Gammer harkens back to happy hardcore ‘This is the End’—featuring David Spekter

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Gammer harkens back to happy hardcore ‘This is the End’—featuring David SpekterGammer Press Shot Courtesy Gammer

DJ and producer Gammer originally made a name for himself in the UK hardcore scene, and in recent years, he has been diversifying his sound. His newest artistic chapter sees him breaking out of the subcultural fringe of hardcore and experimenting with new styles including dubstep, trap, and psytrance. He returns to his roots with “This is the End,” however—a track that he considers to be the “most personal song he has ever written.”

“This is the End” harkens to the happy hardcore sounds of old tht kicked off Gammer’s career. Despite a speedy BPM, the track is considerably lighter than the producer’s contemporary releases. David Spekter‘s heartfelt vocals are at front and center, juxtaposed with acoustic guitar bits and the frenetic, familiar synth stabs that once dominated both DDR and the rave scene of old. “This is the End” is out now on Monstercat.

Habstrakt debuts first-ever music video, with Monstercat-housed ‘The One’

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Habstrakt debuts first-ever music video, with Monstercat-housed ‘The One’Habstrakt

Parisian bass music producer, Adam “Habstrakt” Jouneau, has returned to newfangled Toronto label housing, Monstercat, for his debut music video showing and adjoining single, “The One.”

The visual is set, first, on an ostensibly normal nighttime road, but soon contorts into a scorching, Mad Max-esque terrain. The track pulses fervently as the chaos of video’s whirlwind narrative and almost whimsically austere characters whip across the screen. Metallic synths grind and churn, while a heavily pitched-up vocal cut, compliments of Habstrakt’s close friend and longtime collaborative partner, Pauline Herr, skips atop the quixotic production.

The track itself traces Monstercat’s recent synergistic shift into scoring video games, namely the widely popular driving game, Rocket League. “The One” is currently being featured in the game’s official soundtrack.

Justin OH impresses with bright, glitchy bass Monstercat release, ‘Don’t Bring Me Down’

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Justin OH impresses with bright, glitchy bass Monstercat release, ‘Don’t Bring Me Down’Justin Oh

South Korean producer, Justin OH, released a unique bass thriller, “Don’t Bring Me Down,” the sixth single from his forthcoming City of OZ album. The track that was debuted at Ultra and Tomorrowland combines bright synths, computer glitches, familiar wobbles, and airy vocals for a stark contrast from verse to hook. It’s unlike the standard dubstep, as the smorgasbord of sounds create an uplifting and menacing euphoria that curate a percussive, melodic breakbeat.

The Paul Oakenfold-discovered artist is known for his versatility as a songwriter, producing a wide array of electronic narratives from progressive house to hip-hop and future bass to dubstep. “Don’t Bring Me Down” leans towards the harder side, showcasing OH’s variability even within genre.

OH presents his cyberpunk reality at his live performances with a strong video component of his virtual world called “The City of OZ.” The new album will continue that storyline in the aural sense.

Kill Paris brings the nu funk on new heavy groove, ‘Played Out,’ featuring Dutch Robinson

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Kill Paris brings the nu funk on new heavy groove, ‘Played Out,’ featuring Dutch RobinsonKill Paris Press Photo

The bass hits strong on Kill Paris‘ new funky screamer, “Played Out,” released on Monstercat. With the help of vocals from Dutch Robinson, the Colorado-based producer brings his crisp production to slapping synth melodies. An added bonus is left in a final bridge with a wild guitar solo, a specialty of the talented multi-instrumentalist.

Earlier this year, Kill Paris released his sophomore album, Galaxies Within Us, which featured artists like Big Gigantic and FATHERDUDE, as well as two tracks with Wim Hof from the out-of-the-box creative.

“Played Out” is some nu funk, and some might call it “Groovy with a capital G” for how hard the bassline slaps. It also comes with a creative lyric video that falls in line with the retro sound.

Dillon Francis and Eptic ‘Let It Go’ on Monstercat

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Dillon Francis and Eptic ‘Let It Go’ on MonstercatDillon Francis Partying

Monstercat has signed on two powerhouses for its latest release. Dillon Francis and Eptic bring a hefty taste of moombahton to the label in “Let It Go,” an audacious piece high in energy and main stage appeal. The track starts off on a sentimental note, with soft synths and deep vocal melodies easing the listener in. Then comes the switch up: these feel-good elements lead into a wild soundscape filled with classic moombah rhythms and buzzing bass. These contrasting elements in “Let It Go” ensure a wild ride from start to finish that will surely be covering dancefloors far and wide for the coming months.

