Cut Copy have premiered the video for their new single ‘Need You Now’.
The track is one of the better tunes on their recent album. A very 80’s, almost OMD, sound is prevalent throughout. If they had lead their PR come-back campaign with this song I would have been more excited.
The video was directed by Keith Schofield.
‘Need You Now’ is taken from Cut Copy’s third album ‘Zonoscope’, out on Modular Recordings.
Moby has just announced the title of his forthcoming new album, to be called ‘Destroyed’, and to get things going is giving away a three track EP totally free.
Moby can be a bit hit and miss for me, but I’m actually pretty taken with the title track. ‘Be The One’ is vocoder heavy drone Indie-ElectroPop. Whether I find any particular era Moby to my taste or not I can’t deny his genius, in this track synths and guitars work together in perfectly produced harmony. There’s a hint of Ladytron about it too.
You can get the whole ‘Be The One’ EP, in exchange for an email address, here.
It’s Binary Week here on Electronic Rumors and to celebrate, the latest Pop-Fu instalment is dedicated to the artists who call Binary Entertainment their home. Expect the best in ElectroPop, Nu-Disco and Dreamwave. As ever it’s a snug 45 minutes, one side of a C-90!
01 Keenhouse – The Rendez-vous
02 NightWaves – Even Money (Fabian reMix)
03 Dragonette – Easy (Fabian reMix)
04 LexiconDon – Student Body (Bit Funk reMix)
05 Fare Soldi – Survivor (Keenhouse reMix)
06 Empire Of The Sun – We Are The People (NightWaves reMix)
07 Short Circuit (Feat. LexiconDon) – Nothing’s On The TV
08 College – I Think About It (Keenhouse reMix)
09 Fabian – 2am
10 NightWaves – Fascination (Keenhouse reMix)
11 NightWaves – Sweet Carrie (LexiconDon reMix)
12 Keenhouse – Ari-es (Grum reMix)
13 Futurecop! (Feat. Keenhouse) – Dreams (Ride The Universe reMix)
14 LexiconDon – Heart Attack (Diamond Cut reMix)
15 Short Circuit – Let Go (Flashworx reMix)
16 Alfa – Turismo
17 The Kids Are Radioactive (Feat. LexiconDon) – Higher
As I mentioned in my post about Futurecop! & Keenhouse’s new single, ‘Dreams’, I think Keenhouse were the first Binary act I encountered.
His ‘Civic Transport’ EP in 2008 was many people’s introduction to what would evolve into Dreamwave, and showed off expertly the incredible talent that is Ken Rangkuty. It’s eight tracks of funky, melodic, beautifully written dance music that seems to perfectly encapsulate the Binary credo. It’s music squarely aimed at the dancefloor, yet still actual songs, and being over three years old it was pretty ahead of it’s time (well, as ahead of it’s time as a retro influences style can be) with it’s styles of keyboard playing still being emulated by Nu-Disco producers today.
Equal part retro and in-the-moment, Keenhouse’s music works just as well on a pair of headphones as it does rocking a crowd as it flows from cerebral SynthPop to body moving Disco. One of the most versatile DiscoPop producers around right now, it’s no surprise that Ken’s productions have been featured in movies and video games and has major label distribution.
I wonder if you search electronic rumors for ‘Deep In The Forest’, how many time I’ve mentioned how much I love that track in the last three years?
Ken was good enough to take some time to law down the Keenhouse law for us:
ER: First off, many thanks Ken for chatting with us.
K: Thanks!
ER: So, how and when did you start making music? Has it always been electronic?
K: Yeah, it as always been more or less electronically generated music, although I really enjoy playing all kinds of music. I started with piano when I was around ten or eleven and then got into production and midi when I was about fourteen. From there on I just liked to explore a lot of different styles. I guess it was more or less about the content of something than a label people would give to it. I do like playing improvised music and jazz but in the long-term I guess it’s the kind of music that’s in between styles. You can improvise electronically to a certain extend but then there are things only machines can do so there many possibilities how to use it musically.
