Category: Electroscuzz / Electro / Industrial
Album: Gay on the Dancefloor EP
Blurb: Presenting eight explorations into varying styles of dance music and its permutations in the current electro/industrial scene, making for one hell of a good time!
Never one to be tied down to any single sound or style, Jim Marcus continues to take GoFight down his highly energetic and irresistibly danceable path with this latest EP of remixes for the track “Gay on the Dancefloor.” Despite its bluesy riff and chord progression, making it an almost uncharacteristically rocking track from the Napalm Baby album, the song was still driven by a penetrating beat and bass line that along with the raunchy lyrics almost slithered their way right for the listener’s libido… which, let’s face it, is something most dance records strive for, but so few achieve so successfully. It’s a sexy and catchy song that Marcus and his fellow remixers use as an opportunity to explore the dance medium to great aplomb.
The first four remixes explore the geographical conventions of the genre, with the Miami mix opening the EP with a punchiness and celebratory vibe, due in no small part to additional shouts and cheers from a virtual crowd that one can imagine grooving to this song in the sweaty, tropical haze of a Miami nightclub. Following is the New York mix, which takes on a sparser and grittier tone befitting its urban namesake, the riff and beats chopped up to create a syncopated dissonance that works well with the pulsating and distorted bass line; it’s no less rhythmic or dynamic, but one can immediately detect between these first two tracks the stylistic disparity the genre takes on between cities. With a powerful and gyrating beat that recalls “Fuck Like a Movie Star” from GoFight’s Music for Military Torture debut, the Chicago mix pays tribute to the band’s hometown roots with industrial fervor, while the vocal and brass accompaniments in the Vegas dub add to the track’s almost vaudevillian atmosphere, sounding like the perfect soundtrack to a champagne-riddled burlesque revue the likes of which are rarely seen outside of ol’ Sin City.
The next set of tracks bring in some of the band’s fellow artists in the scene, beginning with the Sweat Boys giving the song an almost ‘80s flair with a driving electro bass line and melodic accompaniment that at just a slight bit over three minutes long does well not to overstay its welcome, but absolutely leaves the listener unwilling to leave the dancefloor. Similarly, the Beauty Queen Autopsy mix with its reverberating drums and slightly atonal take on the bass line transforms the song into something more appropriate for a neon-lit neo-noir thriller from the ‘80s, the rolling, percolating synths heightening the track’s unsettling nature. No stranger to sexual grooves, Claus Larsen’s minimal Denmark Leæther Strip mix shoots straight from the hip with Larsen’s vocal additions on the chorus helping to create a darkly, aggressively sensual vibe that is at once enticing and a slight bit threatening. To close the EP out, Cyanotic delivers a one-two punch of metallic beats and distorted, growling synths that amplify the original song’s riff into a virulent dose of industrial/rock intensity, the organ solo adding a decidedly nice touch.
At eight tracks clocking in at almost 38 minutes, the Gay on the Dancefloor EP is concise enough and presenting enough variety in its remixes to keep from fatiguing the listener, although this writer wonders if some Detroit hip-hop infused techno could have also been pursued for good measure. However this does nothing to detract from the whole experience, with the first half of the EP acting as both a commentary and a celebration of the dance genre and its various permutations, and the second half offering a more varied outlook from fellow visionary acts in modern electronic and industrial music. Ultimately, the Gay on the Dancefloor EP lives up to the song’s title as these assorted styles mingle and fornicate into a powerhouse delivery.