Dexter’s Beat Laboratory Vol. 68

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 68Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


It’s been more than two years since StayLoose released his twinkling original, “Let Go,” with Andrew Paley. Today, he blesses fans with an extended vocal cut of the original track, noting that Paley “added some additional vocals to this one to make it extra special.” The inclusion of addition vocals makes this new version particularly dynamic, as Paley’s emotive voice bounces off StayLoose’s timeless future bass stylings.

Laszlo‘s time on Monstercat dates back more than four years, and in that time, he’s delivered a multitude of innovative originals, many playing off an outer space theme. He’s now revealed a full LP on the Canadian label: Liftoff. Laszlo has been building to this 10-track collection for years, with songs like “Airglow” and “Sphere” dating back to 2016. The versatile album sees Laszlo flex a full range of production talents, from drum & bass to trap and everything in between. I instantly gravitated toward “Rendezvous,” a gorgeous piece of work that takes off quietly and builds into a feel-good drum & bass track with a beautiful melody.

SevenDoors makes a bold reappearance on the mau5trap roster with his latest offering, Rising Sun. The EP’s latter half, “Spirit,” is an intricate, seven-minute piece of work that showcases the minimalist techno style he’s been debuting on the label in past releases. “Spirit” is a pensive piece, highlighted by the haunting chants of solemn choirs woven in between its dark, pulsating beat. A variety of airy synth melodies float in and out as well, setting a tranquil tone for the song surrounding them.

Following a mellow remix of TS Graye‘s “Take Notes” in September, Philly’s Instupendo is back with a new rework. This time, he’s taken on sakehands’ “GOODBYE FOREVER.” This rendition is more subdued than the original’s pop-leaning elements, as Instupendo walks the remix along with elements of percussion sakehands’ version lacked. Subtle bass and an easygoing beat make this take on “GOODBYE FOREVER” a fresh listening experience and open it up to the world of dance music a bit more.

“Darkness comes before the dawn,” red. teases to introduce his new original, “Dispatch.” While the minute-long introduction appears to lead into a bright, sunny soundscape, the artist proves to have deceived his listeners by quickly dipping into a deep, resounding bass pattern. While red. appears to have delved into a dark soundscape, he continuously leads listeners back up into the light by introducing glowing melodies. “Dispatch” is a true journey of a song and exudes a vibrantly colored aura from start to finish.

Dexter’s Beat Laboratory Vol. 67

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 67Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


Electronic music’s favorite bickering best friends are at it again. After teaming up for a powerful remix of Knife Party‘s “Sleaze” last month, contending colleagues No Mana and i_o have returned for a collaborative original, “Bad Things.” They’ve enlisted vocalist Fay to give their bass-pounding venture an even more sultry vibe and unleashed it to the world via mau5trap. In the track, they’ve managed to blend a variety of genres, making “Bad Things” pleasing to fans of techno, house, trance, and everything in between.

With Skrillex now releasing music on a more regular basis, his latest endeavors are, of course, being remixed into the ground. His mega-collab with JOYRYDE, “AGEN WIDA,” has been flipped, revamped and recycled countless times since its release in late October. One of the latest to take on the fiery track is FREAK ON, a Venice Beach producer whose catalog only contains this track and one other (a remix of Spice Girls). This intense tech house rework of “AGEN WIDA” provides an awesome new perspective on the track, leaning into its house elements for a groovy rendition.

After sitting on the track for a while, Monstercat‘s Grant found that “Castaway” made for a perfect addition to the label’s reoccurring partnership with video game phenomenon Rocket League. “It’s a song about starting over, and the desire to escape from your current life or whatever it is that’s holding you back,” he says of the track. He enlisted vocalist Jessi Mason as a complement to the serene, easygoing soundscape he’d created and built a song that’s simultaneously complex and smooth.

graves can do no wrong. Just weeks after contributing a massive rendition of “If Only You Knew” to What So Not‘s Not All The Beautiful Things Remixes album, he’s back with a new original piece of work. Tapping the talents of singer EZI, graves uses her breezy vocals to set the tone for the meticulously produced pop/trap synthesis he’s created. His versatile ways of production shine no matter what he’s making, and it’s such a refreshing thing to witness and hear.

