KUURO – Swarm

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Dubstep heavyweight duo KUURO have released their hard-hitting dubstep anthem, “Swarm,” on Monstercat.

The electronic duo is composed of Jordin Post and Luke Shipstad. They made their debut on Monstercat in October 2016 with “Aamon.” It was the strongest debut in Monstercat history, and fans quickly drove them to hit the Spotify Viral 50 in four countries. Since then, they’ve remained true to their unmatched production and sound design skills, catering to bass lovers and headbangers across the world.

Following the official remixes for Zedd, Liam Payne, and Boombox Cartel in September, the young duo has released “Swarm,” their sixth release on the Canadian label. Post says the track came to fruition from some simple sound experimentation.

“I was messing around with some sounds and came up with this gnarly bassline that just makes you want to headbang,” Post says.

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Delta Heavy x Dirty Audio – Stay ft HOLLY

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UK drum n’ bass authority, Delta Heavy, has compounded efforts with LA trap producer, Dirty Audio, for their new drumstep single, “Stay,” featuring seasoned vocalist, HOLLY. “Stay” is a joint release on both DNB patriarch, Andy C‘s RAM Records and eclectic Canadian label, Monstercat — marking Delta Heavy’s debut release on the latter.

“We had a lot of fun making the track with Andrew, and we’re all super proud of how it turned out, especially as it really feels like a true blend of all our signature styles,” said Delta Heavy said of Dirty Audio, who will soon embark on his Australia/New Zealand tour.

The cross-over track wields elements of DNB, trap, and dubstep, prompting a sardonic, “Have fun deciding what genre this is,” from Delta Heavy, themselves. HOLLY’s wistful vocals lend acute contrast to the track’s high-speed DNB breaks and shrilling bass.

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Dexter’s Beat Laboratory Vol. 9

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Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

What kind of fellow St. Louisan would I be if I didn’t start off this week’s Beat Lab by hyping one of the city’s finest producers? Notaker‘s intricate production skills grow more fine-tuned with each release, and his newest track is no exception. “Who I Am” came out on Oct. 2 on Monstercat, and the producer shared his extended cut of the song a day later. Being a fan of extended cuts due to the opportunity they present for the artist to expand on the initial concept, it’s the one I’ve chosen to share here.

Alexander Lewis is such a unique artist. His incorporation of live instruments like the trombone in his music makes him a standout in the dance music community. His latest, “Off Guard,” lives up to its name. Lewis impresses with an almost tropical sound in this one, integrating bold, brassy horns as a backdrop to beautiful female vocals.

Avicii‘s “Without You” has been everywhere since its release nearly two months ago. Heck, it was even on Snapchat, featured with the user’s dancing Bitmoji. Fareoh has swooped in with a remix of his own, putting more of a fun, upbeat twist on the original’s progressive house vibe. “Avicii was one of my biggest inspirations when I first began learning music production,” Fareoh says in the track description. “I’ve played multiple shows with him over the years, and truly admire the space he created in electronic music.”

Every single STéLOUSE release is unique. The producer switches up his style constantly, making each release more exciting than the last. His latest, a collaboration with vocalist Bryce Fox, is a downtempo song with attitude-packed lyrics about love lost. It’s overflowing with passion from every angle, and I can’t stop listening to it. His EP out Oct. 20 is sure to thrill.

Matroda‘s “On My Mind” in its initial form was a deep house track out on Heldeep Records. The producer has released it again in an entirely contrasting form: drum & bass. Though it’s short at under three minutes, it’s an action-packed, energetic take on the original. It’s always fascinating to me when artists rework their own music, and this one’s left me captivated.

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Slander & Kayzo drop surprising first track off of their forthcoming EP

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Slander and Kayzo recently announced they would be releasing a full EP in collaboration with one another on Monstercat, stirring anxious excitement from fans of both parties. Now, thanks to the first track of the EP having just been unveiled, those waiting for the full body of work to release will have a better idea of what to expect. Titled “Without You,” the record is surprising to say the least.

