mokhtar

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FREE DOWNLOAD (or FREE DONATION) here: https://djsoulmachine.bandcamp.com/track/jean-michel-jarre-oxygene-ii-soul-machine-remix

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Jean Michel Jarre - Oxygene II (Soul Machine Remix)

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Jean Michel Jarre - Oxygene II (Soul Machine Remix)

I was in the middle of our US tour in Los Angeles last year and got asked to remix one of the biggest acts in the world - Coldplay - so I locked down for a couple of days (into my manager's house) and here is the result. The original is such a summer jam I wanted to take it into a different territory. Support so far has been incredible, hope you like it!

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Coldplay - Adventure Of A Lifetime (Yotto Remix)

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Home feat. Aurora (Lane 8 Remix)

My cover version of Oxygene IV by Jean Michel Jarre.

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Oxygene IV (Cover)

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"Old Graffiti" by Bibio

Curated by: Mike Floeck

Spotify: http://bit.ly/OldGraffitiBibio

Genre: #indierock

Stephen Wilkinson has figured out a thing or two about timing and tempo: Ribbons is Wilkinson’s tenth album as Bibio, and although his tenure resulted in a bit of diversion and experimentation, his predominant lane resembles folk music and experimental electronica without breaking a sweat about the comparison. Ribbons sits right in this lane: “Old Graffiti” settles down like a fresh spring rain shower of medium density, pattering against the windowsill, drops randomly striking at different angles and intensities. Wilkinson’s voice apparates from seemingly nowhere, echoing short syllables that he coos and barks through the song.

Bibio has credited phonemes as influences for his uniquely bizarre lyrical phrasing and articulation. Phonemes, per Merriam-Webster, are “[members] of the set of the smallest units of speech” that separate and identify one syllable from another. An example is when two words end in different consonants yet sound phonetically similar, e.g. “tad” and “tab”. The phonemes would be the “d” and “b” sounds, distinguishing the two words but just barely. You feel the tension of the “p” hanging on Wilkinson’s lips as he sings “makeup” and the word echoes rapidly behind; you sense the restraint as he transitions from the hard “e” sounds in “graffiti” into a yodel, howling over the plains of his percussion-driven arrangement.

Speaking of percussion, Bibio says “Old Graffiti” began with it whereas most of his compositions begin on guitar. He was “inspired by listening to old Batucada and Capoeira recordings,” both influenced by African percussion and native to Brazil. This broad-reaching influence lends an exotic air to “Old Graffiti”, a lost gem in a modern world.

mokhtar

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