“i was lost but i was amazed at what i had discovered,” reads dull machine’s description of “the beauty in the hatred.” I, too, am amazed at what I’ve discovered in this track. This carefully designed song ascends with a minute-long introduction, its delicate melody building up to a theme of full-bodied instrumentation and crashing percussion. There’s a unique, endearing quality here — one that’s hard to put a finger on. Fans of Porter Robinson: pay attention.

Dexter’s Beat Laboratory Vol. 66

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 66Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


How many flips of ZHU‘s “Faded” is too many? The limit does not exist! I’m always intrigued to hear new takes on this monumental 2016 release. Tiny Elephant gathers momentum quickly in the introduction he’s built, leading up to a dramatic bass drop in the chorus. He’s filtered the original’s vocals in the chorus in a unique way, bolstering the song’s backbone with a pounding house beat. This sensational remix is perfect for those who can’t get enough of the original, as it maintain’s ZHU’s ever-present dark atmosphere.

In his most recent effort, josh pan teams up with AWAY for an eerily melancholy OWSLA release, “Mask.” This trapped-out bass collaboration is highlighted by pan’s sinister vocals, which are ushered in by a plinking piano introduction. The duo hold nothing back in this release, creating a jarring environment that yanks the listener back and forth between more traditional trap elements and stuttered, unpredictable vocal and beat chops.

After making his Monstercat debut earlier this summer, CloudNone has quickly proven himself to be a valuable asset to the Canadian label. His chilled-out take on modern electronic music is perfect for the winter months and is filled with lush soundscapes and subdued vocals. CloudNone has expertly captured the wistful sounds of the season with the union of instrumentals and minimalist percussion. The song is out now as a part of Monstercat’s latest Rocket League compilation.

A.M.R.’s Silver Lining EP kicks off with a gorgeous intro mix of the collection’s title track. This six-and-a-half-minute venture is built around a subtle house beat, but A.M.R.’s introduction of elements like piano and children singing tucks the bass into the background and allows for the melody to shine through. Strings, too, many an appearance, elevating the “Silver Lining” intro mix to a whole new level.

As we settle into colder months, songs like Steve Brian‘s latest are perfect for brightening up a dreary winter day. “Playa de Santiago,” out as part of Enhanced Chill Vol. 5, brings blissful beats and a cheery piano melody that’ll light up any room. Brian has painted a vivid soundscape of rich, resounding synths, layered to perfection. The breaks and variation in percussion keep this song alive throughout its seven-minute entirety.

Dexter’s Beat Laboratory Vol. 65

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 65Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


I first heard i_o‘s “Low” in the early months of 2018 when he sprinkled the track in a mau5trap mix. Its thumping bass and sultry vocals immediately caught my attention, and in the months since, I’ve replayed that snippet of the mix more times than I’d care to mention. This is i_o in his finest form: churning out preposterously filthy beats with a catchy vocal loop that lures the listener from the get-go. “Low” makes up the first half of his latest EP, which is out now on mau5trap.

So much respect for American drum & bass producers who are pushing the scene here in the States! One of my current favorites is BoxPlot, a Boston-based artist who’s been building a following through releases like “Sunroad” with Flite (who’s also American!) on Liquicity. His latest is a rework of Mint Royale’s 2002 “Blue Song.” BoxPlot has modernized the track and brought it swiftly into 2018, switching up the pace considerably by adding a truly intimidating drum & bass backbone to the song.