Both Dillon Francis and Eptic have been behind some notable collaborative tunes in 2019. Eptic made waves with DJ Snake earlier in the year with their kinetic “SouthSide,” while Francis continued to explore genre fusion in his piece with lovelytheband, “Change Your Mind.”

Habstrakt makes storied return to Monstercat for an off-the-wall serving of ‘Lasagne’

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Habstrakt makes storied return to Monstercat for an off-the-wall serving of ‘Lasagne’EAEuGvWkAECC

Towards the closing mark of 2018, Habstrakt fired out an exceedingly ambitious resolution.

“I feel like I haven’t released enough music in 2018 and I’m about to change that,” he vowed.

While some artists may have playfully toyed with a similar notion in sole aspiration of appeasing their fan base, the French bass-house authority has remained true to his commitment thus far in 2019 with a horde of releases already to his credit. Nearly one month to the day following his debut appearance on NGHTMRE & SLANDER’s Gud Vibrations, Habstrakt is boosting the release counter for the sixth time in seven months with a spirited return to Monstercat for “Lasagne” alongside fellow Frenchmen, Bellecour.

With a thunderous denomination like “Lasagne,” expectations of a favorable future output are inevitably paired alongside it. The appetizing plateful of a collaboration promptly indulges listeners’ cravings, as Habstrakt and Bellecour combine their notable bass-house tendencies for a grungy synth-drowned creation. While the age-old aphorism harps, “quality over quantity,” Habstrakt has shown a producer shouldn’t necessarily have to choose one or the other.

Featured image: Jordan Marchand

Dexter’s Beat Laboratory Vol. 101

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Dexter’s Beat Laboratory Vol. 101Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor 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.

Listen in playlist format here


Jay Cosmic has returned to Monstercat under his Desert Star moniker to deliver a feel-good, catchy-as-hell new single, “Carissa.” With its ’80s atmosphere and infectious vocals, the tune makes for stellar sophomore showing from the Manchester artist under this name. “Carissa” follows “Foreign Land,” which landed in April on the Canadian label’s Instinct section.

Nanobii‘s first release of 2019 has arrived in the form of “Children of the Sky,” an original tune that features the artist’s own vocals and his signature happy hardcore beats. Fans of Owl City will delight in its uplifting melodies before being rocketed into a sky full of clouds. The accompanying artwork fits perfectly with the lighthearted tone this song portrays.

Calgary-based producer Stilz has had a career that’s spanned many years, packed full of nostalgia-inducing songs of the synthwave/cyberpunk persuasion. One of his latest to pop up on SoundCloud, “Future World (2016),” gives listeners goosebumps with its eerie, otherworldly theme, adding to the mystery with a deep, pulsing beat. It’s intoxicating and full of hidden components with each listen.

Nora En Pure has had a banner 2019 already, keeping up with her weekly Purified show and still finding time to release hits like “Birthright” and a remix of Sofi Tukker‘s “Fantasy.” Her latest, “Heart Beating,” debuted on Enormous Chills earlier this month and has a darker tone than its predecessors, making it primed for late-night club sets. Sultry, pounding bass and infectious vocals make this one irresistible.

At the beginning of July, Serbian producer Vintage & Morelli revealed a massive collection of songs to the world in the form of Hymn to the Night. Tucked among the 21 songs is “Last Of Us,” a sensational tune that features angelic choral stylings and a relaxed beat. Silk Music‘s classified it as ambient, but it’s so much more than that. “Last Of Us” weaves in delicate orchestral interludes and serene guitar soundscapes that are easy to get lost in.

Monstercat partners with social VR company Sansar to deliver Call of the Wild Experience

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Monstercat partners with social VR company Sansar to deliver Call of the Wild ExperienceMonstercat Sansar Vr

Independent Canadian label Monstercat celebrated its eighth birthday on July 1, tipping its hat to the countless releases and experiences it’s been able to provide since 2011. This year is particularly special, though. The label has just announced a massive partnership with social virtual reality company Sansar and looks to bring VR to its music, live concerts, and gaming.

The adventure officially begins with Monstercat: Call of the Wild Experience on July 12. The three-hour inaugural event will consist of an “epic virtual bash” to celebrate the label’s eighth anniversary, featuring more than a dozen Monstercat artists.

But that’s not all. The Call of the Wild Experience will continue each Wednesday, as the label begins to host its weekly radio show in Sansar. Fans can tune in each Wednesday at 1 p.m. PT. Going forward, the partnership will give Monstercat the ability to hold virtual concerts, meet-and-greets, fan quests, giveaways, and more.

