Did Axwell Λ Ingrosso really ruin ‘Dreamer?’ An analysis

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Swedish progressive house duo Axwell Λ Ingrosso have released their long awaited single “Dreamer” after more than a year of anticipation. Following the release, fan reactions were a mixed bag of emotions ranging from purist contempt to wholehearted appreciation to downright confusion.

The basis of such stark difference in opinion stems from the decision to alter the track’s structural elements or, in layman’s terms, change its drop. Is Axwell Λ Ingrosso’s fanbase truly this vexed over the group’s decision to flip the script on the track?

The collective frustration and confusion was exacerbated by the sheer amount of time that fans spent anxiously awaiting the track’s release, during which fans obsessed over live rips or “ID’s” of the “original” track—which first debuted at Amsterdam Dance Event in 2016.

Progressive house purists claim that the Swedish producers completely stripped “Dreamer” of its identity, and that the group is making an overt attempt to latch onto electronic music’s flavor of the week.

To rebut, others claim that by altering their production M.O., the group is exhibis a healthy artistic progression marked by a willingness to produce a more forward thinking sound.

Since the disbandment of Swedish House Mafia following their final performance at Ultra in 2013, Axwell has been outward about his desire to shift away from the musical styles that characterized the progressive house zeitgeist in the early aughts of the 2010s. Axwell took to social media following the backlash to give his side of the story, noting that fans can listen to the multitude of progressive house tracks in the duo’s catalogue if they desire a more purist approach.

Recent complaints regarding Axwell Λ Ingrosso’s structural subversion of the track’s fundamental elements comes as no surprise, especially considering the group’s emotional impact on progressive house fans throughout the years. Still, the complaints beg further questions regarding how genre categorization and cultural context affects the way music is produced and, more importantly, consumed on a grand scale. Not only do artists create music with its structural and stylistic elements in mind, but many pay close attention to how said music will be perceived in a larger cultural context or within the dance music scene.

Axwell Λ Ingrosso’s newest track “Dreamer” could be characterized as an active attempt to voyage into new sonic territory, a chintzy attempt to piggy back off of the success of EDM’s hottest buzz names in an effort to remain relevant, or something entirely different. Although it isn’t fair to deem the track obsolete or jump to conclusions about the duo’s artistic intentions, fan concerns about “Dreamer” bring forth relevant questions about how context shapes a songs construction and, ultimately, its reception on a larger scale.

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Maroon 5 – What Lovers Do ft SZA (Element Remix)

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Hailing from San Francisco, Chris Cruz, aka Element, has provided listeners with a groovy rework of Maroon 5‘s chart-topping track “What Lovers Do,” featuring SZA. Tech developer-turned producer, the Brooklyn-based DJ has spent the past few years to honing his skills.

As he continues to experiment with different electronic production styles, Element decided to put a chilled-out future-bass vibe on this one. Staying true to the popular vocals of the original, he includes a variation of subtle, echoing drum hits and claps under a harmonizing assortment of bright lead synths, making this derivative perfect for any vibe session.

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Fareoh & SMLE – BYM

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“I’m a very beautiful young man” proclaims the vocal sample in New York native Fareoh and Miami-based SMLE‘s newest collaboration. The former has performed in front of audiences at festivals like Electric Zoo and Nocturnal Wonderland, while the latter has begun to accrue a massive following over the past few months, courtesy of a consistent flow of releases. With both artists beginning to see a tangible accumulation of fans, it’s prime time for both Fareoh and SMLE to take center stage.

On their newest single, the up-and-coming pair of artists create a sonic jungle that breathes with a vivacious energy. The future-pop single is carbonated with bubbly synths and tingling wooden drums, a heavy bass line and atmospheric synth gyrate like a sin wave — all the fundamental elements of an infectious future bass track. The track may be one of both respective artist’s best of 2017.

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Porter Robinson x Madeon – Shelter (JayKode Remix)

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Porter Robinson and Madeon’s “Shelter” collaboration was unequivocally one of the biggest tracks of 2016 — in fact, we even named it our #3 top track of the year.

While remixes of the blockbuster collaboration pervaded 2016, “Shelter” has now received a refreshing facelift from multi-talented beatsmith JayKode. The LA-based producer lays down a charmingly sedative backdrop for the vocal anthem, transposing the vocals to give it an entirely new feel.

It’s a highly inventive spin on the track. As it happens, it was never meant to be a remix. “I had no plan to remix shelter since the original was perfect in every aspect,” JayKode writes. “I was actually working on a hip-hop instrumental and messing around with some guitars. Then I started plugging in different a capellas just for fun and when I plugged shelter in, it was complete magic.”

Listen to JayKode’s remix of “Shelter” below, and download it for free here.

