A new year, a new decade, and a new five-track Nitti Gritti EP? What a time to be alive, indeed. After teasing fans for a few months with early releases of Shaquille O’Neal, Ookay, and Funtcase features, Nitti’s full What A Time To Be Alive EP has finally been arrived, adding a solo-produced title track and Yako collaboration “Shenzhen.” Spoiler alert: all five tracks are some serious bass music shakers.
From house music to future bass to dubstep, with a Latin Grammy nod to boot, Nitti Gritti is carving out a name for himself as one of the most genre diverse electronic producers of the day. What A Time To Be Alive highlights Nitti Gritti’s affinity for bass music, while showcasing his impressive and variant command of styles. The EP’s Shaquille O’Neal collaboration “Takin’ Over” is a heavy moshpit-inducing dubstep piece while the Yako collaboration, “Shenzhen” lends itself to two unique trap-influenced breaks with a deeper, growling sound design. For all fans of bass music, this EP is a must-listen.
Hailing from New Jersey, Austin Collins (Au5) is a frequent Monstercat-associated artist with a dedicated fanbase built around his beautiful soundscapes. He’s soared through 2019 with multiple releases, festival appearances, and even a feature on Andrew Huang’s “Four Producers Flip the Same Sample” YouTube series. As November draws to a close, he’s blessed us with a brand new four-track EP featuring rising star Nori.
Dusk opens with “Sunset,” an energetic and feel-good tune exquisitely complemented by the talented vocals of Nori. “Dusk,” after which the EP is named, takes a step back, relinquishing some of the prior energy in favor of warm, soothing chords partnered with infectious vocals. Au5’s exceptional production pairs perfectly with Nori’s voice, creating an immersive experience that ought to be heard in its entirety from start to finish.
Fresh off the fall cresting of his Ride Waves Season 2 Tour, saxophone sensei GRiZ has released the fourth installment of his Bangers.Zip EP series. GRiZ started the collection with the first arm this past June, followed closely by Bangers.Zip in August, and Bangers.Zip in September. Each release has served in showcasing GRiZ’s fine-tuned production skills in a variety of musical styles. Bangers.Zip features funky beats and high-energy wobbles that old and new fans of the perennially get-down-friendly producer ought to enjoy.
Kicking off the three-track EP, house tune “Gonna Get Funky” is exactly what you’d expect from the title: a feel-good funky rhythm that’s concocted to get crowds moving. Following closely behind are ad lib-abundant tracks “Let’s Get Weird” and “Tiger Kingdom Space Camp,” two wildly creative tracks that highlight GRiZ’s signature big brass and wonky wobble sounds.
Robotaki has kept himself busy this year, with multiple single releases, a highly praised album Anachronism, a Hayley Kiyoko remix, and now a lusciously dreamy EP with two unique sides. The Toronto-based artist has put on an epic display of talent this 2019 and is solidifying his place amongst the great producers in today’s music industry.
Los Angeles/Quasar are two pillowy soft tracks released on ODESZA’s imprint, Foreign Family Collective. The first, “Los Angeles,” features Oregon native singer Maiah Manser, and her soft vocals overlay Robotaki’s dreamscape production. The song seems to ease muscle tension, as the listener sinks deeply into the track. “Quasar” is more instrumental but equally as soothing. The track features some guitar synths and slowed tempo makes the explosive drops brilliantly effective.
In 2017, FKJ burst into the public eye with the Masego-assisted “Tadow,” a jazzy neo-soul track that showcased both artists’ diverse skill sets. French Kiwi Juice, FKJ’s studio album released the same year, proved for many fans that he was more than a flash in the pan. Now, he’s back with his first extended release in two years.
“Ylang Ylang EP” is full of the lush, tranquil production we’ve come to expect from FKJ. The lone credited feature is given to rising Dreamville star Bas, who features on the EP’s lead single “Risk.” The title track arrives alongside an official video, which features FKJ amidst the jungle he recorded in and named the EP after.
“Last year I spent about six months in a very remote tropical place where I setup a studio,” FKJ writes in a recent press release. “There is almost no one there. No electricity. I was making music out of a generator that was running only by night. The most beautiful landscapes, mountains, beaches. It’s one of my favourite places in the world. When I made music there it felt kind of like a dream state.”
For six consecutive weeks, Kai Wachi showed consistency to be one of his strong suits, releasing a new single each week from his latest EP, All My Demons. The eighth week culminates in the grand finale: the project’s full-fledged debut.
