Inverted Silence – Fusion

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Jazz has enjoyed one of the smoother forays into the electronic production spectrum. With soulful catalogs from the likes of Gramatik, GRiZ, and Haywyre gaining popular traction year after year, the crossovers between jazz and soul’s inherent room for improvisation and rhythm continue to be explored in exciting new ways. One such explorer, Netherlands-based producer Inverted Silence has dropped off a playful new electro-soul cut titled “Fusion” that wraps together funky bass licks, swelling drum kicks, and impressive key work. Proctoring a multi-layered DJ tool perfect for live settings, Inverted Silence delivers one of his most impressive singles to date on “Fusion.”

The emerging artist, real name Midas Klare, grew up with a background in both computers and music, making his production style a natural extension of his comfortable strong suits. Evident inspiration from 8-bit game culture, matched with a fine-tuned ear bring about Inverted Silence’s latest “Fusion,” available via Tasty.

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Foxhunt – The Undead (Original Mix) [Free Download]

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Complextro is all but dead. Quietly sitting in the shadows of the moment’s more popular “future” genres, the intricate house arrangements popularized by Wolfgang Gartner, Porter Robinson and Feed Me still remain enduring dance floor ignitors in clubs all over the world. One artist pushing fresh complextro compositions is Leeds-based Foxhunt, who’s latest piece, “The Undead,” is an intense adrenaline rush that demands stomping footwork from start to finish.

Foxhunt‘s latest, released via electro tastemaking imprint Tasty, rounds together the producer’s evident metal influence with snarling electro elements, making for a dance floor demolishing mayhem reminiscent of early Knife Party products. The Tasty recruit drops off “The Undead” just ahead of the slew of Halloween-themed lineups bound to break — expect this one to rattle a festival PA near you soon.

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The Bloody Beetroots announce long-awaited new LP ‘The Great Electronic Swindle’

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Masked mayhem maker and electro punk pioneer Sir Bob Cornelius Rifo has officially announced the release of the Bloody Beetroots‘ long-awaited third studio album, The Great Electronic Swindle. The new record will feature a slew of musical talent from outside of the electronic music spectrum, ranging from Aussie rockers JET to Anders Friden of In Flames to most recently, self-proclaimed EDM hater Perry Farrell on the album’s new single “Pirates, Punks, and Politics” released today with the album’s announcement.

Rifo, who is celebrating his masked moniker’s tenth anniversary in 2017, has always maintained a renegade association with electronic music, and his new album, loaded with collaborations, is expected to continue the artistic progression of the Bloody Beetroots’ rebellious relationship with dance music. Regarding the record’s unapologetic title, Rifo explains,

“The title is a tribute to the Sex Pistols and the film ‘The Great Rock and Roll Swindle’ directed by Julian Temple.  It was a sign of the end of an era. The end of Punk.  I want to reclaim that for electronic music because the business squeezed the genre so much that they delivered the end of electronic music itself.  We are living in a great electronic swindle.”

The Great Electronic Swindle is due October 20 via Canadian imprint Last Gang. Stream the Bloody Beetroot’s latest, “Pirates, Punks, and Politics” here.

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Neon Tiger releases debut album Paperback Sunset

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The 80s are back in Neon Tiger‘s debut album titled Paperback Sunset, as the album artfully combines Indie Rock with electronic music to create a unique blend of genres. Neon Tiger is an indie-electro hybrid spin off from Australian DJ/Producer Maarcos. Paperback Sunset brings lyrical emotion to the fore, with songs like “Neon Rose” and “We Can Run” telling stories of love. “Summer”, along with some other tracks on the album, also feature Neon Tiger as a vocalist. Other vocalists featured throughout the album include Coyle Girelli, Sunsun, CONWAY, Color Drive. Norman Doray, and Barbara Tucker.

Paperback Sunset features 14 tracks, and if you purchase the album on iTunes, you receive a free digital booklet as an extra.

