Apparently two of dance music’s most fawned-over figureheads are aligning. According to Martin Garrix, via an interview with South Florida’s Revolution 93.5 FM, there have been subtle, half-serious plans of a collaboration between Garrix and Zedd for nearly a decade. But only recently, as Garrix reports, he sent sent Zedd over some stems the latter found perfectly brilliant.
Garrix describes the work in progress as, “crazy, weird, different.” The two are ardently at work chiseling the impending composition. However there’s no solidified due date for the track as of yet. Though the Dutch dancefloor dynamo confirmed there’d be an eminent unveiling, with a high-in-the-sky Ultra or Tomorrowland caliber backdrop, once the duo is ready to debut it.
Garrix and his omnipresent Russian-German counterpart, Zedd, gave warrant to plenty of collaborative rumors in the last year or so, electing to wow audiences with multiple surprise back-to-back sets. One of the most notable of these was at the Echostage in Washington, D.C. last year. Zedd tweeted about a potential partnership soon after the performance. The dance music world voraciously awaits the fruits of this formidable twosome’s musical labor.
Dance music’s workaholic stepdad, Diplo, revealed some noteworthy updates in an interview with Complex during Super Bowl Weekend. He spoke on his recent performance as an accessory on the Grammys front alongside Lil Nas X, by way of the mega-hit “Old Town Road,” which Diplo remixed. He also touched on Instagram flexing, working at public schools in Philly, Popeyes chicken sandwiches, touring in Greenland, cooling off after shows, and unheard works with the likes of Juice Wrld, Trippie Redd, 6ix9ine, and XXXTentacion.
A master of modern A&R, bridging multiple genre gaps for his Mad Decent label, he referenced his California EP where he collaborated with Trippie Red, Lil Yachty, Lil Xan, and more. He mentioned losing steam over the past few years after many of the aforementioned rappers suffered untimely deaths.
After an bout of monumental success on their “Talk,” collaboration, Disclosure and Khalid are at it again with a surprise new offering, “Know Your Worth.” The strong singer/songwriter and producer combination received a Grammy nod for Record of the Year with “Talk.”
“Know Your Worth” debuted on Zane Lowe’s World Record. The Georgia vocalist told Beats 1 he felt like he was singing the song in a mirror as he felt the lyrics were something he needed to hear at the time he was writing them. This is the second single released by Khalid this year, following “Eleven.”
The Free Spirit crooner sings to a lover above a light electronic production consisting of lush keys, gliding percussion, a heart beat melodic bass line, and intermingled high-end ad libs to keep the sparkle throughout the work.
Disclosure‘s Guy Lawrence was also recently credited on Mac Miller’s Posthumous Circles project, for his work on “Blue World,” the second most Spotify streamed song from the LP.
At the onset of the year, Tame Impala‘s fourth studio album, The Slow Rush, was already one of the most anticipated LP’s of 2020. Now, Damon Albarn and Jamie Hewlett’s Gorillaz have thrown their hat in the ring with the rollout of a new audiovisual project, Sound Machine, led by a slowthai and Slaves-assisted single, “Momentary Bliss.” Doubling down on potentially year-defining new material, it appears the two bands may be priming fans a collaboration together.
Recently, Gorillaz’s animated guitarist Noodle shared an image on social media of his cartoon cohorts invading the cover art for Tame Impala’s beloved 2015 LP, Currents. Considering Gorillaz’ recent “Momentary Bliss” was previewed in a similar fashion ahead of the tune’s release, an upcoming joint effort between Tame Impala and Gorillaz now seems imminent. See Noodle’s post below.
As preceded by much speculation, Grimes and REZZ have once again confirmed they are in the studio together. There has yet to be any hints as to what the upcoming collaboration between the two electronic powerhouses entails or when it arrives, but anticipation from fans has already erupted.
Both artists have been hard at work bringing their boundary-pushing concepts to life through new projects, tours, and more—with Grimes preparing to drop her upcoming LP and REZZ having recently released Yultron-heater, “Hell On Earth” last month. Sharing similar qualities of supernatural mystique, experimental styles and spectral sonics, the fellow Canadian producers subsequent collaboration and admiration for one another comes hardly as a surprise. It also wouldn’t be the first time Grimes has dipped her toes into the darker bass world, having previously teamed up with techno prince i_o on vapory, pop-leaning production, “Violence.”
