Review: Gil Scott Heron said the "Revolution" would not be televised; Diplo might have something to say about that; coming on strong like Adele-does-dubstep it's an elephantine lighter-thruster that will have your whole floor hugging so hard they'll all end up pregnant (even the chaps). "Biggie Bounce", meanwhile, boasts some really interesting dynamics as each element is broken down and rebuilds with bigger impact on each chorus. With big vocals from Indonesian popstar Angger Dimas and baby-faced hip-hop crew Travis Porter it's yet another Diplo crossover smasher. Elsewhere we get all laser-reachy with the hardstyle slammer "CROWN" while "Rocky Steady" sees Diplo going full-on classical hip-hop. His most varied release in a long time, there really is something for everyone here.
Review: Bringing us all up to speed, Diplo tethers the seemingly disparate strands of his arena-slaying sound with this all-encompassing collection of recent hits, exclusive collaborations and never-heard-before remixes. Besides huge hits such as "Express Yourself", "Boy Oh Boy" and "Biggie Bounce", notable insertions are "6th Gear" (a serious, head-knocking ghetto trap vibe with Alvaro), and "Techno" (an epic slab of hardstyle slammery with Yellow Claw, LNY TNZ and Wacka Flocka Flame). The next-level remixes from Tony Romera, Rickyxsan and Danny Diggz shouldn't be missed either.
Review: The perception may still linger that Tony Allen's influence on modern electronic music is limited to Afrobeat or broken beat, but as this remix compilation attests, his influence looms large in other, unexpected places. On Chop Up, for example, Carl Craig finally delivers his response to his evergreen 2004 version of Beanfield's "Tides", with hypnotic chants, rolling drums and brassy breakdowns dominating his take on Allen's "Kilode". Equally, Mark Ernestus is inspired to push Allen legacy into the realms of low-slung house, with "Moyege" transformed into a languid, dubby disco rhythm. However, it's not just the more cerebral end of electronic music that has been seduced by Allen's genius: US star Diplo also contributes to Chop Up, with a squelchy, party take on "Fuju Ouija", while other unexpected contributors like Hypnotic Brass Ensemble and Salah Ragab keep the mood upbeat: the former drops an irresistible swaggering version of "Sankofa' and the latter brings a flavour of Notting Hill Carnival to "Ole", as celebratory brass competes with sunny day ivory tinkling. In spite of these joyful renditions of Allen's legacy, the version that we keep returning to is Moritz Van Oswald's take on "Ole". It's fascinating to hear that Allen's tumbling, rambunctious drums informed the Basic Channel member's work in the same way as King Tubby, but even more fascinating is what van Oswald does with Allen's drumming. Transforming them into solemn but understated marching beats, he uses them to underpin the most atmospheric, woozy dub chords this side of "M6".
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