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Weekend Rewind: Knife Party’s ‘Rage Valley’ EP turns five years old

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“Fifty bucks? Are you crazy?” Walt Jr. incredulously asks his father after they sell their Pontiac Aztek to an auto body shop. Walt Jr.’s father winks in response, proud of his recent sale. Cut to the next scene, in which father and son pull into their driveway in the newly purchased Chrysler 300 and Dodge Challenger. Viewers can hear audio from a decadently audacious track, aptly fitting for Walter White’s newly found intrepid wealth. For those unfamiliar, this scene is from Breaking Bad, perhaps the greatest television show of the recent era. Fans will immediately recall the soundtrack to the end of this particular episode features “Bonfire” by Knife Party. One might go as far as claiming the cult-like idolatry surrounding Walter White is comparable Rob Swire and Gareth McGrillen‘s veneration within the dance music industry.

“Bonfire” appears on Knife Party’s sophomore EP, Rage Valley, which was released half a decade ago. To celebrate this trend-setting, genre-defining work is not to simply listen to the record again, but rather to bask in the heinous sounds that amplified the then-growing dubstep and complextro house movements. To celebrate this EP is to lovingly embrace the absurd noises that terrify the Baby Boomers and shake their dwindling hopes in the artistic tastes of younger generations. To celebrate this EP is to understand where it comes from and who made it. Swire and McGrillen did not begin with Knife Party, and likely won’t end with Knife Party. Ultimately, this opportunity to celebrate Rage Valley is also an opportunity to celebrate these two creative talents producing at the top of their respective games.


Swire and McGrillen met at Scotch College, later forming heavy metal band Xygen – their first project together. The parallels between Knife Party’s tenacious output and lots of classic heavy metal, with distorted guitar riffs and belching bass lines, shine distinctly in revisits to their old material. After Xygen split, they formed Pendulum in 2002 with Paul “El Hornet” Harding. Pendulum’s creative contribution to drum & bass, live electronic music performance, and the electronic music industry as a whole cannot be understated. Elaboration here should be reserved for a post of it’s own.


Eventually the two split off from the iconic drum & bass trio to form their own offshoot, Knife Party. Their first EP 100% No Modern Talking leapt bounds with the uniquely terrifying, now-canonized “Internet Friends” as their breakout track. “Modern Talking” refers to a hackneyed preset in the Massive synthesizer used by many dubstep producers. The outspoken opinions of the artists behind the Knife Party project bleeds into their music. Their first EP was one of many jabs at their contemporaries inability to innovate beyond what’s already being produced.

A year after their first EP, Rage Valley was delivered. The opening track, the album’s title offering, “Rage Valley” is a teeth-grinding, anxiety-inducing electro house fire starter. The track is a searing, truculent whirlwind of artificial sonic screams, wails, and distorted bass riffs. “Centipede” comes second. After the unnerving vocal sample provided in “Internet Friends,” “Centipede” follows in its wake with an equally disturbing vocal sample seemingly repurposed from a dusty old documentary. Rather than four to the floor house, like “Rage Valley,” Centipede drops into a two-step kick snare familiar to the rising dubstep sound of its time, with melody and sound engineering that matches every bit of the haunting tone of the sampled centerpiece.

Next comes “Bonfire,” arguably the collection’s most popular offering, and perhaps Knife Party’s most successful product to date. The track unabashedly nurtures the nascent brostep sound brought on by the likes of early Datsik and Skrillex. As a poignant exclamation mark and the end of a caustic clause, “Sleeze” with vocals by Mistajam concludes the EP. A refreshing change of pace, “Sleeze” drops the tempo down below 110 drawing on the rising moobahton wave of 2012.