ER: Who are your heroes or influences, both musical and otherwise? I always get the feeling I hear a little bit of Jean-Michel Jarre in your music.
K: Haha. Thanks. Yes, I like his music but it’s not really an influence. I like the earlier krautrock and fusion stuff more like Klaus Schulze, Tangerine Dream and that school. Chick Corea and Joe Zawinul as keyboard players . Quincy Jones, John Barry, Ryuichi Sakamoto, Jobim and his work with Klaus Ogerman, Jazzanova and 4Hero , Laurent Garnier are all-time favorites.
ER: And when did you get involved with the Binary posse?
K: That must have been right in the beginning when most of Binary came together in 2008. It was great that there were those other producers out there not just over in France but literally next door who all had that passion for electronic music. I mean there was always a pretty strong house and club scene around but it was more about looking at electronically influenced music as a format next to, you know, whatever else people would both dance and listen to and start to merge it again with song structures or take it other directions. That’s kind of an exciting time, when things are wide open. Then you either go top of the pops or push the limits of a style but really what’s more important, even though it might be a bit idealistically, is that you give something musically, which I think is what it’s about, you leave something behind.
ER: ‘Deep In The Forest’ is one of my favourite tracks on ‘Valerie And Friends’ (it even made our top 20 of 2009!), what’s the story behind it?
K: It’s kind of a long story that evolved over years. But in short it’s about Peter Pan being alive. Memories are dreams that we kind of collect over time to build little pieces of your world from it. It’s a little bit like a daydream. There are some of those good memories that can just repeatedly pop up at any given moment and I just wondered what is it with this feeling, I can’t really tell what it is. But it’s not as much about the content of a story than the color of it, So to me it’s that certain emotional color of feeling young that I wanted to put into something more tangible.
♫ Keenhouse – Deep In The Forest
ER: What’s in Keenhouse’s studio? Any ‘go to’ synths?
K: Yeah, actually I don’t really like to get tons of new equipment all the time unless I really know what’s underneath the hood of a piece I already got. I still really like my V-Synth for certain kinds of programming. Some of the Arturia stuff sounds really good and I like it for a lot of automated things. I mean the thing with the outboard synths is that if you do a lot of automation, I always thought setting up your outboard gear isn’t that intuitive in comparison as far as sending midi messages in different formats. One synth accepts one format, totally different wit the next one. I use some of the Dave Smith stuff and one of my favorites is the MKS-80 Super Jupiter and a Korky Little Fatman. It really can just do one thing it can do it so many different ways. As far as processing, I really love the sound of the mainly for compression on a lot of things and the SSL channelstrips.
ER: And what makes up your live rig?, How does playing live work for you?
K: It’s a mixture between stems, midi and other audio. I prepare a row of stems for the tracks and spread them out over several channels Some of them are triggered while other tracks send midi to my synths. I either play parts of the synths, sing or control the midi. It takes a lot of preparation since there are a lot of individual tracks playing simultaneously but in the end gives more flexibility if things need to be shuffled around. I try to leave myself enough room for improvisation but at the same time it’s good to know that if I play a line a certain way there won’t be a drummer to react to that so I somehow have to consider that too.
ER: If money was no object, what synth would love to own?
K: Either a Yamaha CS 80 and a ARP 2500 system. If some money is left I would probably get a separate room for those and lock the door behind me, haha.
ER: How do you think being part of Binary help musicians?
K: Well, Binary is kind of an all around thing. There are a bunch of artists who all come from a bit of a different background musically. Some are DJs, some are producers, instrumentalists, singers, so it’s a quite eclectic mix. Musically there is a more or less a cohesive sound to it but everyone is really doing their own thing. It’s a certain sound that brought some of the Binary artists together in the first place and and at the same time it’s that sound that some the Binary artists started building upon which helped to give the whole thing more of an identity. I guess that especially with anything dance music related, the whole party scene and also music that tries to cross over, it’s really helpful if there ‘s an outlet for the producers and musicians to try things out , try to stretch the boundaries. Most of the Binary artists get to play to essentially two different crowds, it’s not just 24 hour party people all the time but there are also those who want to hear songs. A little bit of everything.
