Boys Noize purveys a thrilling, warehouse-appropriate mix for ‘The Ransom Note’

With rampant overdrive and reverb, the warehouse music Alex Ridha pulls into yet another Boys Noize mix grabs its listeners by the chest and throws them into a dark dance floor filled with sonic booms, thuds, and hisses. In the culture surrounding this music one can find leather-clad punks bouncing from dusk to dawn to repetitive acid-synth arpeggios in clubs around the globe. A complex melting pot of techno, punk rock, and disco house gives Boys Noize the unique sounds and image many associate with the project.

There is something beautifully sinister to be found in the sweaty incantations that a mix like this places over its listeners. In this featured mix for The Ransom Note, Ridha teases out samples from and remixes of tracks in Mayday, his latest feature length album. Listeners can hear vocals from “Overthrow,” “Euphoria,” and “Midnight” cutting in and out between hypnotic kick drums and erratic breaks.

In an interview with The Ransom Note that accompanies the release of the mix, Ridha opens up about the inspiration, motivation, and history behind his music. Tracing his roots back to the 1980s house with names like Farley Jackmaster Funk, Steve Silk Hurley, Marshall Jefferson, and DJ Pierre, Ridha accounts his early days in DJing as a 15-year-old in Berlin gay and house clubs.

The atypical culture surrounding Boys Noize mentioned above seems rooted in Rihda’s 1990s experiences, such as seeing 2manyDJs mixing techno with punk-rock by Iggy & the Stooges. Ridha ends the mix by mixing punk rock with techno, enigmatic of the Boys Noize project, but also historically ironic because Iggy Pop hated techno. When interviewers ask, “what does your music sound like,” Ridha responds appropriately: it’s like “punching into a sunny side up egg.” Ridha’s jovial attitude brings to mind the yellow smiley face symbol iconic to acid house and adopted under the Boys Noize name for nostaligic merchandise. The interview is full of comical remarks by Ridha, and the mix features a transformed vocal with his unique “drink more water” introduction, which is a recurrent trope throughout many of his mixes.

Listen to the mix here:

H/T: The Ransom Note

Read more:

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Boys Noize recruits techno icons to provide a glimpse into his past with ‘Midnight’ remixes [EP Review]


Listen to six official remixes of NGHTMRE and Flux Pavilion’s ‘Feel Your Love’

It was just six months ago that bass music heavyweights NGHTMRE and Flux Pavilion released, “Feel The Love” featuring Jamie Lewis, which racked up over 1.4 million plays and was named as one of the heaviest collaborations of 2016. Now Circus Records has released the remix package that features six well-crafted songs from both established artists and promising up-and-comers. With genres ranging from dubstep to house to future and trapstyle, make sure to be on the look out for these hard-hitting tracks as festival season draws near.

Touring artist, ANGELZ, who has played with Tchami and Dr. Fresch, dishes out the first remix with a heavy-hitting bass house track loaded with energy and a driving synth. It’s no wonder this artist has racked over 50,000 followers on Soundcloud, as this artist clearly brings something new to the table in the bass house genre.

Making her breakthrough from Mexico City, Jessica Audiffred curates a bass heavy hybrid. Audiffred makes some serious creative moves here, pitching down the vocals and finding the perfect blend between heavy dubstep growls and energetic trap drums before spinning the second drop into a powerful hardstyle beat.

Up and comer CYRAN delivers a high-energy track with a moombahton beat that will easily become a fan-favorite. The second drop nods to the song’s bass-heavy roots while also maintaining a spacious, pliable rhythm.

AXEN delivers another heavy remix with a rising trap lead that parallels NGHTMRE and Slander. The track is jam-packed with explosive switches between festival trap and house, before the second drop takes a more bass-heavy turn. AXEN has skillfully pulled off an all-inclusive experience in this innovative three minute and thirty second hit.

LATE brings something new to the table with a bouncy hard house remix that is sure to draw attention from around the world. Though it starts off with a four on the floor beat, the fast paced rendition drops into eight bars of festival trap in a daring switch of energy. The second drop then takes a bold risk and follows the genre-bending graces of Kayzo in a stimulating beat that mixes trapstyle, hard house, and drum-step.

Lastly, Dommix does something different from the rest, giving his own future-spin on the bass-heavy track with massive saw waves and a melodic, chill-out vibe. If you like Flume, Wheathin, and San Holo, then Dommix’s remix will feel right at home.

Listen to all six remixes below.

Read More:

Flux Pavilion and NGHTMRE – Feel Your Love (feat. Jamie Lewis) 

Watch Flux Pavilion create a track in 10 minutes

Zeds Dead x NGHTMRE – Frontlines (feat. GG Magree) 

Tchami – Adieu (Original Mix)

Carrying a genre can often lead to a sharp and sudden case of fatigue, but Parisian heavyweight Tchami just hasn’t gotten this memo yet. Lumbered several years ago with flag-bearing duties in the rise of the so-called “future house” sound, the Parisian’s footsteps have always felt intrinsically focussed on leading a creative and quality driven charge in spite of the genre’s rise to popularity.

On return to Tchami’s own Confession imprint, “Adieu” befittingly says goodbye to some of his more hallmarked musical attributes, channeling a dialed back and semi-progressive take on proceedings. It’s different, but the track keeps enough groove and stamina to have us convinced this one hasn’t been outsourced in the studio department. 2017 is going to be a year where a lot of artists jump ship on the sound they stapled their industry presence with, but for Confession’s latest, Tchami shows that there’s room to shake things up without shamelessly chasing pastures greener.