The Rage Valley EP set the bar for bass music in a number of different ways. “Bonfire” and “Centipede” fed into the dubstep canon, while “Sleeze” and “Rage Valley” into fed moombahton and electro house, respectively. The irony here is, while Swire and McGrillen do what they can to avoid sounding derivative and often go as far as satirizing music producers that cannot innovate, they themselves are often icons for imitation and derivation, and perhaps Rage Valley is the best example of this. The much-maligned “brostep” term sparked around this release surely inspired many a young producer to imitate such an iconic sound, though half a decade later, each track of Rage Valley has gracefully stood the test of time.

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Porter Robinson has deemed all but 11 of his songs ‘unofficial’

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In a recent tweet, Porter Robinson announced that all but eleven of his tracks are now being dubbed “unofficial.” “This is the canon,” Robinson wrote. “I’ve been making music for 12 years and i only wrote 11 songs, wow.” He follows the tweet with a list of the eleven songs deemed to be a part of his “canon” in his eyes, which includes “Language,” “Shelter”, and “Sad Machine,” and is noticeably missing fan-favorites such as “Lionhearted” and “Spitfire.” Robinson includes one remix in the list as well – his spin on Nero’s “The Thrill.”

Whether Porter Robinson’s dissociation from his past catalogue is due to a disconnect with his recent aesthetic or a simple desire to start anew after the conclusion of the Shelter tour, we will continue to support Porter Robinson and his career decisions, and we hope him all the best.

H/T: Run The Trap

Featured image by Rukes.

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Skrillex’s ‘Bangarang’ turns 5 years old today; revisit the critically acclaimed EP

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2011 was a critical moment for electronic dance music. It hadn’t yet hit the massive tipping point that sent it snowballing into the mainstream music space, but it was close. 2011 was defined by the emergence of new sounds and genres that propelled many of today’s biggest artists into bold new places. One such genre was dubstep, the UK craze that crossed the Atlantic and landed on American shores a few years prior, with one such artist at the forefront of that wave: Skrillex.

In late 2011, Skrillex released his now canonized Bangarang EP — which turns five years old today, December 23. The EP set out to prove that bass music could live outside the UK basement and exist in ways nobody had ever heard before. It also showcased Skrillex’s propensity for collaboration and the idea that nothing would ever be too out-of-bounds for Sonny Moore.

The EP paired the OWSLA head with The Doors, Wolfgang Gartner, and Ellie Goulding, where he hopscotched from blistering electro to pounding rock-dubstep fusions — even making way fro some vocally-driven house. Moreover, the EP’s title track, along with “Kyoto” and “Right In,” have become some of the most favored offerings in Skrillex catalog.

Although Skrillex’s complexion as an artist has changed tenfold since the EP’s release, five years later Bangarang still stands the test of time as perhaps his best EP to date.


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Justice finally return to the Essential Mix this weekend

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Justice crept out of their Parisian studio hideout this year brandishing a new full length LP, Woman, which proved to be our album of the year in 2016. The press junket behind the record was typical for Justice: a steady stream of tantalizing singles, enigmatic, rare online pop ups, and of course, a second Essential Mix (their first in nearly a decade) as the icing on the cake.

The Essential Mix was every bit as anticipated as the album itself, with fans starved to hear a broader scope of Justice’s new vision. However, just ahead of the mix’s debut, Gaspard and Xavier had to postpone their appearance due to scheduling conflicts, promising fans that the session would air before year’s end.

Delivering on their promise, the duo are lined up to take over the BBC Radio 1 decks this weekend on Saturday, December 17. The second Justice Essential Mix will arrive nearly one month to the day after Woman‘s release, and now that fans have had the proper amount of time to digest the pair’s latest studio offering, the anticipation is somehow higher now than it was a month ago.