Following his “Mirage” release in July, Monstercat mastermind Rogue has returned to deliver “Badlands.” This track is a breath of fresh air in a genre where there’s often little variety in sound: future bass. Badlands is beautifully complex, lush with airy melodies and an overall ferociousness that’s apparent from the first few seconds. This intense atmosphere makes it perfect the compilation its a part of: the latest Monstercat x Rocket League compilation.

After building anticipation through singles like “Just Life” and “Behind Those Clothes,” Jaguar Dreams have at last unveiled their debut self-titled EP. The seven-track collection of songs leads the listener on a somewhat nostalgic journey, dwindling down with the last song, “Tapts.” This one’s a bit darker than its predecessors but is equally beautiful. “This first EP is a collection of songs that came about somewhat effortlessly in a shack in the middle of the jungle using basic instruments,” they tell their listeners in the EP’s description. “We produced and arranged everything back in our studio in NYC and the collection became a true culmination of our collective pasts embodied in a new shape that felt right.”

While I can’t understand a word of this song, its beauty is so utterly apparent. “Hislerim” manages to build a bridge between what many would consider a “heater” and a more melodic, ethereal piece. It ebbs and flows from bass-filled choruses to verses of gorgeous vocals backed by minimalist instrumental elements. This song has it all: twinkling piano melodies, heavenly vocals, a hefty dose of bass — and still comes together in a neatly packaged, comprehensive way. Good music truly transcends language barriers.

Dexter’s Beat Laboratory Vol. 64

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 64Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


There’s something so intriguingly uplifting about this remix of Above & Beyond‘s “Happiness Amplified” with Richard Bedford. Josep takes the original’s infectious melody and amplifies it (pardon the pun) with a guitar riff that adds a whole new level to an already incredible track. Bedford’s optimistic vocals carry this compelling remix in a powerful way, as it transforms from a trance track to a progressive rock-inspired rework.

warner case‘s good time heart dance arrived just a few days ago, featuring two tracks primed for both easy listening and the dance floor. After delivering “good time” in September with Zak Downtown, the New York artist returns in full force to shore up the full EP via the lighthearted “heart dance.” This one is highlighted by spunky horn stabs and an irresistibly groovy beat. Spencer Ludwig lends his vocals to the EP’s second track, launching “heart dance” into its full funky potential.

Hidden Face isn’t messing around on his latest pieces of work. The Parisian artist has been diving deep into the melancholy dance music realm, channeling ZHU-like vibes with his mystery-shrouded melodies. His newest, “You Don’t Know,” is another dominant display of his style. A minimalist bouncing beat contrasts with vocals that call out, “you don’t know.” Hidden Face takes the time to let each note sink in, and that’s perhaps part of what makes his style so compelling.

Hillsdom and Novokan3 make their return to Pilot Records with a two-part collection of drum & bass goodies. “Obsession” and “Colours” impeccably showcase their style of drum & bass: laid-back and packed with emotion. In “Obsession,” they create a mellow atmosphere that features warped, wonky synths and emotive vocals. A mid-song interlude takes a break from percussion to deliver a smooth-gliding melody before then ramping back up into a rapid drum & bass rhythm.

This. Goes. So. Hard. Known for his well-crafted soundscapes, Au5 takes on Detroit industrial artist Celldweller‘s “Eon.” This seven-minute venture rattles the ribcage with its grinding dubstep elements, intensified by Celldweller’s screamo interludes. Fondly dubbed “metalstep” by a SoundCloud commenter, this classification seems to fit this heavy hybrid perfectly. Both artists’ otherworldly styles mesh incredibly in this remix, highlighting the best of each of their talents. Color me impressed.

Dexter’s Beat Laboratory Vol. 63

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 63Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


In celebration of Wednesday’s holiday, Foxhunt unleashed a powerful seven-minute mashup of two of his songs: “Imperator 1.5” and “Graveyard Shift.” Titled “Dead End,” the producer combined the already-hefty tunes into a massive electro house heater. Catchy synth melodies dance intermittently through a churning house beat, keeping the track rocking at 128 BPM. The mashup marks the last release before the producer goes on an “extended hiatus” — and it’s a strong note to go out on.


