particular type of record?

AR: I think it came naturally it’s base on classical chords and melody, everybody all ready know it, and it was funny to me have no classical bluesy production, to make some kind of electronic Blues.

♫ Arnaud Rebotini – Few More Minutes Of Love

ER: So what’s the Black Strobe studio? Do you have a favourite bit of studio kit? Any favourite synths?

AR: I have a nice studio with a lot of hardware stuff, a lot synth, and effects. May be my favorite is one of my first synth, not the most rare, but probably the most versatile, and easy to carry for the live, it’s the Roland SH 101.

ER: If money was no object, what piece of studio gear would be your dream to own?

AR: Probably a Buchla 200 series.

ER: Your music particularly, in the electronic arena, lends itself well to a live situation. What’s your preference, live or studio?

AR: I like both. Studio is the composition and production time, you feel alone with the music. Live it’s the opposite it’s the execution time, and you feel close to the ground

♫ Black Strobe – White Gospel Blues (Extended Version)

ER: Speaking of playing live. Any crazy rock ‘n’ roll stories from your tour adventures?

AR: Playing live spending time on the road, waiting for the soundcheck, waiting for to play, waiting for the next gig. And for the rest what happened on tour stays on tour.

ER: Any nightmare shows? What’s the worst?

AR: I always forget my nightmares.

♫ Arnaud Rebotini – My Life In House Music

ER: What’s your breakfast preference? Cereal or a proper continental breakfast? Would your answer change the day after a show?

AR: My favorite Breakfast is the Proper English Breakfast! After a show I need bean eggs sausage and mushroom !

♫ Black Strobe – Boogie In Zero Gravity (Extended Version)

Black Strobe’s Boogie In Zero Gravity EP is out now.

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Visitor’s ‘RNB’


After literally months and months of waiting we finally have our first taste of the forthcoming album from London based ElectroPop duo Visitor. Visitor first crashed onto the scene in 2010 with the stunning Los Feeling single and since then we have been eagerly awaiting more, but apart from a handful of reMixes and some energetic live shows we have been left wanting. News of their album surfaces occasionally but with the recently announced new double A-side single Coming Home/RNB we have some concrete new tunes.

RNB is our first full listen to what the new material holds, and it was well worth the wait. A blissful slice of ElectroPop with an epic, cinematic quality. Produced by one of the best in the game, Diamond Cut, Visitor’s unofficial third member, RNB sweeps you along with Lucas and Kyle’s dreamlike washes of undulating synths and shimmering leads and a soaring, impassioned vocal. reMixes on the single comes from Lifelike, Viceroy, FM Attack, Bestrack, SymbolOne, Vanguard, Easy D and more. We’re so glad Visitor are back in the game! Pull your finger out Vulture Music, release that album!

♫ Visitor – RNB

Visitor’s Coming Home/RNB is released soon.

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Some words from Digitalism


German Electro duo Jens Moelle and İsmail Tüfekçi are pretty legendary. As Digitalism they lead the vanguard of mid-2000’s Electro resurgence, riding the high point of, and contributing to, Kitsuné’s cool and generally paving the way for modern Electro-House and Indie/Electro crossover. With raucous songs and an energetic live show, Digitalism showed the world that electronic music could rock…hard. Seven years and two studio albums later, Digitalism have consistently proved they are not only masters of rocking a crowd with high-octane Electro, but also deft songwriters, effortlessly mixing Indie and Electro amongst melding pot of styles that encompasses Disco, ElectroClash, Punk and Techno. Big beats and great songs, what more could you ask for?

Recently the duo were asked by Studio !K7 to curate and mix the latest in the long, prestigious line of DJ-KICKS albums. Released next month Digitalism’s DJ-KICKS through some of the best, punchiest, Electro around with the two Germans both paying respect to their career since 2004 and dropping some brand new exclusive tracks of their own. The likes of Vitalic, TWR72, WhoMadeWho and The Rapture rub shoulders with fresh tunes and reMixes from Digitalism in possible the best DJ-KICKS album for a while.

Jens and İsmail were kind enough to take some time out of their busy promotion schedule to put up with our waffle and fill you guys in on some of the inner workings of an Electro legend.

