Feel-good gurus, The Knocks and vocal gymnast, Gallant recently united for what can assuredly be described as a suave, self-indulgent record that plays to both parties’ strong suits. “Exit Sign” sources its refined vocals from the R&B artist, whose involvement with the single precedes the arrival of his sophomore album, Sweet Insomnia, due on October 25. The “Weight In Gold” singer is no stranger to the electronic ether either, raking in collaborations with the likes of ZHU, Big Wild, and more. The Knocks, meanwhile, have been riding the wave of their tenures writing score for the likes of The US Open and iPhone X—to name a few.
Distinctly danceable, “Exit Sign” is both light and mellow in its makeup. The mid-tempo tune is well within The Knocks’ nu-disco wheelhouse, and follows the production pair’s previous, Whethan-assisted “Summer Luv.”
“Take Me to the Light” is set to become the title track to the impending album from the duo hailing from Oakland. The song is delicious, even downright heavenly, as Francis and the Lights’ usual warm embrace rests on forefront of the track. The artists’ masterful electronic sound manipulation makes for an auditory journey that begs endless repeat.
There had been ample speculation of new tunes on the way in recent Twitter activity from Francis and the Lights, hinting they’d been working on a track with “some friends.” Some friends, indeed.
From his introductory Ultra Music Festival appearance in 2014 to his most recent ANIMA live spectacle this past March, Martin Garrix shows no mercy in implanting numerous striking, high-profile IDs during his annual display at the Southern Florida event. When the STMPD Records head honcho took control of the decks during the festival’s 2019 Virginia Key iteration, he brought with him a surreptitious new production that was almost instantaneously speculated by fans to be a forthcoming union between future house staples, Brooks and Jonas Aden.
Exactly five months to the day later, the duo is formally reuniting for the first time in three years for the official release of the Ultra enigma, “RIOT,” and therein adding a compelling outro to STMPD Records’ summer soundtrack.
While the shape-shifting sub-genre of future house may assume a myriad of aural identities, Brooks and Aden are two talents that have continuously abetted in its evolution. “RIOT” is a spotless illustration of that mastery, as the pairing puts forth lawless lyrics amidst a dark and intricate lead alongside a cataclysmic future house instrumental.
“RIOT” is out everywhere tomorrow, but available to stream exclusively through Dancing Astronaut today.
Reverberating force in the four-by-four domain and one half of the Skrillex-assisted Dog Blood duo, Boys Noize (Alex Ridha) recently decided to put his dexterous production prowess in full view, taking a strategic step outside of the electronic arena to assist in an auspicious new hip-hop endeavor.
The German Boysnoize Records boss hopped in the studio with A$AP Rocky, to co-produce the latter’s first official output since his highly public incarceration and subsequent assault trial overseas. Championed alongside Puerto Rican sound engineer, Hector Delgado, “Babuskha Boi” was fashioned after Rocky’s affinity for rocking granny-evocative head scarves. The track arrives with a slightly outlandish Dick Tracy-reminiscent visual, tracing a less-than-serious 1930s-era bank heist.
Boys Noize and Skrillex reconvened earlier this year for their first multi-track Dog Blood project since 2014, Turn Off The Lights. He released his last extended solo project in March of last year, Strictly Raw Vol. 2. The producer’s next single with Skrillex, “Midnight Hour,” arrives tomorrow, August 29.
Since their ascension through the electronic ranks amid the US dubstep craze of the early 2010s, Adventure Club have maintained a fierce foothold at the helm of dance music’s consciousness.
Now the duo has aligned themselves with aural counterpart and one of the scene’s synergistic and new talents, Said The Sky, for their new collaborative track, “Already Know,” out on Ultra Records. In the few short years of his release tenure, the producer/multi-instrumentalist has rendezvoused with some of the most eminent like-minded melodic bass purveyors around, including Seven Lions, Illenium, and SLANDER.
“Already Know” exudes the equally delicate and robust nature of Adventure Club and Said The Sky’s melodic bass methods. The static-laden, atmospheric allure of the reverb-friendly production melds mellifluously with the romantic euphoria inherent in Carly Bevier’s vocal contribution. The release is another momentous notch in its esteemed creators’ veteran and nascent respective catalogs.
Bon Iver released his album i,i nearly a day early, and the project has already received praise from a large amount of top tier outlets. The 13-piece record has a wide array of all-star collaborators, including a particularly standout number between himself and longtime collaborator, James Blake. Their productive relationship stretches back to 2011’s “Fall Creek Boys Choir,” and this new offering, “iMi,” marks their third joint effort together.