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Shermanology – Silly Games (Dennis Quin Remix)

Having made with some seriously heavy house cuts over the past several years, Dutch frontrunner Dennis Quin has kickstarted 2017 with quite the bang. The Simma Black approved producer/DJ took co-production duties on Shermanology‘s MNEK-assisted single ‘Silly Games‘ back in 2016, but returns with his own club ready remodel for the first quarter.

Quin’s take is a darker and far less groomed affair than the polished vocal original brought to the table, fusing murky low end leads with his well cut signature grooves for an epic serving of heavyset house work. As part of a positive flow of national contenders bringing quality house music back into focus, Dennis Quin sounds even more important to the scene than we could have ever anticipated.

Stream: Spotify

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Shermanology – Silly Games (Original Mix)

Snø – Sunrise (Dear David Remix)

W&W – Whatcha Need (Original Mix)

GTA – True Romance (Chris Lake Remix)

GTA is unleashing one remix after another, offering up fresh takes off their debut album, Good Times Ahead. The latest selection comes from house maestro Chris Lake, who applies his unmatched abilities on the remix front to the Good Times lead featuring Jarina De Marco. Reinterpreting “True Romance,” the producer moves its needle from sun-kissed aesthetic to a tempo-driven club record. The sultry original pivots towards danceable territories through subtleties before bearing the Chris Lake insignia upon its capstone.

Also unveiled by GTA this week came two new versions of the Vince Staples-assisted “Little Bit of This” from Yellow Claw and Party Favor, along with a remix of “Feel It” — the duo’s collaboration with What So Not — courtesy of Branchez.

More Good Times:
GTA’s ‘Good Times Ahead,’ the maturation of post-genre electronic [Album Review]

Goons growing up: GTA on writing their debut album and what comes next [Interview]

Listen to GTA’s ‘Songs For Getting High & Good Times’ Playlist

Oliver Heldens – I Don’t Wanna Go Home (Original Mix)

Oliver Heldens is world famous for his groovy future house style and internationally known for producing a number of songs that not only satisfy EDM-loving ravers, but also slightly more fastidious house music aficionados – particularly under his HI-LO alias. Heldens has adeptly carved out his own niche and gained many admirers by giving house music a refreshing main stage flavor and crispness.

Sticking to his formula for success, his latest single, “I Don’t Want To Go Home” ensures listeners enjoy more of his signature style. A thick kick drum, a deep bass line, and pleasing yet funky synths make this song inspiringly danceable, and will likely help it to become a surefire hit in clubs and festivals alike.

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Oliver Heldens – Flamingo (Original Mix)

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

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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Throttle reworks Snakehips & MØ’s ‘Don’t Leave’

Australian talent Throttle has become established for his enthralling “Dirty Disco” brand of mellow, retro-influenced house music, which evokes a sense of nostalgia while adapting well to the modern dance floor. The producer has selected Snakehips and MØ’s recent collaboration “Don’t Leave” as the latest to receive his signature treatment. For his remix, Throttle sets MØ’s melancholic vocals into a grooving house backdrop, which derives its energy from boisterous synthesizers and a formidable kick. Naturally, he ties the piece together with a catchy sax-based hook and distinct bass guitar riffs which ensure its “Dirty Disco” appeal.

After joining Oliver Heldens at the end of 2016 for his landmark show at the Heineken Music Hall in Amsterdam, Throttle shows he’s primed to continue his success in 2017 with this new re-work of “Don’t Leave.”

Listen to the full remix below:

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Throttle x Earth, Wind & Fire – September (Throttle Remix)

Tchami is embarking on his ‘Prophecy’ tour with Mercer in February

Tchami has announced that his newest North American tour is imminent. Deemed “Prophecy,” the concert series shares its name with the producer’s recent collaboration with Malaa. The tour is set to begin February 2 in Orlando, Florida. From there, the DJ will be making stops all around the US and Canada on a thorough, 32-date tour.

The Prophecy Tour will see the return of Tchami’s famed cathedral stage production, which is decorated with illusions of magnificent stained glass. Fellow DJ and “Pardon My French” affiliate Mercer will accompany the future house pioneer for all of the dates. The Prophecy Tour concludes on March 18 in Seattle, Washington.

View the full tour schedule in the flier below. Tickets are available for purchase here.


Read More:

Tchami makes his Essential Mix debut

Tchami and Malaa team up on new track, ‘Prophecy’

Tchami – SIAW (Original Mix)

Rinzen transforms Giorgio Moroder’s ‘Good For Me’ into sultry club catalyst

Rinzen is relatively new to the electronic production arena, quietly entering the scene as a rising talent among the acts chosen to re-work Giorgio Moroder’s “Good For Me.” Upon hearing his interpretation of the disco-infused hit, it becomes clear as to why his sound impressed the Italian legend enough to sign his work. The LA-based musician demonstrates keen mastery over blending sounds, steeping Karen Harding’s soulful voice in a sea of sultry melodic accents and grooving house rhythms.

Additionally, he maintains a certain standard of edginess to his music which is overwhelmingly present in his choice of dark and precise synthesizers that hit just the right spots in the ear. While this is only the first release of many for Rinzen, the quality it carries matches that of an accomplished professional. Giorgio Moroder said the following of the artist’s debut:

“My management was working with the label A&R to find the best remixer for the track, and remembering this young writer, Jen, reached out to Rinzen to see if he would give this a try. This remix ended up being my favorite, and everyone liked it so much BPM couldn’t even wait until the release to play it on the radio. This is Rinzen’s first official release, and I am so honored to be a part of it.”

“Good For Me (Rinzen Remix)” is now available on Casablanca records. Head here to download, and follow Rinzen to watch the development unfold of an artist certainly worth watching.