Boing boing boing boing boing boing boing…
Katherine St Asaph: Holy hell, Arabesque sample! Or more specifically, an Arabesque song ch-ch-chopped and fragmented and built back up, better than ever, from the jagged bits. If it were possible, I’d personally deliver this to Sandra Cretu (or is it Lauer again now?) in Germany; Fake Blood probably wasn’t auditioning to be her next producer, but he’d definitely do better than the weaksauce on her last two albums.
Erick Bieritz: The nascent big beat revival continues with one of the guys from the Wiseguys; the Chemical Brothers knock out a long player and suddenly it’s open season for electronic crossover would-bes of the late 1990s. Anyway, this apes Fatboy Slim and the like in the same old way, although sampling Arabesque (of “City Cats” fame) isn’t a bad idea. Still looking forward to a Lionrock revival.
Michaelangelo Matos: This is a year old according to Discogs; I’d be curious to see where it’s charting. At any rate, a good, dumb, banging club track that sounds nothing like big beat (it’s house) but shares its bonhomie. Pitched-up disco strings still do it for me, though. And the fuzzy, cheap, ever-so-slightly delayed organ line that enters at 3:15: actual LOLs.
Martin Skidmore: The electrohouse music here is very good, skipping along inventively and very brightly, even frantically at times, with various disco-string flourishes (sampled, I think). On the other hand, the helium vocal is rather annoying. Can I have an instrumental version, please?
Chuck Eddy: “Uzi uzi uzi in the middle” — Is that what they’re saying? You know, like monkey in the middle, but with a submachine gun. Also there are disco strings and very silly cartoon chants that remind me why Big Beat was the last electronica genre I particularly cared about. But the beat could afford to be bigger.
Rebecca Toennessen: Hard to tell whether I absolutely love this song or hate it and hope it dies in a fire. I can’t help but admit it’s catchy and addictive and poingy but good god, it’s going to get irritating, isn’t it? There’s a time and a place for music like this — when it’s 2am and the party’s having its second wind and someone puts this on to make people dance like mad.
Alfred Soto: Suitable for glowstick dancing, if people still do that sort of thing.
Mallory O’Donnell: The sexiest bit of Arabesque’s slightly anemic and strangely oppressive Eurodisco original gets glitched-out, glossed-up and generally made to run around the building trying desperately to keep an overflowing booty confined to a skinny pair of white polyester pants. You’re goddamn right I like it.
Jonathan Bogart: I think I don’t.
Kat Stevens: It’s puzzling that Fake Blood’s first single “Mars” was basically just one awesome huge farty bass noise that soiled undergarments across the land, whereas this choppy rework of “In The Heat Of A Disco Night” is all helium Chipmunk chirruping. But I get the feeling that the dude is just mucking about with his old 12″ collection until his laundry pile has recovered.