Oliver Heldens and Mesto are two artists hailed for their ability to craft an inimitable mainstage anthem. They have now combined forces to create just that, with new single “G.O.A.T.”
Heldens and Mesto sample vintage-veering synths and combine them with robotic undertones, crafting a unique yet upbeat cacophony of sounds. The single has the ability to draw energy from a crowd placed in a quaint club setting or on a larger-than-life festival stage.
This is not the first time Heldens and Mesto have worked together, as seen in their creative synergy. “G.O.A.T.” is a worthy continuation of this collaborative spirit. The single is out now via Heldeep.
It’s been just about four years since Drake’s name has been credited alongside Future’s, since the What A Time To Be Alive days to be exact, but the collaborative drought has ended with “Life Is Good,” so pop the champagne and let it bubble. A sharp exposition of Drake and Future’s synergy, the earlier LP yielded the pervasive cuts “Jumpman” and “Big Rings,” and “Life Is Good” appears destined for the same sort of ubiquity.
The hip-hop mavericks’ latest outing rebels against the conventional song format in which rappers fluidly trade verses over the same sustained beat. In contrast to this stylistic standard, “Life is Good” is essentially two singles bundled under its titular umbrella, one supplied by Drake, the other, Future.
Drake handles the opening duties, and with a decisive switch of the beat, passes the verbal baton to Future, whose flow is characteristically voluble. “Life is Good” is accompanied by a music video that sees both artists assume various service roles as 21 Savage, Lil Yachty, and other artists make cameos.
Feed Me returns with a six-minute electro thriller, “Little Spaces,” featuring celestial vocals from YOSIE. Through sprinkling synths and scintillating arpeggiation, the vocals carry through the spacious atmosphere to a flip of energy towards a glitchy electro hook. The contrast speaks volumes to Jon Gooch’s out-of-the-box musical style with a house skeleton, as the third drop carries a future bass tone into a euphoric build.
Gooch kicked off 2019 with the release of his High Street Creeps LP through mau5trap. Most recently, he offered up the high-energy electro production, “Nothing Hurts Like You” featuring pop-rock vocals from Sam Calver. He’s known for his diversity in song with alter-egos like Spor, under which he produces jungle, along with a brief melodic run under his Unicron moniker. He’s nothing if not an active, ever evolving aural creator.
Zeds Dead has released their latest offering from their forthcoming We Are Deadbeats Vol. 4 label compilation. Entitled “Bumpy Teeth,” the joint Subtronics track clocks in as the Canadian duo’s last release of another fruitful year.
Following their Urbandawn collaboration “Sound of the Underground,” the newest single diverges from the former’s drum n’ bass tinges, but parallels on levels of bass intensity with Subtronics lending a hand to its riddim-redolent nuances. The fourth edition of the Deadbeats compilation will see highly anticipated features from the likes of Ganja White Night, Dion Timmer, Delta Heavy, and more. We Are Deadbeats Vol. 4 is out January 14th, 2020 via Deadbeats.
“Bumpy Teeth” brings the respective stylistic aspects of both Zeds Dead and Subtronics to the table—honing in detailed melodies while constructing dastardly destructive bass sounds. The track fades in with a chiming piano line caressed by laser-like synths and cosmic undertones before laying down thrashing sound design and skin-crawling instrumentals. Playing with rhythmic structures and off-beat chord embellishments, “Bumpy Teeth” and its reggaestep-inspired productions trade off with heavy bass—ultimately, proving a rollercoaster for the listener’s senses.
LA-based Anabel Englund recently released a satiating dancefloor feeler, “Messing With Magic,” with Ibiza mainstay, Jamie Jones, through Ultra Records‘ Area 10 division. With a dark twist in the form of a brooding bass supporting Englund’s resonant vocals alongside heartbeat percussion, the track offers its due diligence with a sprinkle of light, uplifting piano chords. The verses dive back into a more menacing tone, as the hooks bring the piano house into play. An electro-techno synth line casually creeps in to add to the track’s nonchalant air.
“Messing With Magic” follows another Ultra release for Englund, “So Hot,” which received a remix from MK and Nightlapse. Her debut EP is set for release in 2020.