Tune Tape Tuesdays #34

Holy Smokes, Batman. It's been THREE WEEKS since the last Tune Tape! Y'all must be dying for some new music, and I hope to give it to you in spades with this HUGE selection of tracks to keep you ticking over until the next time I find some internet. Unfortunately posts are getting harder to publish, as the absence of internet at the house I'm staying at is infuriating to say the least - this particular Tune Tape is coming to you live from The Brass Pig, a very respectable pub in which I'm taking up an entire sofa... The apres-work crowd doesn't seem to impressed with this. Perhaps they should try having no internet.

Anyway, enough complaining, time to talk music. This week's number one spot goes to Sam Smith, who has released a live acoustic version of the song he collaborated with Disclosure on, Latch. The original rocketed Disclosure from relatively obscurity into Electronic music's new favourite thing, but this version is, simply, beautiful. The amount of emotion Sam puts into his vocals is honestly breathtaking, and - unlike the original - the slowed tempo allows him to get his pitch spot on. 
Going in a completely different direction is the second song this week. Anyone who follows me on Facebook might have noticed I released a teaser of the content of this week's Tune Tape - Game of Thrones by Rameses B was said teaser. This song single-handedly combines two of my favourite things du jour: Game of Thrones (especially Ned Stark *tear*), and 'Chill-step' (that's slow, lingering Dubstep to you genre newbs). I've had my eye on Rameses B for a while now, and have great respect for the direction he's taking Dubstep in. Now that 'artists' (I use the term VERY loosely) like Justin Beiber have commercialised and belittled the genre, it's very hard to find anything original or credible. Thank God for real artists like Rameses B, that's what I say.
If this changeable weather we're currently enduring has got your knickers in a twist, calm your nerves with a dose of Prizes' Remix of Evening's song, Babe. Evening's Indie vocals are contrasted with multi-layers of beats and subtle sound effects to create an almost wave-like effect of sound and enjoyment. Let it wash over you.
If you'd rather party vertically than horizontally, have a play of ColeCo's You're So Fine - preferably looking at yourself in the mirror, first thing in the morning, in your pants. Tried and tested, my friends, tried and tested. 
Lane 8 is an artist that I'm really loving at the moment. The last few Tune Tapes have featured his tracks Be Mine and Every Night - this week I give you his interpretation of Spandau Ballet's classic: True. Featured in nearly every film either shot or set in the 80's, Lane 8 masterfully updates this guilty pleasure and makes it totally fresh and instantly addictive. 
I've been a fan of Mikky Ekko ever since Pull Me Down - and became an even bigger fan after his collaboration with Rihanna over what is probably my favourite song of 2013: Stay. This week he's released his new solo single, Kids, and the brilliant Monsieur Adi has already picked it up and remixed it. This guy never misses a trick. Funnily enough, it's actually got vibes of MGMT's track of the same name - although, admittedly, probably not so much of an instant classic. Nevertheless, it's super fun and catchy (without being cheesy), which is enough for my seal of approval.
If you are, like me, an early morning commuter, you will be familiar with BBC's Radio 1. Yesterday I heard them playing Disclosure's new release: F for You. But I'd already beaten them to it; nay, I'd already gone beyond, for I have found Totally Enormous Extinct Dinosaur's Remix. Which is, quite simply, fabulous. I'd possibly go even as far as saying it's a stronger track than the original. But don't take my word for it - have a listen for yourself.
A remix that really took me by surprise this week was Kill Me With Colour's version of Bon Iver's Wolves. Expecting a fairly generic Chillwave take on the original made the surprising inclusion of one of the classics of old-skool HipHop all the more pleasurable. I won't spoil it for you. Go ahead. Enjoy.
If you liked Prizes remix of Babe, you'll probably enjoy Skyphos's take on Nina Simone's classic, Feel Good. I say probably. You will. Skyphos totally revamps the track, taking it apart to its most minimal, yet most recognisable, components, then layering some chilled sound effects over a rolling Chillwave synth beat. Perfect for those mornings when you don't want to get out of bed.
King Krule is a talented artist that is only going one way: up. This month he's put his hand to DJing, laying his own recognisable sound onto female rapper Angel Haze's New York. King Krule turns what is otherwise quite an overly aggressive rap track from a Minaj/Azealia/Iggy wannabe into something quite soft and surprisingly enjoyable. 
If rap is what you're after, then Kid Cudi has returned, releasing Cold Blooded. Kid tends to be a bit hit-and-miss with what he brings out, but I think he's hit the nail on the head with this track. It's got a great bouncy beat, and, as usual, Kid's vocals cut through it like a knife through butter. Glad to have you back, Kid. 
My guilty pleasure of the month has to be Kill Paris's Falling In Love Again, which has cheesy vocals and a dirty electro (bordering on Dubstep) beat. It's a total embarrassment. But I love it. 
My favourite lady of Pop, Lana Del Rey has been remixed by Cedric Gervais this month, who turns her song, Summertime Sadness into a banging house track that is guaranteed to get people off their asses and on the dancefloor. Fist pump, y'all.
Last year, Jakwob released Fade - a more commercial direction than he'd previously been involved in, but enjoyable nonetheless. This year, Fade has clawed back some credibility through Sane Beat's remix, turning it into an understated Trap track that is as simple as it is masterful. This is the kind of Trap I like, especially when it's done this well.
Poliça is, I have a feeling, someone we need to keep an eye on. Her song, Dark Star was one of my standout tracks of 2012. This year, Tiff has been expertly remixed by Doc McKinney, who retains her signature vocals in all their glory while still adding some glitches and wobbles in all the best places. Nice work. 
Moving on from Chillwave, we have some Indie, curtesy of SPEAK and Peaks (confusing), and I Break Horses and Denial. Feel-good and light-hearted, it exemplifies the new sound of Indie that I'm always going on about: more synth, generally higher male vocals (if not, female), you get the picture. For all you die-hard mid-00's Indie fans, I'd be interested to know what your view is on this 'new direction'.
Finally, I found a good Mash-up this week of R.Kelly and Phoenix by The Hood Internet. Listen. It's fun.