Getter’s artistic path has been a winding road, worthy of appreciation and ample applause. While the producer endured a tumultuous start to the year—having cancelled his Visceral tour—Getter is back with a new track that seems to solidify his current musical direction.
“Heartless” is a six-minute track that feels almost like a middle finger to all of his vicious critics and self-described fans who led him to cancel his last tour. It’s a total departure from the filthy dubstep that led him to fame, but quite consistent with the better part of his Visceral album.
The song features a downtempo beat with some scrumptiously wicked synths that give a glimpse of the hurt surrounding Getter’s emotionally torturous year of artistry. ’90s-era metal vocals shriek, “Cut my heart out / We’ll never work it out / But we keep trying / And you keep crying / Feels like I’m frozen / You think I’m chosen / Please don’t start this / Maybe I’m heartless.” It’s an unflinchingly emotive track from the notoriously comedic DJ; nonetheless a side of his artistic repertoire worth showcasing. Good game, Getter.
Production styles from each artist can be audibly discerned in “20:25,” a trippy trap-style future bass track. The downtempo and hazy vocals from The Chain Gang of 1974 envelopes the listener in a dark, smoldering atmosphere, and the drawn-out synths effortlessly reverberate into a throbbing beat that carries the rest of the song.
Both Flux Pavilion and What So Not have been avid on the release front this year, both experimenting in a menagerie of musical formats, from drum ‘n’ bass, to dubstep, to melodic bass music. The new collaboration proves a worthy listen among the vast collection of high-profile hits from the artists.
It has been years since we’ve heard from Wave Racer, though now the Aussie beatmaker is confirmed to be on the comeback trail, ending a more than two-year hiatus. Wave Racer, commonly credited as the creator of the vibrant “bubble-trap” sub-genre that would eventually give way to the advent of future bass, planted his flag at a time when dance music was at the peak of its global expansion. With a sound akin to the likes of Lido (Trippy Turtle), Cashmere Cat, and What So Not, and Ryan Hemsworth among others, the “Flash Drive” producer helped define an important moment for electronic music before disappearing in 2017.
Now, it appears a comeback is in order, after a quiet update to the Future Classic producer’s social media channels after years of radio silence. Best of all, according to a statement provided to Dancing Astronaut from Wave Racer’s management, “Wavey is finally back,” and “new music will be here very very soon.” To introduce the roll out, the producer’s team has also launched a call-in phone number— (415)-510-2415 so fans can preview upcoming new music. Stay tuned for more updates as the story develops, but for now, prepare for Wave Racer’s highly anticipated return.
European house music has proven to be a versatile foundation for trap and future bass founds. Low end-leaning remixes of house classics aren’t a new thing—Dillon Francis took on Steve Angello‘s beloved “Knas,” Carnage famously stepped up to Hardwell‘s “Spaceman,” Skrillex once took on Avicii‘s “Levels,” and RL Grime essentially started the electronic trap movement behind his reinvention of Benny Benassi‘s enduring “Satisfaction.” The latest producer to take on a certified house gem is YULTRON, laying his own buzzing spin on Sebastian Ingrosso and Alesso’s once inescapable hit, “Calling (Lose My Mind).”
The original, an undeniable main stage anthem in 2011, paired Sebastian Ingrosso with then up-and-coming fellow Swedish dance act, Alesso. The Ryan Tedder-assisted track effectively launched Alesso into the globetrotting superstar he has become today. Now LA-based producer YULTRON has stepped up to “Calling” with a buzzing, percussive update, complete with a vibrant first break and a footworking, double-time outro to close the remix. It’s hard to approach a venerated classic with a courageous remix effort, but YULTRON does Sebastian Ingrosso and Alesso justice on his new rendition of “Calling.”
Flume is back, but in a different medium: video. The pioneer of future bass released two documentaries on Apple Music, Flume: When Everything Was New, and Sleepless: The Story of Future Classic. Each outline the last six years of the producer and DJ’s life, with one focusing on the individual’s journey and the other showcasing the rise of Future Classic, the imprint where Flume launched his career and an incubator of Australian talent.
The two 45 minute documentaries were directed by Nicholas Wrathall, and the Flume-centric documentary was released as a four part series on the Australian artists’ YouTube page. Harley Streten has documented his life on tour before on his Flume Adventures series, now, he’s upped the ante with longer-form video content that dives into the life of one of the most successful electronic music producer and the business he associates with.
