After amassing significant attention with his recent singles and music videos which have gained support by tastemaker publications The Line of Best Fit, DIY Mag, DORK Magazine, CLASH Mag and Fame Mag- Frequency Cowboy announces his latest collaborative offering, ‘Control (Badoos Remix)’ to feature on upcoming EP titled Move Closer released via Dactyl Spondee Records on the 3rd November 2017. The track was recorded and mixed by Stew Jackson (Massive Attack, Marc Ford), with remix credit going to North London electronic artist Badoos. Inspired by influential names such as Bonobo and Flume – Badoos combines uplifting beats, house or jazzy salsa vibes and occasional hints of drum and bass to create an attractive, refreshing and immersive sound.
A former member of underground Bristol band Termites, Sam has enjoyed previous commercial and critical success working with John Parish (PJ Harvey, Eels, Tracy Chapman) and Bruno Ellingham (Massive Attack and New Order, Maccabees), touring with British Sea Power, recording at the acclaimed Rockfield Studios and receiving support from the likes of Radio 1’s Zane Lowe, BBC Music 6’s Tom Robinson, Clash and GQ.
Frequency Cowboy is the pseudonym for Somerset-based multi-instrumentalist and singer Sam Hurt. A classically trained pianist, his Wurlitzer piano is the core instrument on his tracks, and creates the backbone for his distinctive sound.
Citing a wide array of influences, he is drawn to artists ranging from Beck, Talking Heads and The Police, to Sir Was, Sonic Youth and Northern Soul, effectively conveying an affinity for these artists while still maintaining his own blend of idiosyncratic indie-pop.
‘Control (Badoos Remix)’ sees Frequency Cowboy’s sound expanded upon. Crashing together Sam’s vigorous vocal work and signature pop and blues hook, with Badoos’ deep, textural dance beats and immersive ambient sections.
Speaking of his remix Badoos said: “It was a fun challenge for me to work with Frequency Cowboy’s music as it was so different from the sounds I usually work with. I tried to give it a completely different feel from the original, creating contrast from the raw harshness of his vocal line to the soft female vocal sample. Even the disparity in instrumentation, from electric guitars to a cutting house bass synth gave it a whole new dimension.”
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