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Eric Prydz – Call On Me (Crystalize Remix)

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Remixing a hit single can be a daunting task, even more so when the track in question is as legendary as Eric Prydz‘s 2004 house classic, “Call On Me.”  The most recent producer to take on such a formidable project is Crystalize, a talented producer who is no stranger to remixing big names, having already remixed the likes of SkrillexJauz, and Ookay in the past.

The refreshing track starts off with a euphoric intro that slowly builds up into an extremely intricate soundscape, before giving way to an emotive, future-bass inspired drop. Driven by polished production and a healthy dose of nostalgia, there is no denying the fact that Crystalize has indeed done justice to a truly iconic track.

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Petit Biscuit – Waterfall ft Panama (Electric Mantis Remix)

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Electric Mantis has revealed his remix of Petit Biscuit’s “Waterfall,” which features vocalist Panama. The original track was first included on Petite Biscuit’s debut album, Presence.

Now, the Alaskan born Electric Mantis put a melodic spin on the original. The producer draws from Petite Biscuit’s atmospheric synths and deconstructs them, molding the track into his own bubbly trap ballad. Now based in San Francisco, producer begins touring with Petite Biscuit today, in support of the latter’s debut album.

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Grandtheft – Square One ft MAX

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Grandtheft has released his latest single “Square One.” Based out of Toronto, Grandtheft is known for producing his own blend of eclectic club tunes, drawing on influence from trap, dubstep, future bass, and more.

On his newest track, which features singer/songwriter MAX, Grandtheft is adept at creating an infectious future bass pop ballad. Twanging synths and whistles are intertwined into MAX’s dauntless tenor and provides an engaging cap to Grandtheft’s strong 2017.

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Illenium & Kerli – Sound Of Walking Away (Decadon Remix)

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Donnie Miller is known for some pretty heavy dubstep under his Decadon moniker. The Denver-local dubstep favorite has been especially keen on putting out dubstep flips of Paramore, All American Rejects, Green Day, among many more famous punk rock tracks.

Now, Decadon has taken a different turn, releasing a heavy remix of fellow Mile High-resident and friend Illenium‘s “Sound of Walking Way,” a Kerli-assisted track off his sophomore album Awake. Decadon’s take on the future bass ballad utilizes strings on the track’s lead-ups and jarring, dub-heavy synths in place of where Illenium would normally use drums on the drop. The result is an anthemic track that is reminiscent of quintessential Denver dubstep.

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Launchpad: This is the remix

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Launchpad is a playlist series showcasing music we love, hand selected by our staff. The tracks come from both emerging and mainstream artists; it’s all about the quality and the unexpected. If you’d like your music featured in Launchpad, submit it for consideration here

November has come to an end and with it has been some supreme new music. We’ve taken to compiling the best under the radar remixes that caught our eye over the last month. From future bass and indie dance to deep and tech house, this joyous jaunt will surely have something for everyone to dance to.


DA Launchpad Selects:

Post Malone – “I Fall Apart (SLANDER Remix)”

The impassioned godsend of Post Malone‘s “I Fall Apart” from Slander was re-uploaded to SoundCloud this week. Thankfully, the’s two’s bass modification of Posty’s tune has made its rightful return to listeners eardrums. And certainly, a remix playlist of our favorites over the last month would not be complete without this tear-jerker of a track.

Virtual Self – “EON Break (Nick Gunner Remix)”

November saw out the arrival of Porter Robinson‘s mysterious new alias Virtual Self. At last, Virtual Self had made his technic-utopian debut, marking both a significant departure from his seminal Worlds and a venture into unbeknownst territory for the entire EDM ecosystem. Of course, the artist’s new tunes were a glorious, refreshing bestowal, but the swiftly rising Chicago-based producer Nick Gunner has taken it upon himself to expand upon the astral grandeur of “EON Break” — and we’re certainly glad he did, as Gunner stuns on his rework. In widening the track’s beginning he’s created a captivating addition to an already cherished number, only continuing to point at his searing potential.





Virtual Self – “EON Break” (Nick Gunner Remix)
French Montana- “Unforgettable” (FeelGoodSmalls Remix)
Noizu – “Jungle” (Hotfire Remix)
cautiousclay – “cold war” (lessismoore remix)
Post Malone- “I Fall Apart” (Slander Remix)



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Autolaser – Down ft Sturla Larsen

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Oslo-born producer Autolaser has unveiled his latest single, “Down,” a progressive pop tune featuring sugary vocals from Norwegian singer Sturla Larson. Out via San Holo‘s bitbird, the new track came together naturally in under a week for Autolaser and his longtime mentee. The artist explains that it was “kinda fated for [them] to have an official song together,” and it shows: Autolaser’s swooning production perfectly supports Larson’s yearning vocal chops.

“The song was recorded with a lot of live instruments (guitars, percussions, synths, vocals) from a small bedroom,” he says. “And if you picture that, I’m pretty sure you can hear the raw recordings really good. Which makes the track so warm and dynamic. I love that quality, it makes it so personal.”

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