Slander and Kayzo, independently of one another, are known for their heavy drops and trap style. “Without You” is quite different from the sound and style bass heads have come to expect from the producers, and the sound one might expect with the announcement of their collaboration as a whole.

“Without You” revolves around Dylan Matthew’s vocals, and the entrance is downtempo guitar chords that put the listener at ease. They then ensure that their piece is made radio-friendly with drop that is synth-based and pop-y to its core. While Slander has introduced a few tracks that verge on pop as of late to his repertoire, this is not a sound heard from Kayzo yet.

Although trap fans may not be thrilled about the direction that this first track off of the EP went, Kayzo and Slander’s collaboration will almost certainly yield some great trap music to come.

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Dexter’s Beat Laboratory Vol. 8

This post was originally published on this site

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

The internet has been abuzz with Kendrick Lamar‘s “Humble” since Skrillex dropped his remix of the iconic track last Friday. In the seven days since its release, SoundCloud feeds have been overrun with a diverse range of remixes of both the remix and the original — among them this electro flip from Moris Blak. Its racing synths and heavy electro patterns make it a standout in a sea of remixes, and it’s completely addicting.

In the few days since its release, Vincent‘s tantalizing remix of Boombox Cartel‘s “Alamo” has racked up an impressive number of plays. Fans (me included) seem drawn to its understated introduction and dramatic build, all leading up to a gorgeous future bass-influenced drop. Vincent takes a minimalist approach to the verses, letting the vocals take charge. This approach makes for a sensational, timeless take on the track, and it’s beautifully executed.

Rain Man and MAX‘s heavenly “Do You Still Feel” has received an impressive horn-heavy rework from Summer Was Fun as a part of the single’s remix package on Dim Mak. The original track, an emotional production from Rain Man and vocalist MAX, blended the elements of pop and electronic music, showing a softer side of the producer’s skill set. Summer Was Fun has injected the track with subtle builds and raring horn stabs for a more playful take on the solemn track. It’s a breath of fresh air — one he’s calling his favorite song he’s produced this year.

Remember this song? It’s been a minute. One-hit-wonder Iyaz originally released this track in 2010, and I remember having it on so many iPod playlists as a teenager. When Bishu’s take on the track popped up, I was intrigued before I even hit “play.” I was pleasantly surprised to find that Bishu had completely modernized the track with a funky moombahton-infused beat and some choppy pitched vocals. Fun find.

Jay Cosmic never, ever disappoints. With his latest, “Ascension,” out on Monstercat, the UK producer has wowed audiences of all genres. “Ascension” is billed as a dubstep track, but it’s so much more. With a euphoric introduction that builds for nearly two minutes, Cosmic takes the listener on journey that descends down into the bass world and back up briefly into the world of hardstyle. It’s masterfully produced, with the fine-tuned details making for an insane listening experience.

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Grabbitz releases heartfelt new single, ‘Told Ya So’

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In December 2016, Grabbitz blessed the holiday season with a short series called “12 Days of Grabbitz,” where he posted a new demo track every day for 12 days leading up to the release of “In The Winter” on Christmas day. Among these demos was a standout track called “Lose Control.”

Now in its final form, “Lose Control” has become “Told Ya So” and is out on Monstercat.

“Told Ya So” furthers Grabbitz’s journey away from electronic dance music in its conventional form and to fit in closer with the vibe of his debut album, Things Change, which came out in May.

In a live Facebook video following the release of the track, Grabbitz compares the feel of “Told Ya So” to his track “Float Away” in the way that it’s an emotional track held up by an upbeat pattern. From his heartfelt lead-out harmonies to the drifting guitar melody, Grabbitz gracefully demonstrates his versatile production skills and paves the way for the future of his musical journey.

