Matthew Dear – “Slowdance (Bear In Heaven Remix)”
This remix cuts out a bit of what was awesome about the original — the slow syrup of Matthew Dear’s vocal samples. But Bear In Heaven add other vocals to puzzle over, and while their version has a lot more energy, there are a couple times where it also felt like it was drifting out of time or melting away, much like Dear’s original. And it sounds like a lot of the layers on this remix are Dear’s vocals, sliced into half-syllables. Have a listen:
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R. Kelly Sees “Fireworks” A Little Too Late In The Summer
We’re not sure if it’s less advisable to release a song called “Fireworks” when the summer is deemed pretty much “over” post-Labor Day… or to release it when no less than three other Top 40 artists have already dropped songs with “Firework” in the name this year alone. But who’s R. Kelly to follow conventions? Check out the Polow Da Don-produced track “Fireworks”, off Kells’ upcoming Epic (out September 21), after the jump.
R. Kelly – Fireworks
“It’s a new day and I feel good / If I want to spread my wings, I know that I could,” sings Kells.
Between this track, Drake’s “Fireworks”, Kelis’ “4th Of July (Fireworks)”, and Katy Perry’s singular “Firework”, R. Kelly’s tune is the least bright and the most sizzling. Whereas his Motown-inspired song, “When A Woman Loves” was able to showcase a softer side of the oft-sexual (or just plain bizarre) R&B singer, this corny track sounds like it should be coming from the likes of Jason Derulo or Trey Songz—not somebody already so established in their career and who can clearly be more creative than this.
What do you think, folks? Is this just as inspirational, and worthy of Hot 100 success, like Kelly’s “I Believe I Can Fly”? Or is this tune way too melodramatic for you?
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The xx Win The Mercury Prize 2010
This year’s Barclaycard Mercury Prize, awarded annually by a panel of industry insiders to the UK and Ireland’s most excellent LP (or Roni Size/Reprazent’s New Forms), goes this year to the xx for their makeout masterpiece xx, and someone owes me a case of Dos Equis. Romy, Oliver, and Jamie will take home £20,000 for denying Mumford & Sons and Corinne Bailey Rae the honor, a pot to which I too would contribute on those grounds. (Others the xx kept at bay with this win include Wild Beasts, Dizzee Rascal, Foals, Villagers, and Paul Weller.) Congrats kids, if you’re looking for a night not to wear the pangs of young love and existential burden on your faces, this might just be it. You did it!
The Wombats’ Tokyo (Vampire & Wolves) by The General Assembly
The Wombats’ Tokyo (Vampire & Wolves) by The General Assembly
Tuesday, 7. September 2010 – 3:47 pm
The Wombats return, dispensing with their chirpy-chap image of yore in favour of full (and rather unlikely) rock and roll shallowness: Japanese sex, loads of drugs, and fucked-up fame. It’s a tough job, etc…
Much well-crafted fun from LA-based directing team The General Assembly – who brought us Grum’s wonderful Through The Night – in their first UK label commission.
The Wombats
Tokyo (Vampire & Wolves) (14th Floor/Warner)
Director: The General Assembly
Producers: Richard Skinner UK / Jeff Shupe USA
Production supervisor: Chad ‘Frenchie’ Alburtis
Prod co: Skin Flicks
Editor: Joseph Remerowski at pictures in a row
DoP: Simon Thirlaway
1st ad: Craig Eisenberg
Art director: Josh Locy
Wardrobe: Elise Velasco
Hair/make up: Hannah Lux Davis
Lead cast/band manager: Eric Hailey
Commissioner: New Selecta
Watch: Quicktime movie
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