The French electro factotums put up a strong effort for album of the year, they reasserted themselves at the top of everyone’s production radar, and now they’re primed to drop what is likely to be one of the top Essential Mixes of 2016 as well. In preparation, listen to Justice’s first Essential Mix below:

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Justice craft a contemporary disco masterpiece on ‘Woman’ [Album Review]

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It’s been nine years since Justice’s seminal debut, †, and five years since Xavier De Rosnay and Gaspard Auge’s sophomore follow up, Audio, Video, Disco — gaps of time that can feel more like an eternity within the electronic music landscape. Now, at long last, the pair have returned, wielding a mononymous album, intending to challenge the ephemeral character of the “EDM boom” that took place in their absence. Enter Woman.

Cognizant of the world’s expectations in the wake of their re-emergence, Justice’s Woman addresses the concept of love through music while simultaneously standing as a statement about the transitioning social politics of love and sexuality in the modern era. Matching their sonic acumen to the name on the record’s sleeve, leave it to Justice to challenge dance music’s status quo while highlighting the intensely empowering nature of the femme.

The album’s creators honed in on one key component throughout the recording process: actively not overthinking anything. Xavier and Gaspard are acutely aware of the fact that dance music expects its factotums to “blow everyone’s mind,” but rather than break character with an attempt to chase mainstream success, Justice, as they always have, opt to open-endedly allow pop culture to decide its own relationship to their work. Historically, that approach has played out quite well for the french electro pioneers.

The third time around, the intent over the LP’s 10-track span is singularly focused on genuine songwriting, and in turn, procuring timeless dance classics as the result. From its core to its perimeter, that is exactly what Woman is: a collection of instant-classic indie dance gems. And just like a man courting a woman on the dance floor, not overthinking it plays a critical function in the record’s complexion.

Mostly sidestepping their propensity for dramatic, heady, and heavily-distorted electro/rock fusion, the Ed Banger Records duo take a different avenue with Woman, penning their own charming open love letter to the fairer sex. Almost like a narrative, the album has a clearly defined beginning, middle, and end. The record is introduced by “Safe and Sound,” which jump started the Justice comeback earlier this year. Most closely reminiscent of their older productions, it sets the tone for the release, but lends itself more towards the rest of the album’s contemporary disco feel. A sense of building sensual intensity is palpable on tracks like “Pleasure” and “Fire,” with the record hitting its full-blown culmination on the seven-minute masterpiece that is “Chorus,” and the following selection, “Randy.” Justice do, however, intermittently return to old form on tracks like “Alakazam!” and “Heavy Metal,” across the release. The album ends its narrative on an elegant note, fading to black on the tail end of the release with “Love S.O.S.” and “Close Call.

Justice use their words carefully: the word woman evokes a bold, poignant sense of human divinity. Its a word that’s both commanding and loving all at once — a dichotomy that resonates beautifully over the course of Justice’s new LP. The timing of the album’s release is fitting too, landing at a time when feminism and gender identity are as prominent as ever.

It feels like it has been ages since Audio, Video, Disco — eons since †. Now, grown men who’s days of black leather jackets and studs are possibly behind them, Gaspard and Xavier have written a record that is perhaps more in-tune with their emotional capacities, while simultaneously challenging the fleeting nature of pop success. Ultimately, Justice have delivered another ageless dance opus with Woman, concentrating solely on one of the most enduring artistic catalysts of all time: love.

Kaskade & deadmau5 unveil their newest collaboration, ‘Beneath With Me’

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“Beneath With Me” initially surfaced just over a year ago, conjuring immediate excitement among fans of the track’s collaborators, deadmau5 and Kaskade. Wondering whether or not the new output would stand up to the partnership’s timeless 2008 classic, “Move For Me,” fans have eagerly anticipated the mysterious ID’s release since its preliminary emergence.

The track doesn’t play as a follow up to deadmau5 and Kaskade’s prior work, but rather stands on its own as a remarkable production. “Beneath With Me” is dark and melancholic in nature, which is a refreshing development to see from Kaskade, who often leans toward a lighter side musically. Skylar Grey lends her eerie vocals to the crisp progressive framework, enhanced with bone-chilling string accentuations and sharp synths that distinctly reflect deadmau5’s signature style.

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