ER. Interviews tend to start by asking about influences, but in this case we’re really interested to know what your influences and music backgrounds are. Digitalism has always been such a melting pot of sounds, from Electro and ElectroClash, to Punk and Indie, to House and Techno. Where does that all come from?

D. It probably all started with growing up with 1980s computer games. They had amazing 8-bit soundtracks, and they were sometimes all about diving into weird different worlds made of bits and bytes. There were amazing compositions, and they sounded a bit new wave and punk sometimes. We love soundtracks in general, also the classical ones from John Williams, Vangelis and Ennio Morricone. Some people said we sound quite ‘Nordic’, pretty atmospheric and melodic like Röyksopp and Björk for example. Maybe true – we live close to Skandinavia in Germany. In the 1990s we started listening to Dance Music, especially House, and got hooked up by a weekly radio show that played the top ten tunes, vinyl, 10-minute versions. It was the first insight into nightlife and a totally different formula of music. We then met twelve years ago in a record store and started DJing House. After a while we got bored of the regular new releases, everything sounded the same. That’s when we started going more leftfield and alternative in our sets, like with Disco Punk, ElectroClash and Breaks. It was more fun. Of course we also had our years listening to early U2 and even Trance (in Germany, unavoidable in the 90s), and we share a love for Hip-Hop. We absorbed a lot of music and made it into a very broad dough if you want. We don’t like concentrating on just one genre too much, we get bored too easily. But what combines all of our music is that it’s electronic, it’s riff-heavy and it’s cinematic. And cheeky.

ER. And so how do you see yourselves? I would say most people we know who are fans of Digitalism are Electro fans, but some the time you are straight up Indie. Where would you say you fit and do you see yourselves bringing, say Indie to Electro fans, or Electro to Indie fans?

D. We reside within the two poles of Techno and Indie music. Ever since we started making music, we did it in a DIY way. So even when we make something that’s more techno, it might have that garage band attitude shining through. We didn’t care much about flawless production, that’s why our music sounds pretty raw in general. At the end, we’re electronic artists, because we don’t have a band background and we don’t play guitars and all that. We use those sounds, and we have those instruments lying around in the studio, but at the end we work with electronic gear, and we come from a Dance Music background, so even our more songy tracks are still danceable.

Our home base was always the electronic scene, so you could probably say we’re bringing Indie to them. But then again – we’ve played so many festivals with band line-ups programmed around us, that we sometimes also gave an insight into Electro to those live-band audiences. It’s great to have them all aboard.

♫ Digitalism – Simply Dead

ER. So what’s the story with you two coming together? Did you decide to make music with a bit of everything you liked because no-one else was?

D. We met in a record store in Hamburg twelve years ago. Jence was working there in the afternoons after school, and Isi came round as a frequent customer. It was a place to hang out like in ‘Hi-Fidelity’, and they were specialized on House and Techno vinyl, so it was more for DJs only. We spent a lot of time there, practicing mixing on the turntables and browsing vinyls. We were just old enough to go to clubs, and we started DJing. The owner of the store did parties every now and then, and he put us on the bill together. Since then we’ve played together every time. Having spent so much time in the store, we started to get bored of the releases that would come in every week. They all sounded the same, and we didn’t want to play stuff that 99% of the others would be playing. So we started making our own edits at home to have something unique, and later on when we had more gear, like a keyboard and stuff, we made our own first tracks. We felt like there wasn’t really the type of music that we’d love to play, so we had to make it ourselves – a mix between techno, punk and electro. Back then, we were the only ones in our home town. That’s why we played mostly abroad at the beginning. Now it’s thriving with lots of young and really talented producers.

ER. ‘Idealism’, and the singles that came before it, were some of of the biggest records that were part of the 2005-2007 resurgence of Electro, how much was that a pressure when recording ‘I Love You, Dude’? You must have felt like all eyes were on you.

D. It wasn’t too bad to be honest. We had a couple of years of touring-only after the release of our first album, and we got more experienced in playing live, and collected lots of impressions from travels and being on the road. All that went into the second album. We knew we didn’t want to repeat ourselves, that was clear for us. Everything else was basically freestyle. Like with the first album, we started making quick ideas, tested them in DJ-sets and then had some favorites that we later on turned into full songs and tracks. We loved them, so we just stuck to them. This time we wanted to get deeper into songwriting for a change, so lots of the track on ‘I Love You, Dude’ are shorter and more structured, and have vocals on them. It was just something we felt like doing when we made the album.