♫ Shinichi Osawa – Zingaro (Keenhouse reMix)
ER: Does they Binary crew get up to rock ‘n’ roll shenanigans when they get together?
K: If you mean rock ‘n’ roll as in ‘That hotel room looked different when we got here yesterday’. Yes, there is a possibility when certain people get together.
ER: What does the near future hold for Keenhouse?
K: I’m mostly working on new material to go on the next album. Writing, recording different instrumentation besides the synths and programming. At the moment I’m actually revisiting some old tracks that are going to be put out under a different moniker this year and there are some new remixes to be released over the summer/fall. Then there is some production work for a pretty cool new act from Germany and some work for singers.
ER: Is Keenhouse more of a cereal or pile of pancakes for breakfast kinda’ act?
K: I do prefer cereal, pancakes are too heavy.
♫ Housse De Racket – Oh Yeah (Keenhouse reMix)
Keenhouse should have a new full length album coming out this year and may be touring outside the US.
Orchestral Manoeuvres In The Dark have premiered the video for their next single, the title track from their ‘history Of Modern’ album.
The video is the wining entry in a competition run by OMD on genero.tv, It was produced by Lapantafilm from Sweden.
OMD said "The sheer volume of work that has gone into this is incredible. So many different film animation styles. A very creative mixture of stop frame animation, modelling, drawing, film capture. A serious collection of OMD references… some of which are incredibly subtle, some not. The ideas are a varied and effective as the many different techniques. There were several really strong entries but this is the clear winner."
The single will be released soon on limited edition 10”, CD and digital.
Next week sees the release of awesome Aussie ElectroPop duo Bag Raiders’s self titles début album over here in the UK.
If you’ve already imported it you’ll know it’s a stunning body of work. Funky, powerful and consistently catchy, it’s 11 tracks of some of the best produced ElectroPop you’ll hear all year. It even made our top 20 albums of 2010!
Following the album will be the single release of ‘Sunlight’, including this reMix from Stopmakingme, who strips the track down to a solid groove to highlight the vocoding. Great stuff!
♫ Bag Raiders – Sunlight (Stopmakingme reMix)
‘Sunlight’ is taken from Bag Raider’s album, on Modular, which is getting a domestic release next Monday.
Wow, when two acts you love collaborate it’s always exciting, but sometimes they just go above and beyond your expectations.
I’ve been hammering Futurecop!’s first album ‘It’s Forever Kids’ since I imported it late last year (unfortunately it’s still not available outside of Japan yet), it’s truly one of the slickest and confident ElectroPop débuts I’ve heard in years. The production is crisp as hell and the uplifting 80’s inspired melodies and catchy riffs are pure infectious genius. Keenhouse, I think, was the first Binary act I encountered. Introduced to him through the Valerie collective, ‘Deep In The Forest’ was one of my favourite tracks on the ‘Valerie And Friends’ compilation and the whole of his ‘Civic Transit’ EP is a masterclass in melodic electronic Disco.
So, what happens when these to get together?
♫ Futurecop! (Feat. Keenhouse)- Dreams
That does!
Already, in my head, ‘Dreams’ is the soundtrack to summer 2011. The synth work is unmistakably Futurecop!, especially the intro, but with a more self assured sound. Couple that with Keenhouse’s verses full of longing and choruses full of hope and your have not only an anthem, a classic in the making, but also a track that seems to sum up completely what Dreamwave, what Binary, is all about. Musically a massive dancefloor tune that is also melodic and a proper song, a damn well written one at that and atmospherically aspirational with a hint of realism. Nostalgic for better times but with a down-to-earth approach.
Did I mention it’s funky as hell?
