Dexter’s Beat Laboratory Vol. 98

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 98Deters 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 mid-June, Liquicity Records continued the celebration of its 10th anniversary with the release of Reflections Pt. 2. One of the album’s eight tracks—Shock One’s remix of Ekko & Sidetrack‘s “Long Summer”—recently made its way to SoundCloud. It’s a gorgeous drum ‘n’ bass piece, featuring the heavenly vocals of songstress Reija Lee. She sets the mood for the emotive song with a silky introduction, paving the way for the pure, soulful energy that is to follow.

Black Caviar have gracefully morphed Bazzi‘s trap-infused “Paradise” into an upbeat house remix in their latest release. The Pennsylvania natives maintain the original’s smooth-flowing vocals and prep the instrumentals for the dance floor by adding a steady-grooving beat. They keep the mood light with a piano melody that reflects the easygoing simplicity of summer nights—which this tune seems to have been made for.

Fresh off a remix of Local Dialect’s “Poseidon,” Gorgon City have returned to deliver a brand new original, “Elizabeth Street.” The UK duo pay homage to the birthplace of house music, Chicago, in this new piece of work, luring listeners in with a somewhat dark atmosphere and an irresistible bassline. “Elizabeth Street” makes an excellent addition to the pair’s 2019 discography, which at only halfway through the year is already impressive.

I wrote about StayLoose and Fatherdude‘s “Illusions” in May, and my obsession with the tune carries into the remixes of it that’ve followed. One of the latest is from an Australian producer by the name of Dream Fiend. The artist takes a retro approach to his take on the track, bringing in elements of nu disco and synthwave to deliver listeners to the past. Bright synths elevate the song to new levels, and it’s addicting.

Pittsburgh synthwave duo Arcade High recently released their 10-track New Impressions LP, giving fans a taste of the ’80s over the course of the album. The last track before the digital bonus track is “Only Memories,” which harkens back to simpler times with a moody synth melody and a retro beat. It’s wistful and nostalgic, sprinkled with elements of a beloved decade that’s seeing a resurgence in recent years.

Dexter’s Beat Laboratory Vol. 97

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 97Deters 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.


Australia bass heavyweight ShockOne makes his first appearance on Monstercat in fine fashion, teaming up with The Bloody Beetroots for “Run.” This dramatic electro single is a hefty one, coming from ShockOne’s upcoming second studio album, A Dark Machine. With pulsing synths and striking vocals, its ’80s undertones shine through the modernized electronic music themes.

A-Trak‘s “Work It Out” just got a disco-influenced refresher from Friend Within, and it’s as groovy as it sounds. In his rework, the UK producer has beefed up and lengthened the build-ups, drawing out the anticipation for the funky drop that follows. It retains the retro flair of the original, while adding an extra touch of zest that is sure to keep dance floors packed into the early hours of the morning.

Diplo‘s Higher Ground EP has received a variety of reinterpretations since its release in April. One of the latest of these is from Yotto, who’s given the moody “Win Win” a dreamy, more ethereal tone with its fluttering synth melodies and subtle incorporation of the original’s vocals from Tove Lo. Yotto pays close attention to his world-building in this remix, creating a fantastical and mysterious soundscape out of “Win Win.”

The journey back to the ’80s continues with scintillating synthwave releases from the likes of PYLOT. “Fearless” kicks off with the introduction of a striking bass, building gradually until it’s rich with full-fledged anthemic synth melodies. In the spaces between the powerful verses, listeners will find moody interludes that give an even more dramatic tone to the the overall song. Its retro and timeless qualities make it easy to latch onto.

Dreamchaser knows how to translate a rock song into a synthwave sensation, as exhibited in the Florida producer’s latest: a remix of Captives’ “Signs.” He’s removed the hard-hitting drums and guitar, favoring instead a subtle beat and powerful synths. Matt Flood’s vocals take center stage in this remix, allowing the listener to experience his vocals in a raw and emotional way. With Dreamchaser’s choice of instrumentals, it’s addictive.

Dexter’s Beat Laboratory Vol. 96

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 96Deters 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.