Silk Music stalwart Vintage & Morelli has returned to the label for a scintillating original, “Come Home.” The emotive progressive house tune ebbs and flows between dancefloor-ready characteristics and a more subdued aura. A mid-song interlude ushers in a soft piano melody, accompanied by a flute, to carry the listener into a heavenly, vocal-filled bridge. Vintage & Morelli slows reintroduces the house beat, building “Come Home” back up to its original momentum. It’s a beautifully constructed piece of work, holding the listener’s attention keenly throughout its seven-minute entirety.


Since its introduction in August, Go Freek‘s “Love Is The Weapon” has popped up across the globe, from Australia to the United States. The proof of this lies in Aylen‘s latest piece of work, in which he’s taken on remixing the Sydney artists’ track. He’s given the track a fresh, even groovier vibe, layering in a subtle bassline and jungle-inspired percussion elements. These components complement the track’s vocals well, leaving listeners with an entirely new perspective on the song.


London duo Artificial Intelligence have been tearing up the drum & bass scene since 2003, consistently popping up on UKF with hot new tunes in the liquid funk sub-genre of drum & bass. Their latest, too, is a UKF release and is part of their upcoming installation of The Series, which is out November 2 via Integral Records. “B.A.D.A.” is the first in this new set of tunes and features a silky-smooth ambiance that serves as a perfect introduction to the collection. The dnb beat glides effortlessly, allowing snippets of vocals to peak through and add extra zest to the song.


Trivecta has been composing beautiful, atmospheric tunes for years, no matter the genre. Whether it’s dubstep or trance, the Tampa-based producer has a unique ability to transport his listeners to the exact world he’s created — and it’s a beautiful thing. His latest, “Ghost Of A Friend,” is equally captivating and alluring. “This is a super chill track that I’ve actually been sitting on for a few years now,” he says of the song. “I’m a big fan of music that’s super nostalgic and based around a slow-burning journey. That’s what this tune is all about.”

Dexter’s Beat Laboratory Vol. 62

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 62Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


Silk Music has been consistently been releasing some of the prettiest music in the electronic music game right now. In a seemingly endless span of releases, the label pumps out beautiful songs and EPs like this one: eleven.five and Andromedha’s Ode to the Rising Sun EP. The introductory track, “To Mean It,” is a sparkling composition of  twinkling synths and soaring melodies. Its transportive qualities have me hitting repeat over and over.


Silky-smooth producer/vocalist Fatherdude returns after September’s “Summer Gone” with a new offering, “Business.” This swanky tune is driven by a funky guitar lick and some groovy percussion, with Fatherdude’s vocals serving as the cherry on top of this soulful piece of work. Each of Fatherdude’s releases seems to surpass the last – with this one being perhaps his most well-polished tune to date. I can’t get it out of my head.


After remixing Drake‘s “In My Feelings” this summer, Jersey club king DJ Sliink has delivered his latest: a bumping rework of Bruno Mars’ hit “24K Magic.” This remix serves as a perfect reminder of why Sliink is one of the most notable producers of the genre: its impeccably produced, with his signature vocal chops cutting up Mars’ vocals in a compelling manner. Its lighthearted atmosphere delivers a fun new side of this hit song.


Who knew The Knocks‘ “House Party” would mesh so effortlessly with Michael Jackson’s Halloween classic? The New York duo surprised fans a week before the spooky October holiday with a seven-minute rendition of their standout single woven into “Thriller,” and they match up undeniably well. This is a perfect one to add to Halloween playlists with its modernized flair – and, of course, Vincent Price’s unforgettably creepy narration.