The reMix package is pretty mind-blowing too, featuring the cream of current producers! You can always rely on ODahl to drop some kicking Nu-Disco and here is no different as he wraps the song in soaring riffs and side-chaining while electronic rumors faves, the Ride The Universe crew take ‘Dreams’ to smooth new directions with a total feelgood Dreamwave track. Newcomer Show Your Shoe gets his first official reMix on this single, and really impresses with his début, a late night DiscoPop tune with a big nod to late 80’s R&B.
♫ Futurecop! (Feat. Keenhouse) – Dreams (ODahl reMix)
♫ Futurecop! (Feat. Keenhouse) – Dreams (Ride The Universe reMix)
♫ Futurecop! (Feat. Keenhouse) – Dreams (Show Your Shoe reMix)
‘Dreams’ is out today on Binary, go get it here, here, here or here, and stay tuned to electronic rumors for our profile and interview with Keenhouse, as part of our Binary week, tomorrow!
We will also be featuring an interview with Futurecop! next month as they prepare for the release of their ‘Starworshiper’ EP.
If you’ve been a regular reader of electronic rumors over the past year or so you’ll understand the difficulty I’m having finding something new to say about LexiconDon. Toward the end of last year they released their staggeringly good début album, ‘Pink + Blue’, and about that time we featured them on the site…a lot.
Also, LexiconDon were featured in all three of our Top 20s Of 2010! Albums, Songs and reMixes!
With the success they’ve had in recent months you could consider LexiconDon to be one of Binary’s flagship bands, and they are a band. Whist starting out as a project consisting of just Fabien Ordorica (he of Fabian fame) and energetic frontman Alex Koons, the act is now a four piece incorporating live guitar and bass, and in a scene dominated by DJs and hipsters hunched over Ableton controllers that’s something special.
It also gives the impression that LexiconDon sit at them slightly more rowdy end of the Binary spectrum. The music has a rawness, a live quality, to it. Injecting ElectroPop with the energy of post-punk and a narrative lyrical style that speaks of day-to-day lives and loves that we can all relate to. But LexiconDon are no one trick pony, their début record is one that flows from smooth DiscoPop to pumped up Electro-Punk before you realise it’s happening.
Alex gives us the lowdown on all things LexiconDon:
ER: How did you guys get together? Was is always to make electronic music?
AK: Fabian and I met at a studio in Hollywood appropriately named Hollywood Sound in 2007. I had actually been rapping since I was like 16 and Fabian was producing hip-hop tracks at the time. I don’t remember specifics but we ended up recording a song called “The Secrets Out” and the rest was history. We recorded a full length rap album, but about a year later wrote the song “Staying With My Girl” that would initially change our whole style.
ER: And how did you then get involved with the Binary posse?
AK: Josh and Kyle came to the first show that we played “Staying With My Girl” at. I honestly feel like they saw the potential of what could come if we continued to write songs with that same kind of feeling.
♫ LexiconDon – Boy Vs. Girl Pt.1
ER: Your sound seems to owe a lot of British SynthPop and Post-Punk artists, in that it feels more raw and live than your average SynthPop, is this where your influence lies?
AK: Personally, I draw a lot of influence in all genres. I love Celine Dion and Yanni songs, just as much as I love The Church and Psychedelic Furs.
ER: Who are your heroes and influences, both musical and otherwise?
AK: My dad is a big hero of mine, and I think a lot of the reason I am so into music. I have been a big Kanye fan since ‘College Drop Out.’ The Talking Heads, Third Eye Blind, and Atmosphere have played a pretty huge roll in the soundtrack for my life as well.
ER: Your songs seem deal with the everyday, lives and loves and losses, are you just making the soundtrack to your own lives?
AK: Yes.
ER: What’s in LexiconDon’s studio? What are your favourite bits of kit?
AK: Logic, armed with any plugin imaginable, a midi keyboard, an Mbox, an MXL condenser microphone, and a SM 57.