Grabbitz and Sullivan King‘s roots are firmly planted in rock ‘n’ roll, and their new Monstercat collaboration showcases that fact perfectly. “Crazy As You” manages to be simultaneously vulnerable and heavy, weaving seamlessly between Grabbitz’s emotive vocals and Sullivan Kings fiery guitar progressions. This song is inspiring, allowing both artists’ talents to shine in their rawest forms. Prepare to have your heartstrings tugged.

Ever in pursuit of a party, The Knocks have created a pristine summer tune called “Awa Ni.” Just in time for the longest day of the year, they’ve linked with Nigerian singer Kah-Lo for an easygoing, carefree single. The phrase “awa ni” roughly translates to “that’s us” in Yoruba, one of the native languages spoken in the city of Lagos, Nigeria, where Kah-Lo’s from. She said in a release that the beat The Knocks concocted “gave me the vibe of rolling around town back home with my friends” and made her want to write something about where she’s from. “Awa Ni” is the perfect result.

The countdown to Flite‘s Calm Before the Storm EP continues with the release of a new single, “Skywalker,” on Liquicity Records. The tune follows the debut single of the compilation, “Decisions,” which arrived a few weeks ago. Both songs are are impeccable examples of top-quality U.S. drum ‘n’ bass, as Flite continues his mission to bring such music to the States’ masses. “Skywalker” is a full-throttle launch into outer space, rocketing through its drum ‘n’ bass rhythm and gliding at a more graceful pace through interludes of twinkling melodies and soothing vocals.

BLOODTONE brings listeners back to earth with the release of “Already Dead,” an ominous techno endeavor that pounds furiously in listeners’ ears. Backed by a frenetic beat of the deepest bass, “Already Dead” drifts between melancholy piano melodies and eerie vocals chanting “already dead” that bleed into the corners of the brain. BLOODTONE continues to cement his dark and sinister style with captivating releases such as this one.

Horn connoisseur Alexander Lewis is back again with another trap-infused heater. He continues to make music that’s unpredictable and completely unique, opting this time to take a cinematic and orchestral approach. He described “Soar” perfectly in the song’s description: “‘Soar’ is an amalgamation of my influences from current movie scores and trap. It features three string players (recorded and layered to sound like a full orchestra) and eight brass players (two horns, two trumpets, four trombones). At the time of writing the song, ‘chaos’ was the only word to express how I was feeling, but when I had a final product it ended up being so much more than that. It represented/represents positive ways of dealing with chaos, and finding the beauty in it.”

Dexter’s Beat Laboratory Vol. 95

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 95Deters 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.


Who would’ve thought Bring Me The Horizon and Sub Focus were a match made in heaven? The English drum ‘n’ bass producer has truly worked his magic on this subtle January release from the rock band, meticulously maintaining its delicate aspects while sprinkling in more intense drum ‘n’ bass elements. The beauty of this remix is that it doesn’t detract from the brilliance BMTH’s original. Instead, it gives listeners a refreshing new way to digest its intricacies.

Haywyre was the perfect person to tap for an official remix of Martin Garrix‘s “Summer Days.” The pianist brings an effortlessly groovy air to the track, incorporating funk-laden synths during the instrumental-focused sections and gorgeous piano chords to the vocal intervals. Like all Haywyre tunes, it’s impossible to not bob your head or tap your foot on this one. Check him out playing it live here.

In his new two-track EP for Liquicity Records, mystery producer Oakwite shines. “Chlorophyll,” in particular, is full of intrigue. The name for the song is fitting, as the artist appears to convert sunlight into alluring drum ‘n’ bass. The new body of work follows the February release of Oakwite’s bootleg of nothing,nowhere’s “Hammer,” which also proved to be beautifully unique.

London-based drum ‘n’ bass artist Etherwood is fresh off a new six-track release, which contains a graceful tune called “Away From It All.” Featuring a beautiful reoccurring piano melody and drifting vocals, this one instantly transports the listen to a still forest or a scenic vista. If the listener can fully submerge themselves in the sonic landscape Etherwood’s composed, it’s likely they’ll find themselves in a truly blissful state.