Knife Party‘s classic “Sleaze” with Mistajam will forever remind me of college parties when it first came out. The infamous chant of “until they kick us out, people, move your feet” would get louder and louder as the song went on, and it’s seared into my memory with the hazy nights that accompanied it. So when No Mana and i_o began teasing their resurrection of the song, the nostalgia hit hard and I couldn’t wait to hear the full product. It has finally arrived, and it’s everything I could’ve hoped for. They’ve held onto the iconic chant but have warped and skewed it in their techno-oriented ways, adding a furious build that leads into a speedy, bass-fueled drop.

Dexter’s Beat Laboratory Vol. 61

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 61Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


One wouldn’t think Varien‘s darker style would mix well with a group like The Chainsmokers. But the Florida-based producer is here to flex his versatility with a brilliant rework of “This Feeling.” He flips the song’s major key into a minor key and gives it a more shadowy edge, going the synthwave route and giving the song a fresh, new tone. “I think my remix brings a new way of looking at the song,” he says. “I believe it’s a much more emotional and deeper vibe, compared to the upbeat and cheerful vibe of the original.”


At the end of August, Totally Enormous Extinct Dinosaurs debuted a groovy, bass-fueled original by the name of “Body Move.” A few months later, he’s unleashed a remix pack for the song, featuring the talents of Bag Raiders and Raito. Raito, who often manufactures intense techno and house tracks like his Virtual Self flips, takes a smooth route on his TEED remix. Gliding percussion elements deliver a more relaxed vibe than the original, as Raito levels out the songs roots for a techno-oriented, dreamy flip.


It’s been a minute since we’ve seen new material from Mt. Eden. The dynamic powerhouse producer revealed a brief mixtape in February and a “Lion King” remix in August, but has since been quiet. Turns out he’s been cooking up a fiery house tune called “Momentum.” Backed by his usual top-notch production and a sizable amount of bass, this dancefloor-ready tune shows Mt. Eden truly hasn’t lost any “momentum” and knows no genre limits.


Becko‘s impeccable combination of beats, bass, and alternative/emo-inspired vocals have become a favorite of mine. Drawing inspiration from “Stranger Things,” he’s labeled his latest “Mindflayer” and released it via The Arcadium. His powerful vocals shine in this dramatic track, weaving in and out between heavy synth melodies and climactic choruses. Originally released as part of his DIGITAL HEAVEN EP a few months ago, he showcases striking pieces that thrill with each listen.


Rameses B has been busy this year. He’s released not one, but two Spacewalk albums, each taking listeners to new heights with their astral-inspired serene productions. Rameses B returns after July’s Spacewalk II release with “Portal” featuring GLaDOS. Glitchy vocals tell a story of life and death over a psytrance backing. Bittersweet violin melodies swim in and out of the production, interspersed seamlessly with elements for a range of genres. The producer again demonstrates why he’s caught so much attention over the past seven years with a piece that’s as intriguing as it is relaxing.

Dexter’s Beat Laboratory Vol. 60

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 60Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


After becoming hooked on his tunes in 2014 via “Dega Dega” on Mad Decent, I’ve kept my eye on Aquadrop. The producer seems to know no limits and can swap seamlessly between genres from one release to another. His latest, “Believe In Me,” is a sultry, electro-fueled number, highlighted by luscious vocals and a grooving bassline. It’s incredibly catchy and is part of the Italian producer’s Out Run mini EP.


Savoy’s been holding onto this treasure for a while and have finally released it to the world. “Treat Me Right,” a collaboration with vocalist Laura Reed, is afire with the dramatic elements of dubstep and electro the Brooklyn trio has become known for. The song is only their second release of the year — likely because two of the group’s members have been developing a new project called Jaguar Dreams. No matter what moniker the music’s under, though, these guys consistently make some of the most innovative “electronic rock music” in the game.


Mielo and Align have linked up to bring a gorgeously atmospheric track that’s reminiscent of ODESZA in its dreamy vocals and prominent percussion elements. It’s simultaneously calming and bass-heavy, bringing two worlds together in one collaboration. “James & I met freshman year while at rowing practice for The University of Iowa,” Mielo says of the song. “I had already started learning how to produce music & James was a huge fan of downtempo electronic music, so he soon began to pursue music. We’ve been friends ever since.”