ER: And what makes up your live set up?
AK: Our live set up is like a rainbow with a pot of blow at the end of it. It’s made up of four guys having a lot of fun on stage, sometimes a little too much.
ER: How has the inclusion of live drums and guitar evolved the live sound? And will this be more and more influencing the studio sound?
AK: The drums bring the tracks to life. Fabian’s drums already are so important in his production and when played on a kit there is a certain breath that the live performance takes. Sam’s guitar and bass has added to the energy of the whole show and really makes a difference giving these tracks a totally different feel on stage. I think the studio sound will differently evolve like the live show has.
ER: If money was no object what synth would be your dream purchase?
AK: A Yamaha VSS30 I had one when I was a kid and wish I never sold that bad boy. Its not a synth but it would be really bad ass to have a real Roland 808 too.
ER: How does being part of Binary help you guys as musicians?
AK: You are always surrounded by such amazing musicians and people. In no way is it a competition, but hearing the new stuff everyone is working on all the time just make us want to work harder. It’s like pushing each other to reach our maximum potential. It’s a pretty amazing thing to be a part of.
ER: I’d be remiss if I didn’t ask you about, the Student Body video, or how you felt about the reaction to it. Opinion seemed to wildly differ between those who (like us) though it was a harmless, and quite funny, bit of fun satire and those who (and I quote) “couldn’t watch it to the end”. Personally I felt that if the video made someone feel uncomfortable then that said more about the viewer than the video. What did you think?
AK: All I know is that making that video was one of the funniest things we have ever down. It was amazing working with everyone and the video turned out perfectly. I guess we had a different point of view because we got to be on set, and we wrote the song. In the end I don’t think we have much to say to the people who think its super pedo. It deserves a reaction yes, but it should be a light hearted one at best.
ER: Did it even cross your mind that some people would be uncomfortable with the video when you
were making it?
AK: Yeah, I think we knew that it would upset some people. There is always gonna’ be a paradox in anyone’s art. People can look into anything too hard and make something out of nothing. I don’t think we were prepared for some of the reactions from certain people. It was rough having people very close to us not getting it.
ER: How are you feeling now Pink + Blue is out? Proud I’d expect?
AK: Yeah, very proud and it feels good that its out. It took a long time to make that record. I really don’t think its reached its maximum potential, but so far I think we are all pretty happy with where its at.
ER: How do you feel it has been received?
AK: We are happy with the results thus far. Its rough writing SynthPop in a lo-fi, Chillwave saturated forum.
ER: One of the great things about Pink + Blue is that it contains quite a mix of styles, is this just ‘cos it represents the last few years of LexiconDon evolution or can we expect you to mix it up a bit in future?
AK: Its because Fabian & I write in such a sporadic way. We have no formula, we have always just made songs that we like. Every single song we have made has been done in such a different way, and when we try to repeat previous attempts, it never works the same. We hope to have a bit more consistency on the next record but be prepared for a roller coaster of genre crossing.
ER: Can we expect to see you touring Pink + Blue, and sign of you guys crossing the Atlantic?
AK: I am pretty sure we will be hitting the road sometime in late May. As for crossing the Atlantic, which by the way would be a dream come true just playing a show over seas, might be a little while away. In reality we need a higher demand in the states and elsewhere. The next year holds a lot of gold and we intend on grabbing as much as possible to share it with everyone else.
ER: Are LexiconDon more cereal or pile of pancakes for breakfast kinda’ band? Would that change the morning after a show?
We are more like a 4 shots of espresso on ice and a cigarette band. The morning after the show we would probably be a bloody mary.
♫ LexiconDon – Success Is Fine
LexiconDon’s début album, Pink + Blue, is out now on dubFrequency/Binary.
Today, as a Valentine’s Day present Bright Light Bright Light has premiered the video for this new track ‘How To Make A Heart’.