Speaking of six-track releases, Pierce Fulton, too, has released a new body of work. Hoarder’s Paradise made its full appearance on Potential Fun on June 14, featuring songs like “The Move.” This four-minute song is an introspective one, carrying with it an almost wistful theme as it ebbs and flows. Throughout the tune, piano melodies build from delicate to more forceful and are backed by a subtle but substantial beat. The journey-like qualities of “The Move” are completely entrancing.

Dexter’s Beat Laboratory Vol. 94

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 94Deters 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 week ago, Madnap and Yetep revealed an absolutely show-stopping collaboration with Miranda Glory. “It’s Just You” is an emotive journey through Glory’s shimmering vocals, interspersed with dramatic breakdowns and heavy synthwork. The powerful instrumentals were what first hooked me on this tune, but as I’ve listened to it over and over again, I’ve come to truly appreciate the harmonious contrast of Glory’s soothing vocals and the forceful production.

Kramder continues to thrill with a steady stream of infectious house releases. For his latest, he’s taken to Uprise Music for some disco-infused production. “No Time To Be” is a steady-rocking funk tune that uses choppy vocals and a grooving beat to lure the listener in. In his latest release, the French producer has developed a fun, retro edge to his style, helping pave the way for the reemergence of disco elements in today’s house music.

For her new remix package, MARINA has tapped celebrated producer Claptone for a sultry house spin. This dark and moody rendition of “Orange Trees” deviates from the summery atmosphere of the original, which MARINA created to pay homage to the island she grew up on in Greece. Claptone dives to the depths of the nearby ocean on his remake, creating an almost somber backdrop with a deep bassline and shadowy synth melodies.

After six years, Camo & Krooked have made their return to Hospital Records with “Loa.” According to UKF, this new single was “inspired by Haitian voodoo rituals” and Haitian instruments, making for a drum ‘n’ bass song that’s in a league of its own. The introduction is complex and compelling, leaving the listener wondering what’s in store and what the drop will be like. With a unique and addictive drop, fans will find themselves racing through the jungle as the duo paints a vivid sonic picture with their impeccable production.

Dancing Astronaut‘s Breakout Artist of 2018 continues to inspire us with an impressive showing so far in 2019. He follows up his debut LP, Irene, and February’s “Mr. Skitters” with a gorgeous remix of Local Natives’ “When Am I Gonna Lose You.” Medasin’s dreamy style fits in perfectly with the nostalgic feel of Local Natives’ music. Medasin’s subtle trap beat paired with falsetto and pensive harmonies are a match made in heaven.

Dexter’s Beat Laboratory Vol. 93

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 93Deters 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.


Swedish producer F.O.O.L has a flair for the dramatic. This is impeccably evidenced in each piece of music he creates, and his latest is no exception. His remix of Magic Sword’s “Legend of the Keeper” is a dark, shadow-infested synthwave rendition, using powerful retro synths to drive home an eerie theme. A strong beat makes up the backbone of F.O.O.L’s remix, making this an enticing song for dance music lovers of all persuasions.

The last New Music Friday of May brings with it the arrival of SNBRN highly anticipated Solé LP. Spanning 10 tracks, including previously released singles like “Feel My Love” and “Never Let You Go,” the LA-based producer brings his own brand of flaming-hot house to tracks like “Bailas Conmigo.” “I’m so humbled to share Solé with the people who made it what it is!” the producer said in a release. “My friends, family and fans are all behind this, and it’s been an amazing year preparing everything to share with everyone.”

A few weeks ago, StayLoose (formerly known as StéLouse) reissued a 2014 EP, The City, in a deluxe format that included a rework of “Sixteen,” now titled “Illusions (Sixteen).” He’s added talented vocalist Fatherdude into the mix, bringing a whole new layer to the tune. The song maintains the ’80s elements it initially possessed but is given an even more pop-oriented vibe with the addition of the spirited vocals. It’s ridiculously catchy, and it’s fun to hear how it’s evolved over the years.

After few months after the release of his Anywhere But Here EP, Mielo has tapped Ryan Collins to remix standout single “ILY” with Sarah De Warren. The original was a somewhat somber affair, lush with moody melodies and sultry vocals. Collins has decided to revamp the tone entirely, picking up the pace from start and integrating a pounding house beat early on. This upbeat rendition gives listeners a fresh new way to absorb the intricacies of Mielo’s original, along with Collins’ added elements.