At the end, we had something that was obviously different to the first album, but also was pure Digitalism, and we loved the finished songs, so we just released it. You know, as long as you love what you are doing there, you’re good. If you have doubts then you should reconsider. We weren’t doubting, because we make music out of passion in the first place, not to please people. But of course, you never really know how to handle that follow-up record. You establish a certain profile with the first LP and then you can only extend the spectrum with the second one. We felt like that was the case, so all good.  Now that we’re through the notorious ‘album 2’, we feel free to do anything. Looks like exciting times are ahead!

ER. So now you’ve been asked by Studio !K7 to put together their latest DJ-KICKS album. That’s quite an line-up to follow, how did you go about compiling your playlist?

D. For us it was very clear that we wanted to present our sonic universe and history as DJs to the people. So we started by writing down all our favourite records, labels and producers from back then, and added more new music by those people or a few new favorites by upcoming artists and friends. We wanted to make sure that the list covers our whole musical spectrum, from techno via electro, house and disco to new wave and indie music, and that people know us better after they’ve had a chance to listen to the mix. At the end we added a lot of new tracks that we’ve been working on, and we had a perfect compilation. It’s like when we started making music for our DJ-sets. Now it’s a DJ-mix with ups and downs, waves, time to breathe and harder bits, and again we’ve added new music. It’s like going back to the roots, but at the same time it’s a next step for us.

ER. And the new Digitalism tracks on there, would you say they were leftovers from ‘I Love You Dude’ era Digitalism or a peek at Digitalism’s next era, what the future holds?

D. Who knows? A lot of the new tracks were made earlier this year, without a plan. We then got asked to do a DJ-kicks in the middle of that process, so we just went: ‘Yeah let’s put all this stuff on it to make it even bigger!’. Two tracks are a bit older (‘The Pictures’ and ‘Simply Dead’), the rest are all new, and the remix for The Rapture was made exclusively a few days before the deadline for the DJ-kicks. We were just jamming around in the studio, so we don’t know what’ll come out of it next when we’re back there.

Digitalism – A New Drug

ER. Having reMixed the likes of Depeche Mode (and Dave Gahn) and The Cure, would you say you had a fondness for old SynthPop and New Wave? Sometimes, in some of your arrangements, we get the feeling that might be influences coming from there. I always hear a lot of New Order in your more Indie-Electro songs.

D. That’s correct, we like the mix of live bass, edginess, amateurism and synthesizer sounds ever since the 80s video games that we’ve mentioned earlier. A lot of New Wave and Post Punk music had that kind of vibe – it was a bit colder and darker, they used the first drum machines and sequencers, and they had warm basslines with icy synths. Something really appealing. People should check out that era (end ‘70’s ‘till mid ‘80’s).

ER. Your reMixes tend to be pretty different to the original. what’s your process when deconstructing and reconstructing a track you’ve been asked to remix.

D. We approach a remix usually the same way we deal with our own original material: We make a Digitalism track out of it. That’s the same with our music: We have one idea and remix it about 20 times.

ER. So what’s in Digitalism’s studio? Do you have a favourite bit of kit?

D. The heart of it, since we started, is a computer. We have a huge analogue mixing desk that’s wired up with all sorts of hardware synths, new and old ones. We have a guitar there, even though we’re really bad in playing it, but we compensate that with the use of samplers and other tricks. From day one we always found our own ways of production and of making things happen and getting the results we wanted. Back then we didn’t have any money so our first computer was so slow that we were forced to get creative when it came to multiple tracks and all that. That’s when we started sampling ourselves a lot.

We love our Korg Electribes (we even had them on stage until last year, our studio is full of them) and old Teisco synths, and we have an EMS Synthi A. That’s a super rare one from the 70s. Its ‘brother’ synth the Putney was used by Brian Eno all the time. You can patch anything through it and it has nice real spring reverb..

ER. If money was no object, what piece of studio gear would be your dream to own?

D. Some massive modular synth probably. And The best high-class valve hardware compressors. Couldn’t afford them so far.

ER. How’s the Hamburg music scene, when I think of Germany my mind goes straight to Berlin, Sell Hamburg to me?