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Savoy links with Monstercat for ‘How U Like Me Now’ ft Roniit

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Savoy caps off the summer months on a high note with their latest smash “How U Like Me Now”. Originally a demo cut played at their lives shows, Savoy later decided to polish off the track and add the incredible vocal stylings of Roniit when they saw the frenzied reactions of their fans every time they played the song.

The final product is on point, as Roniit’s beautiful vocals melt seductively into the track’s slow buildup and head-nodding, nuanced production. Drawing on their progressive rock roots, Savoy uses their versatility to take the listener on an incredible journey—one the producers hope they never forget.

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Gammer releases fiery new dubstep track, ‘Let’s Get Crunk’ [+ Interview]

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Make no mistake: Gammer’s love of hardcore music is here to stay, as is his production of the genre. But like with any form of artistry, the multi-faceted producer is working to expand his sound and has been dabbling in other types of music production this year.

His latest, “Let’s Get Crunk,” steps boldly into the dubstep world. With grinding bass and hyped-up vocals, Gammer’s production skills are polished and perfected. His hardcore roots shine through with a focus on the track’s blissful melody in between bass breaks. In his Reddit AMA, Gammer said the idea for the track came about after watching Kayzo play at Hard Summer for the first time.

“I was so inspired by all these different rhythms and decided I wanted to try and make a dubstep track but with a ‘thicker’ sound (mainly using the same percussive elements I always use in my happy hardcore songs) – I also didn’t want to follow the typical dubstep formula so I decided to add some more musical elements.”

Earlier this year, the UK producer entered the world of Monstercat with a fierce Darren Styles collaboration called “Feel Like This.” Since then, he’s released two other tracks on the Canadian label: “Party Don’t Stop” with Darren Styles and Dougal, and “Over The Edge” with Kayzo. The tracks couldn’t be more different. “Feel Like This” and “Party Don’t Stop” contain Gammer’s signature BPM-bursting hardcore rhythms, and “Over The Edge” blends both producers’ skills into a bouncing house track.

Lee talked to DA about the new track, the Monstercat family, and his enduring love of the hardcore genre.

Tell us a little bit about the making of your newest track, “Let’s Get Crunk.” How long has it been in the works, and why is Monstercat the perfect place to premiere it?

It was actually just a demo for the longest time. Consider it one of my earliest attempts at bass music. However I produced it in the same comfort zone in which I make my hardcore. Thick kicks and subs that aren’t the cleanest but just have some weird energy that whacks hard as fuck in a club. It’s a functional tune! Straight up I’ve been trying to work with Monstercat for years, I love how open-minded their fanbase is and I love their energy. As well as being fans of happy hardcore, they’ve openly embraced how much I’ve wanted to expand my sound as an artist.

In addition to the premiere this week, you also just released your Diplo & Friends mix. What was that experience like?

Stressful! Haha. I love making mixtapes, but I always stress myself out over them. For me it’s always been about more than just putting tracks one after the other, it’s about engaging the listener from the start and keeping them hooked. Also, I’m comfortable making mixes last for 30-40 minutes, and having to make it last a whole hour was just something else. On top of this I spent weeks compiling it, mostly in hotel rooms and on planes in between shows. I’m super happy with how it came out and I’m honoured to be involved with Diplo and Radio 1. If I make a few more people fans of the music then I guess that’s a bonus.

What do you see for the future of hardcore in the States? It seems it’s popping up more and more in the North American dance music scene.

One thing thats great about hardcore in the States is it’s still considered a newer / different sound. It’s crazy going to these bass heavy clubs and dropping this 170-bpm madness and seeing the energy levels lift immediately.

What’s your favorite country and/or city to play and why?

Haha this is a tough one. I love playing in different regions for different reasons but my most standout has to be Tokyo. These kids go facing wild from start to finish, completely sober!

What are some of the biggest differences in playing a show in the States vs. back home in the UK?