RÜFÜS DU SOL are continuing to celebrate the success of their Solace LP, gradually releasing several volumes of remixes for the October 2018 album. They’re now on volume six, which features three remixes of “Underwater,” two of which are from Anjunadeep’s Yotto. Yotto offers up both a “dusk” and “dawn” remix of the iconic song. The melancholy tune is taken a step deeper by the talented Finnish producer, who’s leaned fully into the moody undercurrents of the song.

Dexter’s Beat Laboratory Vol. 92

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 92Deters 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.


Honey & Badger and kramder burst in, guns blazing, on their latest collaboration, “Da Pinte.” This new CONFESSION release seems to be all power at first, but upon introducing a merry piano theme, it’s apparent this trio of artists know how to combine forceful beat with a groovy melody. Between the vocals, pounding bass, and infectious melody, “Da Pinte” has been stuck in my head all week.

Last Island‘s new EP is a work of art. The Scottish artist just unleashed his Sustain EP, which spans five tracks and sounds best when listened to cohesively. “Emerie’s Cave” serves as a clear introduction, leading into a whole collection of some of his best work, including the final track, “Let Stars Fall.” “I wanted to create a euphoric and synth rich sound with the feeling of traveling through into a new world,” he says of the compilation. And that he did.

Astrale has taken on the task of covering and reworking The Midnight‘s formative “Kids.” Starring Essenger on vocals, this duo have revamped the bittersweet nostalgia of the original into a piece that’s fully their own. The initial two minutes feel like an anticipatory build, dropping into a heavier bed of synths for a dramatic ending of the song.

Groovy beats and funky piano melodies abound on AMTRAC‘s new release, “Formal Disco.” Released via his own Openers Records, AMTRAC shines on this latest track, seamlessly melding a smooth bassline with an irresistible melody. He kicked off his 2019 with the more subdued “Just” in February, but he readies himself for the summer months with this more upbeat original, which he says is a “long overdue follow up” to 2017’s “Informal Disco.”

Nora En Pure consistently delivers a sweet-to-the-ears sonic experience, and her latest is no exception. “Birthright,” released in original club mix and radio edit formats, features a serene piano melody, propped up by a low-key backbone of percussion. At seven minutes long, the club mix is primed to serve as a soothing outro for a night of dancing or simply bring a listener peace during a stressful time.

Dexter’s Beat Laboratory Vol. 91

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 91Deters 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.


Varien calls his latest single his “favorite track [he’s] made in years.” He’s tapped Strix as the vocalist on the metal-tinged song called “Hush The Storm Away.” Like all Varien music, it’s a beautifully pieced together composition, packed with dramatic percussion, soaring strings, and powerful breakdowns. Given the sheer complexity of his songwriting, I find something new every time I listen to “Hush The Storm Away.” I love it.

In their latest endeavor, T & Sugah have again taken to Liquicity, this time to release the title track for the Descenders video game. This breathtaking track has been two years in the making, according to the Dutch duo, and it’s well worth the wait. They bring their precise sound design and a healthy dose of bass to “Descenders,” thrilling drum ‘n’ bass lovers of all persuasions.

Polish producer Guy Arthur has taken on a classic: Nero‘s “Crush on You,” which skyrocketed to electronic music fame after its release in 2011. It’s been remixed countless times in the eight years since, perhaps most notably by Knife Party in the same year. Guy Arthur’s given his version an upbeat, retro feel, which is appropriate, since Nero sampled a 1985 Jets song to create their initial revival.

Goldroom classifies his latest single, “U,” as “some disco house for a late night on the beach”—and it’s perfect for just that. Following “Do You Feel It Now?” at the end of April, the LA-based producer has this time joined forces with Chela to kick the tempo up a notch. This simmering dance floor heater is primed for both relaxing in the sun and a late-night nightclub, making it the perfect song to ease fans into the summer months.