D. Hamburg’s been big for House music in the 90s, with people like Boris Dlugosch (who used to produce with Moloko f.i.) and Knee Deep (big in the Miami scene back then). Our record store boss even is good friends with Masters At Work, Dimitri From Paris, Roger Sanchez and all those people. There was a legendary club called ‘Front’ that gave birth to underground and acid House in Germany back then.

You’re right, people first think of Berlin when they hear the word Germany, but now Hamburg has a big electronic scene doing its own thing and making some really good music. Tensnake, Solomun and Stimming for instance are all from Hamburg. There’s a lot of stuff happening – and it’s much more beautiful than Berlin, like a huge park with lots of canals.

Oh, and Hamburg is famous for its redlight district, the Reeperbahn. Nearly everyone’s heard of it. It was the place where The Beatles started, and it’s got so many venues, clubs and bars that many close after a few months due to competition, then re-open and so on… It’s a very dynamic and interesting place.

ER. So you’ve played around a few places. Any crazy rock ‘n’ roll stories from your adventures?

D. Of course, but we don’t even want to get started with that – it’s like opening Pandora’s box. There’s no artist that’s been touring for a while without any crazy stories.

ER. What would be your preference, to perform as a DJ team or as a musical outfit?

D. We like to switch back and forth between playing live and DJing. Since last summer we’ve played about 120 live shows, and at the moment we’re on a DJ-tour through the States. It’s good to have that for a change every now and then, so we can test out new ideas and drop some favourites in the sets. When we play live, we it’s more physical and we can get rid of lots of energy on the other hand. We use a lot of sweat usually, performing.

♫ Digitalism – 2 Hearts

ER. What’s coming up for Digitalism after DJ KICKS is out?

D. There’s be music releases around the DJ-Kicks of course, and we’ll be touring more, as DJs and live. Everything else is under wraps – we like to surprise.

ER. Is Digitalism a Cereal or a Full Continental Breakfast kinda’ band? Would your answer change the day after a show?

D. We love cereal but the next day after a show is always good with bacon and eggs. We’re not big fans of continental breakfast.

So, there you have it.

Many thanks to Jens and İsmail for taking the time to share their thoughts with our readers.

Digitalism’s ‘DJ-KICKS’ record is out 10th July. You can pre-order the record here.

Buy Digitalism’s music from:

Futurecop! new compilation album and launch party

Basic RGB

On 5th June Kiez Beats and Futurecop! will be releasing ‘We Are The Future’, an 18 track compilation album featuring the best in contemporary SynthWave and Dreamwave around. Featuring the likes of datA, Lifelike, Phonat, Anoraak, Fear Of Tigers, Mille, StardonE, Worship and Follow Me alongside Futurecop! themselves. Check the MiniMix for a taste of what to expect and feast your eyes on that stellar tracklisting.

Futurecop! – We Are The Future MiniMix

The tracklist:

01. Lazerhawk – Shoulder Of Orion
02. Car Clova – Farletched
03. StardonE – Lovedays
04. Mille – Afterski
05. Worship – Horizon
06. Lifelike (Feat. Namebrand And Yota) – Love Emulator
07. Follow Me – A Mission Noctural
08. datA – Electric Fever
09. Anoraak – Above Your Head
10. Fear Of Tigers – Hidup
11. Robots With Rayguns – Fever
12. Phonat – The Microwave FX
13. Power Glove – Night Force
14. Maethelvin – Delight
15. Futurecop! – Forever: Dreams (beaumont reMix)
16. Young Digerati – The Dauphin (Ride The Universe reMix)
17. Futurecop! – Far Away (Leisure Council reMix)
18. NeonFlashDrive – Previously On X-Men

Just before the album drops, on 26th May, the guys are putting together a launch party at The Nest in Dalston, London. It look like it;s going to be a one-of-a-kind night featuring Futurecop!, The C90s, Edwin Van Cleef, Fear Of Tigers and I’ll be there too spinning some tunes. Details here.

we are the future flyer - A4 with 3mm bleed @ 200dpi (1)

It’s going to be a pretty unmissable night! Stay tuned for more information, and tracklist, about the album.

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Lovelock’s ‘Burning Feeling’


From the opening notes of the heavy synth bassline of the title track of ‘Burning Feeling’, the début album from Lovelock, you know something synthetically special is happening. Lovelock is one of the many monikers of Synth legend Steve Moore. I say ‘legend’ because the man has a prolific and consistently amazing out put. Whether it’s as in Zombi or Miracle or as Gianna Rossi or just himself you know that with the Moore stamp on it, you’re in for some amazing, emotional synth work.

