LA-based producer Tony Fresch, aka Dr. Fresch, has released his g-house rendition of rapper A$AP Ferg‘s “Plain Jane.” The remix is what Fresch refers to as “Future Ghetto,” with Ferg’s a capella over Fresch’s dark, booming bassline and nefarious production style, which combines electro and house elements.
Infusing Rap and Hip-Hop into his tunes is the name of Fresch’s game. The Ph.D in dance music has also remxied Gucci Mane‘s “Pillz,” and adapted N.W.A‘s “Gangsta Gangsta,” as a tribute to the deceased Hip-Hop legend, Eazy E –– the song that catapulted Fresch’s name to forefront in 2016.
Destructo has been entrancing dance floors long before DJs even had a face and a name in the music industry, let alone capacity for six figure paychecks. In the early 90’s, he orchestrated and DJ’ed massive warehouse raves in the LA underground scene, before eventually recording his own material.
“Bassface” is an instrumental blend of bass house and his characteristic g-house. With a sweeping, low-end bassline and dark, reverberating vocal sampling, it is safe to predict “Bassface’s” deliberate, ardent beat will be heard emanating from clandestine dance floors across the country.
The music video is equally as enticing, as the viewer gets to watch half Destructo’s face melt clean off his head due to bass overload.
Before Destructo became the king of west coast dance events and G-house’s popular champion, Gary Richards resumé already boasted the legwork that galvanized the 1990’s rave scene, creating and operating his own label, as well as a co-sign from Rick Rubin to lead Def American’s early electronic A&R channel. Richards is effectively a living time capsule of modern underground music’s most formative moments and at the root of his complexion is techno. He’s seen where it’s been from a firsthand perspective, so those looking for a crash course in underground dance history, tune in. Destrcuto has dropped off a new Spotify playlist curated to be a crate digger’s dream.
Stocked with cuts from OG’s including The Chemical Brothers, Daft Punk, Moby, Kraftwerk and The KLF, Destructo offers up a lesson in techno and house history, showing off 30 of his personal favorites. Lords of Acid, who Richards had even signed in a past life, 808 State, and The Prodigy make appearances all well, giving an inside look at the tracks that shaped the industry leading tastemaker Richards has become today. Tune in and take notes.
London’s very own experimental trap producer TroyBoi has been hitting it hard with new releases lately — with his 20-track debut album, Left and Right, and an original single titled “Don’t Want.” The artist even made time to open up to Dancing Astronaut about his continuous rise in the electronic music scene. Now, TroyBoi is back with another brand new track while on his extensive North American tour.
The track, “Creeper,” comes as a Halloween night gift to fans featuring the artist’s signature trap-influenced undertones and dark, funeral paced progressions. The song’s true essence is built around muddled bass lines, hip-hop-styled 808 kicks, and breakbeat rhythms — all overlaid by the intro’s haunting vocal samples from the chorus of They’s “Jem.” From that point, the song progresses into a more ominous direction with a complexity that keeps listener’s glued to the track’s playful, spooky tone.
Known for his signature dark, twisted style featuring weighty beats and jaw-dropping progressions, BIJOU has come out for a spooky Halloween special titled, “Warning.” The Phoenix-based G-house guru has released the infectious single which showcases an on-brand sound, establishing the innovative artist’s repertoire. “Warning” is special for its original, yet reminiscent structure comparable to BIJOU’s other work, but fresh for the new twist he engineers with an enthralling combination of distorted vocals and contrasting layers of bass placed effortlessly together.
“Warning for me encompasses a forward thinking sound that really meshes multiple genres into one. It truly captures my signature sound with a new twist that will be in much of my upcoming releases.” -BIJOU
“Warning” features a mesmerizing, deep melody complemented by rugged undertones and prominent 808s. Showcasing his ominous production skill, BIJOU has been supported by legendary similar genre game-players like AC Slater, Destructo, Don Diablo, Drezo, and Malaa. With his latest, BIJOU flaunts his flawless creativity for taking a bold new angle in a growing genre that is renown for its uniquely distinct feel.
For five years now the Belgian born and Berlin-based producer Sébastien, better known as Kill Frenzy, has been slinging out undeniably infectious tunes by way of the Dirtybird label. Over the years as Kill Frenzy, the producer has created a seemingly infinite body of work radiating all that is crude, lewd, deep and dark— oftentimes insinuating insatiable booty clapping along the way.
While the artist’s last release was in March of this year, his tunes have continued to dominate on the dance floor all year long. Extensive playtime in sets by artists like Soul Clap and Skrillex have highlighted the producer’s ability to bridge the gap between genres, cliques, and crews around the world. Now the artist is taking it one step deeper with the announcement of his Deep Tour.