It’s Com Truise Persuasion System release day! The nine-track “mini-LP” made its full debut on Ghostly International on May 17, showcasing the synthwave producer at his finest. A shining example of this is “Ultrafiche of You,” a glowing five-minute piece that combines varied percussion and twinkling synth melodies. “It’s a love song, and I don’t write many of those,” the producer told Mixmag.

Dexter’s Beat Laboratory Vol. 90

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 90Deters 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 releasing his blue! EP via the label earlier this year, Brock Wilson returns to Mad Zoo to reveal a new single: “Moment of Clarity.” This track shows the full breadth of Wilson’s skill set, as he moves fluidly between smooth, ambient sections and choppier segments. The middle passage of “Moment of Clarity” features the artist’s own vocals over a bed of minimalist percussion, ebbing and flowing until it returns to a calming outro.

Earlier this week, the music world was blessed with a slew of remixes of Seven Lions, Wooli and Trivecta‘s “Island,” featuring takes from Sullivan King, TYNAN, and many more. Among these is a celestial reinvention from Au5. He’s created a meticulously pieced together version of the song, adding his signature melodic dubstep elements and a heavy helping of bass to craft an adaptation that’s all his own.

Over the years, Canadian duo Eminence have tried their hand at a number of genres, garnering fans worldwide through EPs and singles on Monstercat. In their latest effort, they’ve taken on Vicetone‘s February track “Home,” a slightly wistful piece that still maintained an upbeat atmosphere. Eminence, however, lean into the melancholic elements of Vicetone’s original to create a house remix that’s more understated and alluring.

In his latest tune, Anakim has opted to remix LUNR’s “Shadows.” The LA-based artist has constructed an even darker take on LUNR’s original, tapping into the shadowy elements of Max Comeau’s vocals and sprinkling in ominous synth undertones. At seven minutes long, Anakim’s rendition is a truly eerie but satisfying sonic journey. “I don’t do remixes often, but this one I just couldn’t say no to,” the artist told Groove Cartel.

Just days after announcing a nine-stop US tour, Hannah Wants has unveiled a new single on her Etiquette label, “Love Somebody.” The tech house tune, released in original mix and extended mix formats, consists of retro vocals over an irresistibly infectious beat. This one’s primed for a dance floor and practically begs listeners to keep their feet moving into the wee hours of the morning.

Dexter’s Beat Laboratory Vol. 89

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 89Deters 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 celebrating the return of Skrillex and Boys Noize‘s Dog Blood project in late March, Grabbitz has taken on the task of flipping “Turn Off The Lights.” Grabbitz cranks up the intensity on this take of the pair’s first offering since 2014, speeding up the intro and leading straight into a glitchy, distorted drop. With its simultaneously fun and heavy atmosphere, this feisty but brief flip is sure to make its rounds at festivals this summer.

One of the reigning kings of anthemic drum ‘n’ bass has returned with his first offering of the year, “Devotion.” Dimension has linked with the talented Cameron Hayes for this latest single, building a sinister drum ‘n’ bass instrumental around her powerful vocals. These two are a force to be reckoned with, and what they’ve created in “Devotion” is pure energy from start to finish.

While we’re on the topic of drum ‘n’ bass power ballads, I’d be remiss if I didn’t tip my hat to Koven‘s latest. Katie Boyle and Max Rowat have composed a truly mighty piece in their latest single for Liquicity. Boyle gives her heart and soul to this song, and it’s readily apparent in every line she belts. The combination of her vocals and authoritative instrumentals is goosebump-inducing, and I love it.

The world saw just one bit of new material from Timecop1983 last year in the form of “Back To You” (which was brilliant, by the way), and the ’80s-inspired producer has now returned with a new single, “My Delorean.” The Dutch producer has teamed up with fellow ’80s enthusiast Primo for the beautifully emotive tune, which tugs at listeners’ heartstrings with nostalgic synths and dreamy vocals.

SIGMA follow up their end-of-March release, “Here We Go Again,” with a merry remix from Just Kiddin. Where the former UK duo chose a breezy pop-oriented feel for their original, the latter UK duo have opted for a more dance floor-ready rendition. A bouncing house beat makes this tune even more infectious, and a fun, filtered twist on Louisa‘s vocals makes this remix one worth hitting “repeat” on many times.