“iMi” is a rich, sentimental piece bursting doused in lo-fi sound design. It appears that James Blake might have played a larger background role, considering his vocal contribution to the tune consisted of a mere two lines. Others working on the track alongside Blake include Wheezy, Buddy Ross, and Mike Noyce. Velvet Negroni, Camilla Staveley-Taylor also contributed their vocals to the mix.
Luttrell and Ben Böhmer’s debut co-production, “Gibberish,” is a sensational melodic track, flush with texture. The Anjunadeep regulars both have distinctly nuanced discographies. As impressive as they are individually, “Gibberish” showcases their approaches to producing in blissful synchronicity.
Ben Böhmer keeps the progression smooth as silk cascading skyward, while Luttrell infuses the track with glittering synths and rolling basslines, while he morphs vocals with finesse. While these creative fragments are apparent, it arrives blended and whole: two heads with one body and one soul.
The quality of mixing and give and take showcased through this track gives the listener a subconscious feeling of unity that could only be the result of genuine collaboration and mutual respect; a respect that was undoubtedly fostered over Luttrell and Ben Böhmer’s appearances at Anjunadeep Explorations earlier this summer. “Gibberish,” seems something of a misnomer; as the concise, unsullied offering sets the bar for Anjuna collaborations in the cosmos.
NETSKY and Aloe Blacc‘s track “Snitch” is immediately recognizable it opens with an original and slick guitar riff, one that may be familiar, as the award-winning globally renowned electronic music producer has been throwing it down at festivals for the past year. However, ten seconds in one realizes this isn’t just your everyday electronic jam.
“This song started it’s life in the Stargate studio in Venice – Stargate and I had a session with Aloe Blacc,” said NETSKY in a press statement. “I would never have thought this was the kind of beat that Aloe would go for; it’s pretty different for him, but he loved it and absolutely killed the verses.”
“Snitch” is unpredictable in nature and even deeper than that it is a tried and true dance beat. NETSKY and Aloe Blacc capture a little bit of everything everyone trying to get up and down have come to expect. The descendants of trap-beat-claps welcome heavy bass; Aloe Blacc ignites with a memorable chorus, “I ain’t fucking with you no more, because you a snitch and that’s a no no.” The track traverses smoothly between headbanging fun and melody that provokes ears to perk up, creating space for drops, groove, and release.
“Snitch” is hot off the heels of “I Don’t Even Know You Anymore” featuring Bazzi and Lil Wayne. Both tracks will appear on the upcoming Palmtrees & Powerlines. Which looks is looking to be a two-part album, the Powerlines side looking to be more dance and electronic oriented, as one may expect.
“I feel like I haven’t released enough music in 2018 and I’m about to change that,” he vowed.
While some artists may have playfully toyed with a similar notion in sole aspiration of appeasing their fan base, the French bass-house authority has remained true to his commitment thus far in 2019 with a horde of releases already to his credit. Nearly one month to the day following his debut appearance on NGHTMRE & SLANDER’sGud Vibrations, Habstrakt is boosting the release counter for the sixth time in seven months with a spirited return to Monstercat for “Lasagne” alongside fellow Frenchmen, Bellecour.
With a thunderous denomination like “Lasagne,” expectations of a favorable future output are inevitably paired alongside it. The appetizing plateful of a collaboration promptly indulges listeners’ cravings, as Habstrakt and Bellecour combine their notable bass-house tendencies for a grungy synth-drowned creation. While the age-old aphorism harps, “quality over quantity,” Habstrakt has shown a producer shouldn’t necessarily have to choose one or the other.
Two of the most pronounced titans of the trance/uplifting house music trades, Above & Beyond and Seven Lions have unveiled their joint effort, premiered a day early on Proximity‘s YouTube channel, “See The End,” featuring Opposite The Other.
Ears were fully perked this past installment of EDC Las Vegas, when the Anjunabeats owners invited Seven Lions onstage to debut the track under the 2019 electric sky. Recurring back to the larger-than-life, 2010 era electro/big room golden age, “See The End” drums up a wealth of nostalgia, with its resounding, euphoric synth line and blaring kicks.
Seven Lions first tipped his hat to the trio over half a decade ago, with his “You Got To Go” remix, which the trio embraced emphatically. Earlier this year, as an ostensible foreshadowing of the collaboration, Seven Lions released another revamp from the Anjuna bosses’ auspicious archives: a “Sahara Love” remix.
“See The End” is officially out tomorrow on Anjunabeats.