Taken from his forthcoming album ‘Make Me Believe In Hope’ (which, I think, is the first time we’ve heard the title’), ‘How to Make A heart’ is an uplifting electronic Pop gem with a cute, if a little sad, video directed by Gavin Leisfield.
Download the video for free at howtomakeaheart.brightlightx2.com.
Bright Light Bright Light @ 7Digital
Bright Light Bright Light @ Amazon
Short Circuit is the alter ego of one Mr. Andrew Verner. DJ, musician, producer and Vocoder abuser.
A lifelong musician, Andrew turned his attention completely to electronic music around 2008 and has since become an Electro workhorse, producing reMix after reMix as well has his own, acclaimed, single ‘Let Go’. With a sound that owes as much to European dancefloors and Sci-Fi soundtracks as it does to the LA party scene, Short Circuit’s cyborg Funk mixes up hard, pounding, beats and harsh basses with sweet soaring leads and sparkling arpeggios.
Though his music can range from gritty cut-up Electro to borderline EBM stompers to smooth Robotic love songs, Andrew’s experience as a DJ allows him to craft tunes guaranteed to rock a dancefloor regardless of genre. A skill he puts to good use with a live show that blurs the boundaries between performance and DJing.
Check out what Short Circuit in his own words:
ER: How did you start getting into making making music?
A: I’ve been making music as long as I can remember, ever since my dad bought me my first Casio keyboard when I was 4 or 5. All throughout my childhood I would make little home recordings on my tape deck and make my family suffer through listening to them. I was in bands all through high school and a while after playing different instruments. I got into electronic music about 4 years ago and have been making it ever since.
ER: And how would you like your music described?
A: That’s a tough question to answer. Recently, a blog described my music as “Robopop” (that was us! – ER) which I think is pretty cool. Really, I don’t care what people call it as long as they like it.
ER: Who are your heroes and influences, both musical and otherwise?
A: I’d say musically my influences would range anywhere from Depeche Mode to Neil Young. I grew up listening to rock music and it greatly influences my work and I feel that it comes through in my songs. I wouldn’t say that I have any “heroes”, but I greatly admire anyone that can write great songs. Anyone from MJ to Paul McCartney to Prince. If you can keep writing hit after hit, your pretty awesome in my book.
ER: You style seemed a bit harder than the rest of Binary’s roster, I’m thinking of ‘Music Machine’, but seems to be becoming a bit smoother, how would you say your style is evolving?
A: I’m always changing up my style a bit. Its hard to say that my style is getting lighter or smoother because there are some heavier songs I have yet to release. What I’ve released to the public so far is a very small taste of the stuff I’ve been working on. Some of it is rock some of it is disco and some is really dark slow electro.
♫ Short Circuit – Music Machine
ER: When did the Binary posse enter the picture?
A: In 2008 I started making remixes and original songs as a side project from my electronic band “Mechanical Hands Electric Heart”. Basically anything I did that wouldn’t fit in the bands style I just started putting out on my own. I did a few remixes that started getting some recognition and according to Josh, it was my post on Missingtoof debuting my remix for Digitalism’s “Magnets” that caught their ear. They emailed me and we set up a meeting with Josh and Kyle (Binary/ NightWaves) and Fabian and Alex (LexiconDon) along with myself and the rest is history I guess.
ER: Is the name a Johnny5 reference?
A: Definitely. A couple years ago I had to change the name I was using due to some legal issues and was racking my brain for a new name. I was thinking of robots and electronics and immediately thought of Johny5. My first idea was actually to use the name Johnny5 but I decided against it for a few reasons. So yeah, Short Circuit was the next obvious choice.
ER: What does Short Circuit have in his studio? How does the writing process work for you?
A: Right now I have my laptop running Reason 4, Logic Pro and Ableton Live. I have an Alesis Micron and a MicroKorg that I use for pounding out ideas but the sounds rarely ever make it to the final song. I also have an array of guitars and other instruments and a pretty decent assortment of mics (mostly AKG’s). Everything runs through my Mackie VLZ3 16 channel mixing board and that gets piped into the computer via a Mackie Onyx 400f interface.