Making stops in major cities across the US and even hitting Australia later in the year, Kill Frenzy is going deeper than ever before and bringing some friends along for the ride. Dirtybird-collaborator Will Clarke will be joining him at the Dirtybird Campout, kicking the tour off in style. Followed by the beloved house duo Gorgon City at the second show in Boston and the legendary Green Velvet joining the artist in Brooklyn.
Kill Frenzy Deep Tour Dates:
10/6/2017 – Bradley, CA @ Dirtybird Campout w/ Will Clarke 10/13/2017 – Boston, MA @ Royale w/ Gorgon City 10/14/2017– Brooklyn, NY @ B.E.M.F w/ Green Velvet 10/19/2017 – Columbus, OH @ Dahlia 10/20/2017– Washington, D.C. @ Soundcheck w/ Vin Sol 10/21/2017 – Berkeley, CA @ Cornerstone 10/28/2017 – Las Vegas, NV @ Dt Events Center w/ Justin Marin+Lee Foss 11/9/2017 – Tempe, AZ @ Shady Park w/ Ardalan 11/11/2017 – Portland, OR @ Jade Club 11/16/2017 – Santa Barbara, CA @ EOS Lounge w/ Sonny Fedora 11/17/2017 – Los Angeles, CA @ Sound Nightclub w/ Chambray + Pilo 11/22/2017 – Detroit, MI @ Grasshopper Underground w/ DJ Deeon 11/25/2017 – Vancouver, BC @ MIA Nightclub w/ Chambray 12/1/2017 – Melbourne, AUS @ Pawn & Co. 12/2/2017 – Geelong, AUS @ UNO Dance Club 12/8/2017 – Brisbane, AUS @ Prohibition 12/9/2017 – Sydney, AUS @ Storm Festival 12/9/2017 – Wollongong, AUS @ The Grand 12/10/2017 – Gold Coast, AUS @ Elsewhere
Rrotik is a talent to watch who’s currently rising out of the Brazilian house and tech house scene. The producer has stood out from the large pack of aspiring DJs through his keen abilities at weaving sounds into addictive records that are built for spurring a festive mood.
His latest piece on Be Rich Records alongside Lliam Taylor is a testament to such skills. “Bounce Back” bounds along a raunchy bass-line and jubilant bursts of synths that ready it for the club or festival setting. Gritty sampling amplifies the track’s overall effect, adding to the already high energy it exudes.
While he may be new to many g-house listeners SoundCloud feed, MixMason is looking to make his own mark in fusing bass-sawwing house and bar-shredding hip-hop.
The LA-based newcomer has been cultivating his own community around his HEATRØCK imprint, hosting monthly mix shows featuring fellow up-and-coming talent. Now, he has taken the reigns of his artist project and released his first original, “Need Dat.” Recruiting rising rap talent A.Tibbz to take topline responsibilities, MixMason takes listeners into the dark, rugged terrain of the house spectrum with a grinding lead bassline that will bring a fiery energy to any party.
Chuckie and GLOWINTHEDARK had a hit on their hands with “Turn Up The Bass.” Built for festivals and large dance arenas, the cut bounces along gritty electro melodies enticing vocal samples that are anchored with subtle layers of percussion.
The collaborators made a solid choice in their music video methodology, recognizing the song’s highly shuffle-able nature and thus recruiting pros across the globe to piece “Turn Up The Bass’” visual accompaniment together. What results is an attention-grabbing array of global shufflers whose various takes on the popular dance keep the viewer engaged the whole piece through. In fact, it’s quite difficult to resist the urge of joining in the coordinated effort by the time the track ends.
While his name may not be immediately recognized yet across the globe, ANGELZ has remained a staple addition to Tchami‘s branded Confession label. After touring with the esteemed French mega-producer for his nationwide Prophecy tour, ANGELZ has caught the ears of many with his trenchant G-house approach.
He continues steady success and growth with the delivery of a voracious three-track EP, Saint Thug II, — a “sequel” of sorts to his last one. Each individual track is emblazoned with a pleasingly anomalous bass-line that effectively captivate listeners into a hypnotic state of house.
Opening the EP with the first single “So Fly,” fans are quickly drawn into underlying percussive hits layered underneath endearing vocals from Kaleem Taylor, a recurring vocalist on Confession. Pushing a gritty bass-line amongst wailing sirens, “So Fly” exerts an underground feel right from the start.
Following up with his second hit “98 J.Lo,” rap verses immediately consume listeners as tenacious synth-lines take over the core production of this track. Incorporating brusque bass-hits that tie right into the typical G-house characteristics, “98 J.Lo” constructs the workings of a late-night warehouse anthem.
ANGELZ closes the EP by adding a unique addition to his EP with “Supafly.” Clearing the dance-floor with this stomper, muffled lyrics work their way into the track’s infectious melody line.