My core style remains similar in both countries, but it’s kinda like this: my U.S. sets tend to be bass heavy but I can’t really play the super super purist hardcore stuff. The UK I can play the super anthem-y hardcore but I wouldn’t play the bass-heavy stuff.

Who has inspired you the most in your years of producing?

Haha, it’s got to be my boi Kanye West! It would take an entire interview to go through the reasons, but essentially I really admire the way he thinks outside the box and is absolutely unafraid of what people think about him.

What does the rest of 2017 look like for you?

Busy! Another tour, some Asia shows, more U.S. shows, an EP, more collabs, more life!

Why does hardcore hold a special place in your heart? What makes the music and the scene stand out?

I wanna make this super clear for all the people that have been worrying about me and my feelings on hardcore. I fucking ADORE hardcore. It is beyond any measure of a doubt, my favourite style of music. When you drop it in a club and it pops off, it pops off way WAY harder than even the coolest dubstep track – it’s unlike anything else! I’m just over scenes though.

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MYRNE – Confessions ft. Cozi Zuehlsdorff (Original Mix)

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Take a bass-boosted journey through MYRNE‘s latest piece of work.

The Monstercat producer has wowed us in the past with rousing collaborations with KRANE and Popseka. He’s proven himself wholly capable of producing a wide range of music types, but “Confessions” is a whole new sound from him.

The track kicks off with soft, velvety vocals from Cozi Zuehlsdorff and a subtle beat that lets her voice carry the introduction. Shortly after the minute mark, however, MYRNE drives the track into a powerful, horn-laden bass drop. With the element of surprise as glowing characteristic in this track, MYRNE majestically conducts its every angle, eventually leading out with a gentle piano pattern.

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Dexter’s Beat Laboratory Vol. 5

This post was originally published on this site

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

What’s better than a happy hardcore remix of a Disney song? Nanobii’s rework of “Go The Distance” from Hercules is everything you never knew you needed. It’s both tender and rage-worthy, transporting the listener directly back to their childhood. Lindsey Marie’s vocals fit in perfectly with Nanobii’s playful, upbeat take on the quintessential Disney song. Personally, I need to go rewatch Hercules right. now.

Since the release of “Shelter” a year ago, there have been a plethora of creative takes the iconic Porter Robinson and Madeon collaboration. The track has been converted into every genre imaginable, and future bass — being insanely popular right now — accounted for many of them. Here with a completely different future bass take on “Shelter” are Frankie Sanchez and vocalist Cenji, who have given the song a completely fresh feel. Cenji’s vocals are deep and haunting, and Sanchez complements the vocals perfectly with understated beats and a subtle piano. It’s a beautiful rendition.

I’ve been following Rob Gasser for a few years, and each release of his has impressed me more than the last. He’s developed so much as a producer, and I look forward to everything he puts out, no matter the genre. His latest is a drum & bass remix of Chime’s “Wait For It.” With a playful, Wave Racer-esque intro with trippy vocals and racing synths, he ushers the listener into a summer-splashed rework of the track. As a total sucker for drum & bass, I fell in love immediately.

Though Dancing Astronaut covered this collaboration when it came out, I can’t NOT plug it again. As a fan of Fox Stevenson‘s since before he was Fox Stevenson (Stan SB, anyone?) I have enjoyed watching as he releases songs of all genres and build up a loyal fan base. When he announced he had a collaboration with Ookay coming out on Monstercat, I was ecstatic. It’s every bit as good as I could’ve hoped for. With tantalizing vocals from Stevenson and a ear-catching melody, this is guaranteed to be a favorite of mine for months to come.

When No Copyright Sounds released Phantom Sage‘s new EP a few days ago, one track really stood out to me.”When I’m Gone” features a gorgeous piano melody and nostalgic vocals, and I can’t stop listening. The vibe of it is similar to a Madeon song, which is probably what drew me to it. Phantom Sage is ridiculously talented and has produced a wide range of remixes and singles that have all been astounding. The 19-year-old is one to watch.

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