“We’re offering our fans something truly unique in the [Call of the Wild Experience] their own space to meet, connect and share creative ideas with each other,” Dan Scarcelli, head of programming at Monstercat, said in a press release. “Social VR has the power to transform how communities gather online, and we’re thrilled to be leading the charge with Sansar.”

Ahead of the opening, fans are encouraged to check out the Call of the Wild Lobby, where they can start special quests, earn prizes, and unlock hidden clues about the July 12 lineup. Free and premium tickets are on sale here.

Dexter’s Beat Laboratory Vol. 96

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 96Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor 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.

Listen in playlist format here.


Grabbitz and Sullivan King‘s roots are firmly planted in rock ‘n’ roll, and their new Monstercat collaboration showcases that fact perfectly. “Crazy As You” manages to be simultaneously vulnerable and heavy, weaving seamlessly between Grabbitz’s emotive vocals and Sullivan Kings fiery guitar progressions. This song is inspiring, allowing both artists’ talents to shine in their rawest forms. Prepare to have your heartstrings tugged.

Ever in pursuit of a party, The Knocks have created a pristine summer tune called “Awa Ni.” Just in time for the longest day of the year, they’ve linked with Nigerian singer Kah-Lo for an easygoing, carefree single. The phrase “awa ni” roughly translates to “that’s us” in Yoruba, one of the native languages spoken in the city of Lagos, Nigeria, where Kah-Lo’s from. She said in a release that the beat The Knocks concocted “gave me the vibe of rolling around town back home with my friends” and made her want to write something about where she’s from. “Awa Ni” is the perfect result.

The countdown to Flite‘s Calm Before the Storm EP continues with the release of a new single, “Skywalker,” on Liquicity Records. The tune follows the debut single of the compilation, “Decisions,” which arrived a few weeks ago. Both songs are are impeccable examples of top-quality U.S. drum ‘n’ bass, as Flite continues his mission to bring such music to the States’ masses. “Skywalker” is a full-throttle launch into outer space, rocketing through its drum ‘n’ bass rhythm and gliding at a more graceful pace through interludes of twinkling melodies and soothing vocals.

BLOODTONE brings listeners back to earth with the release of “Already Dead,” an ominous techno endeavor that pounds furiously in listeners’ ears. Backed by a frenetic beat of the deepest bass, “Already Dead” drifts between melancholy piano melodies and eerie vocals chanting “already dead” that bleed into the corners of the brain. BLOODTONE continues to cement his dark and sinister style with captivating releases such as this one.

Horn connoisseur Alexander Lewis is back again with another trap-infused heater. He continues to make music that’s unpredictable and completely unique, opting this time to take a cinematic and orchestral approach. He described “Soar” perfectly in the song’s description: “‘Soar’ is an amalgamation of my influences from current movie scores and trap. It features three string players (recorded and layered to sound like a full orchestra) and eight brass players (two horns, two trumpets, four trombones). At the time of writing the song, ‘chaos’ was the only word to express how I was feeling, but when I had a final product it ended up being so much more than that. It represented/represents positive ways of dealing with chaos, and finding the beauty in it.”

Zeds Dead join forces with Dion Timmer on fiery new single ‘Rescue’

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Zeds Dead join forces with Dion Timmer on fiery new single ‘Rescue’Zeds Dead

After releasing a slew of remixes including a rework of Billie Eilish‘s “bury a friend” and Diplo‘s “Close to MeZeds Dead finally drop their second single of the year “Rescue,” preceded by the duo’s Delta Heavy-assisted track “Lift You Up.” Joining the production capabilities of two dominating bass acts— veteran dubstep producers Zeds Dead with the ripe, but explosive talent of Netherlands-based Dion Timmer—”Rescue” embodies the complements of old and new talent lending a hand to each other. With Delaney Jane providing the track’s vocals, the collaboration between the Deadbeats label heads and the Monstercat power player prove to be the latest Zeds Dead heater fit for the live stage.

“Rescue” begins with a plucky guitar riff and beating drums that almost echo the structure of an alt-rock song before descending into a wobbly bass-driven soundscape. Jane’s breathy vocals sing “It’s only you coming to my rescue” inter-weaved into a thumping drop, laced with high and low frequencies that make for a chaotic rush. Zeds Dead and Timmer have given the all-familiar dubstep anthem a refreshing makeover in their collaborative efforts on “Rescue.”