T-Pain is creating a new album and wants to modernize his sound, so the auto-tuned voice of a generation took to Twitter to find himself a future bass producer. The hip-hop artist recently released a compilation mixtape, Everything Must GoVol. 2.
Man. I need some future bass on this new album. Who do I need to holler at?
This, of course, caused a stir of responses from big hitters who’ve dabbled in future bass production such as Whethan, TroyBoi, Giraffage, and more. ETC!ETC! offered to produce a moombahton track on his behalf, and San Holo looked inward for spiritual guidance.
Teddy Pain later clarified, giving an example of Louis The Child to which the duo from Chicago expressed interested in collaborating.
Louis The Child – It’s Strange feat. K.Flay https://t.co/BbxUc2iqrz via @YouTube I want some shit like this drop. That shit that’s right behind the pocket, synth is side chained to hell, drums punching you in the goddamn chest, but with church chords.
Medasin and Louis Futon dropped a teaser video showing the smooth groove kings going certified bonkers on a flip of Travis Scott‘s “Wake Up.” The video shows the duo jamming on an a cappella of The Weeknd‘s featured vocals, after asking fans for song suggestions for an impromptu rework. The two producers start with the original’s raw vocals, and put it through a multi-step soul machine. The video shows Medasin laying down effortless keyboard stylings, while Louis Futon taps out drums on the fly and records a sliding bass guitar line. The creative chemistry in the studio is palpable, and whatever difficulties Medasin may have playing to thousands on tour clearly disappear when he’s just jamming and creating.
Oddly enough this is the first we’ve seen of the the two artists collaborating, despite dominating the same vein of electronic music. The duo needlessly asked if they should release the full version (the answer is undoubtedly hell yes), but fans can bask in the glory of Medasin’s dance moves while they wait for the rework to drop in full.
After Sweater Beats‘ recent remix of Fall Out Boy‘s “HOLD ME TIGHT, OR DON’T,” the LA-based producer has followed up with another early 2000’s pop-punk rework, this time taking on Panic! At The Disco‘s “Say Amen” for his latest drop. Palatable punk chords are twisted into booming future bass, and the complementary parallels between the two genres work once again to Sweater Beats’ advantage.
The “Faded Away” producer mentioned along with the release how influential Panic! At The Disco was to him, expressing in a statement to fans, “I’ve loved Panic! At The Disco since forever and getting asked to remix one of their newest songs is honestly a dream come true! I hope [you] all enjoy this remix as much as i enjoyed making it.” While Sweater Beats manages to make “Say Amen” completely his own, he opts to keep Brendon Urie’s sultry vocals as the glue that holds the remix together, making for the perfect union of two distinct styles.
When William Black released his heart-wrenching future bass ballad, “I Wish,” with the hypnotizing vocals of Chicago singer/songwriter SKYLR, the Hegemon artist began turning industry heads. With elements reminiscent of an early Illenium or Flume product, the single built a euphonious landscape that creatively captured themes of love and loss in supreme eloquence.
With the song’s continually growing success, Black decided to enlist three official remixers to put their own unique visions on the original composition. From the vocal chops and lo-fi textures of Notok’s reimagining, to the colossal breakdowns in Matte & Kuur’s rendition, matched with the synchopated drum work and piano accompaniments of Yetep & Toku’s take, each remix begins subtly so as to respect the vision of it’s original and, from there, embarks on its own singular journey through the sonic elements.
Club circuit mainstay DJ and producer Borgeous is constantly adding to his teeming collection of dance hits, and his newest EP Dear Me lives up to his versatile reputation. He masterfully blends future bass with pop-inspired house and infectious vocal accents on the EP’s titular track, setting the tone for the compilation. Switching gears multiple times across the short extended play, Borgeous offers a hip-hop leaning “Alive,” featuring Iamsu! of “Gas Pedal” fame, and even dips into hectic trap territory on “All That I Need.”
Borgeous’ new EP is a well-rounded embodiment of his breadth of production abilities, as well as an inside look at his interests as a musician. The “Sweeter Without You” producer has taken a more experimental approach to his output in recent years — a theme that comes together cohesively on Dear Me.