Since its release in August, Netsky and A.CHAL‘s “Téquila Limonada” has been on repeat. Its fresh-squeezed flavor permeated my brain and stuck there, so my excitement only grew when I saw the track would be getting a reworking from UK drum & bass heavyweights The Prototypes. After it premiered on BBC Radio 1, the duo uploaded a cut of it to their SoundCloud, wowing with its anticipatory builds and rapid tempo. It’s a fun reimagining that gives some new flair to an already exceptional track.


In his latest offering, Kent’s Memtrix thrilled with a combination of enthralling melodies, infectious singing and a rapid drum & bass tempo. He holds nothing back, packing a punch filled with bass and vocals that draw the listeners in. “Dare Me” makes up part one of his newly released two track EP, which is out now via Viper Records. Its counterpart, “Oxidate,” is equally dynamic, creating a journey that feels much much more epic than just two tracks.

Dexter’s Beat Laboratory Vol. 59

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 59Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here.


Putting his own “post-apocalyptic horror house” spin on AWAY‘s “Honest to God,” Bloodtone returns in full force. The producer ramps up the energy from the original, bolstering it with a pounding bassline and down-pitched vocals. He calls the original “one of the my favorite electronic tracks that I have heard in the last five years” and brings his own creative flair to the piece by building a dark, eerie atmosphere. He gave a similar treatment to Alison Wonderland‘s “U Don’t Know” a few months ago and returns with an equally sinister reworking here.

F.O.O.L‘s new EP is one of the most fascinating bodies of work I’ve heard this year. Highway weaves its way from mystery-filled synthwave to high-powered electro, teaming up with collaborators like Laura Brehm and Anzo to complete the collection. After releasing the EP’s title track in June, fans knew to expect something dynamic and fresh from the Swedish producer — and that’s precisely what happened. The EP’s second track, “Escape Plan,” follows the synthwave path, thrilling with a frantic orchestral melody and backed by racing ’80s-style synths in the verses. The synthwave takeover is nigh, friends.

Oliverse recent joined the Disciple Records family, and he bursts onto the label with an EP that showcases his versatile production skills. The title track for the EP, “Get High,” is a powerful piece. Catchy vocals lead into a forceful, wobble-filled drop, pounding the ears with a perfect balance of old-school dubstep and contemporary elements. He makes an impressive showing for his Disciple debut, dropping a 30-minute mix just days before the release of Get High. From his Koo remix in 2015 to now, I’ve thoroughly enjoyed observing his experimentation across the EDM spectrum.

The release of deadmau5‘s “Monophobia” with Rob Swire in July led to an onslaught of remixes. Artists couldn’t wait to get their hands on the mau5trap masterpiece, and rightfully so. It’s been reworked every which way, but one in particular’s caught my ear. Essenger took the time not only remix “Monophobia,” but cover it as well. His take is a minimalist, garage-influenced one, leaving space for the listener to absorb the dreamy essence of his production and vocals. A guitar melody takes the place of the song’s plucky introduction, leading the unassuming listener into a dramatic synthwave switch-up about halfway through the cover. It’s a refreshing and compelling take on the original.

There’s just something special about this 11-minute piece from Chasing Dreams. I first heard it at the beginning of a Gorm Sorenson Silk Music mix and was captivated by its gorgeous ascending melodies and peaceful atmosphere. “The One Who Watches” begins with a simple piano melody and leads into harmonious chords, gently easing the listener into the serene soundscape that lingers long after the song has come to a close. It’s an uplifting, hopeful piece that’s part of Chasing Dreams’ Ascesa album, which has been described as “a lingering, gentle, pensive rise presented as a melodious milkshake of stories, experiences, and feelings.”