His latest release, Lovelock’s ‘Burning Feeling’ is in part a collection of his work under this pseudonym to date, some of the tracks, including the title, date back a couple of years and will be familiar to most fans of synth music, whist some are brand new, and the two sit side by side effortlessly. maybe du in part to Moore’s retro influences, maybe just due to the sheer quality of the songs, nothing on the album sound dated (or at least, not dated in the bad sense of the word). The album is loaded with futuristic Sci-Fi soundscapes and Cosmic Disco grooves, robotic Italo basslines and heartfelt Funk. ‘Burning Feeling’ itself is one of the most powerful SynthPop tracks you’ll hear in a while. Punchy EBM basslines and jackhammer drums mix with epic power ballad vocals to create a weird, but utterly amazing Industrial/Pop crossover. Elsewhere on the album Lovelock presents a more boogie laden Moroder-esque analog Disco vibe with track like ‘New Age Christ’ .Maybe Tonight’ and ‘The Fog’, albeit with his trademark warbling synth solos along for the ride. Mainly, though, ‘Burning Feeling’ is like the best collection of ‘80’s TV themes that never existed. ‘Deco District’ channels a more New York Disco version of Jan Hammer, as does ‘Love Reaction’ which ups the ante with some sweet female vocals. And in the middle of all this future funk and soundtrack majesty sits ‘South beach Sunrise’, a chilled out respite from the energy of the rest of the record, complete with a beautiful sax solo. ‘Burning Feeling’ truly is a masterpiece, an amazingly good album that impresses right from the moment you put it on. An electronic music fan’s record collection is just not complete without this album.

♫ Lovelock – Don’t Turn Away (From My Love)

♫ Lovelock – Love Reaction

♫ Lovelock – Maybe Tonight

♫ Lovelock – South Beach Sunrise

Lovelock’s ‘Burning Feeling’ is released 26th April on Prins Thomas’s Internasjonal imprint.

Buy Lovelock’s music from:


Black Strobe’s ‘Italian Fireflies’ is back, with a Reflex reMix


Black Strobe’s ‘Italian Fireflies’ is a bit of a modern classic. Released in 2033 in Kitsuné it had a riff that stuck in everyone’s head and the opening bars of the track, when the riff kicked in, would destroy dancefloors. Now Blackstrobe Records are re-releasing the track with a whole package of awesome reMixes featuring some serious talent bring the track into 2012.

Amongst that talent you’ll find one of our current faves, French SynthPop duo Reflex, who pull the track from it’s dark post-Electroclash resting place into the sunlight with a huge ElectroPop workout. Turning that evil, edgy riff into soaring retro lead line with some choice chords underneath full to give it more of a rousing kick, Reflex have done the impossible and turned the track into something bright and uplifting., which makes a really nice contrast to the growling, moody original. Both takes on the tune are ace and it;s nice to have the choice. The rest of the EP features reMixes from Munk, Yan Wagner, Second Date, Richy Ahmed & Corey Baker, Hey Today! and Mr. Arnaud Rebotini himself. that’s a hell of a reMix package and one we await excitedly.

Black Strobe – Italian Fireflies (Reflex reMix)

♫ Black Strobe – Italian Fireflies

The ‘Italian Fireflies’ reMix package is released 7th March in Blackstrobe Records.

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Dusty Digital reMixes R3set


Dusty Digital is a Boston based producer who you may remember from his entry in the Fear Of Tigers ‘Pippy Longsrump’ reMix competition. He’s not turned his attention to the title track from R3set’s ‘Runaway’ EP.

Dusty is developing a really interesting sound. On first listen he seems to be on Nu-Disco or Dreamwave tip, but there’s a lot more going on under the hood. In this reMix there are strong elements of both ‘80’s Pop and early ‘90’s House, in the melodies and basslines respectively, which makes for something a bit fresh sounding to compliment R3sets ethereal ElectroPop track. Dusty Digital has evoked a new atmosphere for the track, one of distance befitting the subject matter.

R3set – Runaway (Dusty Digital reMix)

R3set’s ‘Runaway’ EP is out now.

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