As for the writing process, it varies depending on the song. Sometimes I’ll have a melody or loop in my head and I’ll try to recreate it in the studio. Sometimes Ill get inspired by something I hear and sit down and start working. Some of my best songs though have actually come about while working on a different song. Ill be messing around with the song and all of a sudden come up with something great that will inspire me to start from scratch.
ER: And how does that translate live, both with gear and performance?
A: When I play live I use my Micron and MicroKorg synths along with a small percussion set up. My laptop runs Ableton for the backing tracks and I use a Numark Total Control to control Ableton. I run everything through a small 4 channel mixer so I don’t have to worry about the sound guys not getting the levels right.
I try to do as much as I can live as far as playing synths, singing with the vocoder and doing some percussion. Basically, I try to put on the best show I can as just one person. So far the response has been good but I am always trying to improve what I’m doing. I’ve recently made a few adjustments to my set that I am really excited about and cant wait to try them out in front of a crowd.
ER: If money was no object, what synth would you go after?
A: Its hard to pin down any particular synth, probably an old Moog or a Juno. Anything would be better than what I have right now.
ER: Has being part of Binary helped you as a musician?
A: Yes, immensely. Its great to be surrounded by a group of guys that are great musicians and producers. There is always this level of friendly competition that has improved all of our songs. If you listen to the tracks we were all putting out before Binary and compare them to what we are all doing now, there is no question that we have all helped each other improve.
ER: What does Dreamwave mean to you?
A: Not much really. I think the whole Dreamwave thing has been taken out of context and the term has been applied to many things that are not “Dreamwave”. I really don’t think most of my music fits under that category and the Binary collective as a whole has a lot more to offer than just one type of sound.
ER: When are we going to be hearing your EP?, What should we expect for in?
A: Good question, I’m hoping for sometime this year. All the songs are there, some are just waiting for some minor tweaks and some need a lot more vocal work. But as far as a set date, I cant really give one right now.
As for what to expect, the songs I have lined up are all very different but fit together somehow. I’m really excited to see what people think of the new stuff and also nervous as well since some of it is a bit of a departure from what I normally do. There are also a couple of tracks that I sing on which is the first time I’ve ever done anything like that and it definitely adds to the anxiety of it all.
ER: Is Short Circuit more of a cereal or pile of pancakes for breakfast kinda’ act?
Well I would like to think of it as more of a cereal kind of breakfast. Always good and you can count on it every day to please. In the words of the late great Mitch Hedburg “You don’t want to be like pancakes, all exciting at first then after a while you get sick of them”.
♫ Michael Jackson – Beat It (Short Circuit reMix)
Andrew’s not just a musician, the man is also a DJ, having held residencies at some of LA’s hottest spots. Get your ears round his latest mix:
♫ Short Circuit – Greatest Hits
Just check out that tracklist!
1. Metronomy – Radio Ladio (Micachu reMix)
2. Pink Floyd- Another Brick In The Wall (DJ Agent ‘86 reMix)
3. Tensnake – Need Your Lovin’ (Dub Mix)
4. Yacht – Psychic City (Classixx Remix)
5. Empire Of The Sun – We Are The People (The Golden Filter reMix)
6. Short Circuit – Just Because
7. Flight Facilities (Feat. Giselle) – Crave You (Cassian reMix)
8. JBAG – X-Ray Sex (Kill the Hero reMix)
9. LBCK – Start (Moonchild reMix)
10. Madeon – For You
11. Paul – Together Again
12. Annie – Songs Remind Me Of You (The Swiss reMix)
13. Miami Horror – Holidays (Miami Horror And Cassian reMix)
14. French Horn Rebellion – This Moment
15. ODahl – Hold Me
16. Bag Raiders – Shooting Stars
Short Circuit’s single, ‘Let Go’ is out now with a new EP forthcoming.
electronic rumors 