The All My Demons preview that Kai Wachi afforded listeners in the time leading up to the EP’s arrival was hearty, but there’s still unheard Wachi sound to be sought on the full production. Streamers will find it in the form of “Vapula” and the eponymous “All My Demons.”
Wachi seizes streamers’ speakers with his visceral style of dubstep. All My Demons’ title track provides a kinetic kickstart to the electronic endeavor. Across the EP, eerie samples (note the alarm in “ASMODEUS”) intermingle with stabbing synths and anchored bass lines situated in the darkest of tonal depths. There’s a devilish allure to all the low-end activity on All My Demons. It distinguishes the effort as another no-holds-barred approach to bass from the producer—his hardcore listeners wouldn’t have it any other way.
TNGHT are officially back. It has been seven years since Hudson Mohawke and Lunice first came together under the TNGHT banner. The duo’s bombastic beats and larger-than-life sound largely helped propel trap music to popularity, while also informing the decade’s early hip-hop trends. As quickly as they came together though, TNGHT receded into radio silence about a year after their self-titled debut EP—until now. After a steady drip of singles this fall, TNGHT is back with a long-awaited follow up, aptly titled II.
Ahead of the EP came “Serpent,” “Dollaz,” and “First Body,” and now the full eight-track collection is available via Warp Records / LuckyMe. What’s more, the pair have also announced their live comeback, appearing in NYC before year’s end, followed by a limited run of 2020 dates across Europe. See TNGHT’s full itinerary and listen to their latest, II, below.
12 December 2019 – The Dance, NYC – USA 16 March 2020 – Village Underground, London – UK 17 March 2020 – Le Trabendo, Paris – FR 18 March 2020 – Gretchen, Berlin – DE 20 March 2020 – CBE, Cologne – DE 21 March 2020 – TivoliVredenburg – Ronda, Utrecht – NL 22 March 2020 – Orangerie, Brussels – BE
TNGHT are in full comeback mode now. Hudson Mohawke and Lunice announced their first joint project in seven years, following up on their self-titled 2012 EP with and aptly titled II, due November 12. The new EP follows a stacked BBC Radio 1 Essential Mix, and lands by way of the duo’s longtime home, Warp Records/LuckyMe. News of the EP is also accompanied by the project’s artwork, tracklist, and a new song from the upcoming release, ‘Dollaz.’ According to the duo,
“While it doesn’t sound the same as the first record—the energy is,” Lunice said in statement, “This could only come from us.” Mohawke adds, “I think it’s a good indicator if something sounds weird and refreshing to us. It’s got to fuck with us a little bit when we’re listening to it.”
The pair’s hiatus-ending “Serpent” from earlier this fall may have leaned a little more experimental than TNGHT’s previous work, though their latest, “Dollaz” certainly bridges that gap, reviving the duo’s signature hip-hop-inspired maximalist knock. Listen below.
Parisian Insomniac recruit, Dustycloud, has been making his mark in heavy house circles since his festival-affronting “Rebel,” of 2016. Over the last handful of years, he’s materialized on some of the most auspicious label housings in the electronic realm, including Ultra, CONFESSION, Zeds Dead‘s Deadbeats, and OWSLA.
His latest showing with Insomniac, his triple-tracked Skyfall EP, is testimony that his style may be ever subject to flux, though his cornerstone aural ingredients are here to stay. While “Find A New Direction” employs an uplifting vocal cut and groovy bass pluck, “Mighty” cuts right to the ear-chiseling chase, with serrated, staticky bass abound. But all three tracks harken back to the producer’s rumbling basslines, while still managing to range from funky to fierce within Dustycloud’s eternally danceable four-on-the-floor format.
“As time goes on I continue to find myself experimenting with new things, pushing my vision of what house music can be,” Dustycloud says of his latest aural offering. “With three really different tracks, the Skyfall EP is a culmination of my journey as an artist up to now.”
The days of half-decade gaps between Gesaffelstein drops are thankfully over. It has been a mere seven months since the Dark Prince of Techno’s highly anticipated comeback LP, Hyperion, and we already have a fresh new delivery from the French beat maker. This spring’s Columbia-backed sophomore LP signaled there was more to come from Gesaffelstein, which has now officially materialized as the NOVO SONIC SYSTEM EP.
The release is a six-track effort that incorporates the prolific producer’s most beloved sonic tropes—menacing, static instrumentals wrapped up into dystopian analog techno. Unlike the star-studded full length LP from earlier this spring, which featured the likes of Pharrell, The Weeknd, and HAIM, NOVO SONIC SYSTEM, finds Gesaffelstein alone in the void, offering near perfect additions to his catalog of brooding, warehouse-ready techno. Listen below.