Mura Masa and slowthai have proven again their formidable appeal as a producer-vocalist ensemble, linking up for the second time to say “Deal Wiv It,” another cheeky nuanced number, following last year’s “Doorman,” which appeared on slowthai’s Nothing Great About Britain LP.
“Deal Wiv It” packs melodic jaunts and bass struts, equal parts Talking Heads and The Clash, alongside slowthai’s painstakingly British, punky irreverence: “They say, ‘You’ve changed,’ / Fucking deal wiv it.”
Mura Masa’s next album, R.Y.C., is expected at the turn of 2020. The Grammy-winning “Walking Away” remixer recently collaborated with Clairo on “I Don’t Think I Can Do This Again,” expected to appear on the official tracklist for the forthcoming LP. The new single arrives alongside a coinciding visual, starring both “Deal Wiv It” creators.
Intermingling inspirations from ’70s cinema, ’80s synth wave, and the contemporary sounds of today give a time spanning depth to Cape Lion’s style that’s readily perceptible on his lulling new tune, “Deceiving.” The enveloping, hazy number is replete with rolling synth melodies that glide forth, suspended under Cape Lion’s choral vocal. Texturally, “Deceiving” leaves little to be desired, if not nothing at all.
The inimitable metallic pluck of guitar strings and the sturdy beat add dimension to “Deceiving.” It’s a meticulously layered indie dreamscape with tempered cinematic appeal. The latter part of that is unsurprising, given that Cape Lion has spent some of his time of late composing scores for films such as Borg vs. McEnroe and Horizon Line.
The transference of skill, from scores to singles, is audible on “Deceiving.” Listeners can bookmark “Deceiving” as an inviting preview of the equally sumptuous sound that is to follow in full on Cape Lion’s next EP, due spring 2020.
SNBRN has teamed up with Lucati and vocalist 1993 on their new house cooler, “DMs,” released via Ultra Records. The track summarizes the important messages sent through social media direct messaging, or DMs as colloquially known. With a groovy bassline driving the sound, 1993’s voice swims alongside the walking low end melody as the house percussion completes the exoskeleton of the project. A surprise whistle playfully interrupts for a well-rounded house heater.
Hailing from Los Angeles, SNBRN is known for his catchy deep house sound. His originals such as “Raindrops” and “Gangsta Walk” with Nate Dogg alongside infectious remixes that include Bebe Rexha‘s “I Got You” are a testament to his delicate technique and playful narrative development. “DMs” looks to follow that trend, supplementing the artists deep house repertoire.
Tritonal released their third studio album earlier this year in the form the 19-track U&ME. Although the body of work is extensive, they are already back with another single with Henry Dark titled “Shivohum.”
The single opens with a bassline that propels the track forward, infused with big room accents that heighten the build. Sanskrit and Hindi vocals break through the electronic notes, transporting the listener to an ancient world. The lyrics were written by Tritonal themselves, and when translated, the message of the song highlights the power and spirituality of meditation and yoga.
The original Sanskrit translates to “guide me from ignorance to truth, guide me from darkness to light. Creator, Preserver, and destroyer (of material existence). I am that (pure consciousness), I am that, inner self.”
Chad Cisneros of Tritonal speaks on the song in an official release, saying, “Mantra and meditation have become cornerstones on which a new spiritual paradigm has taken form in my life. I wanted to point towards the inner stillness I feel during mediation in a track, and Sanskrit was a great tool for this. Shout out to my Indian manager Amit for the guidance!”
In spite of his young age, Flite has navigated the drum ‘n’ bass scene with the prowess and maturity of an experienced artist. Producing as early as 16 years old and breaking onto the scene at 19 years old in 2014 with debut single “Featherfall,” the Texas-based talent has gained rapid momentum in recent years—following through with 14 releases in 2017 and garnering support from drum n’ bass giants like Andy C, High Contrast, Netsky, and more. With diversity ingrained in his artistic pursuits, Flite and his sound fluctuate in its exploration of the drum ‘n’ bass spectrum. Now, the rising star reworks an RL Grime classic, “Core,” with his latest UKF release.
In his flip of “Core,” Flite transforms the original trap soundscape into a massive drum ‘n’ bass track. Energizing the quintessential drop with flesh-crawling synthesizers and rolling breakbeats, the remix kicks the tempo up while maintaining the dark essence of the original. Deliciously sinister with potent pace, Flite’s remix delivers the drum ‘n’ bass makeover without straying from the skeleton of the beloved RL Grime original.
Crankdat has returned with newest single “Falling,” sure to be a new fixture in his live sets. The Ohio-based music maker is known for his multi-colored production propensity. Whether he’s releasing rock-ready electronic tracks, heavy-hitting dubstep, or lighter crossover tunes, Crankdat has a proven track record lending his green thumb to multi-genre production vines. “Falling” serves as a continuation of his audacious experimental pursuits.
Initially, the listener sees Crankdat tap into his ethereal side thanks to an opening primed with lofty vocals and matching, minimal bell synths, which allow the poignant lyrics to shine through. A minute into the release, a quickening of pace yields an uptick in energy and the entrance of exasperating video game synth work, a seamless addition to the release’s chosen label housing, Monstercat’s sprawling trophy case of game-y tunes. The drop sees Crankdat draw from a variety of inspirations including monstrous ad libs and an ebbing and flowing bass line that keeps the listener engaged through moments of reprieve from the harder-hitting elements.
Crankdat recently spoke to Dancing Astronaut about the release:
“‘Falling’ was a ton of fun to produce. I haven’t done a melodic song since ‘Do You Mind,’ and I really wanted to make something powerful that also makes you feel something. The last drop is one of my favorites I’ve ever done.”
“Falling” follows Crankdat’s two-track Halloween-centric EP, Fearworld, as well as his return to Monstercat records.
The traditional trappings of a breakup song hold no weight in Different Heaven‘s musical context. Those seeking the melancholy melodies and languid arrangements of a typical sonic chronicle of love lost won’t find either in Different Heaven’s latest, “History Of Us.”
The single’s title is telling: “History Of Us” is romantically backward glancing. Lyrically retrospective, the song’s verses recount the slow dissolution of a relationship and the distance that ensued. As with “History Of Us” predecessor, “Strangers,” “History Of Us” challenges the conventions of a breakup cut chiefly in its production.
Rather than situate “History Of Us” in lower tonal depths to play up the poignancy of the lyrical narrative, Different Heaven allows the track’s emotive collection of chords to sanguinely rise. They race upward, arching and breaking down into animated, synth reliant, future bass leaning drops. Different Heaven’s electronic styling of the single puts the sweet in the bittersweet story of “History Of Us.”
It’s been a decade since Nathaniel Rathbun released his first single, and now fans are finally able to listen to the producer’s highly anticipated debut album. Rathbun, who is more popularly known as Audien, was the perfect embodiment of a feel good electronic music producer who could combine the best elements of pop and fuse them with the most energizing and euphoric parts of electronic music. Rathbun can create crossover releases that captivate listeners from the outset, and his music caught on at the perfect time as electronic music was becoming part of the mainstream.
While his work can largely be considered progressive house, Rathbun has versatile production abilities, and he has a flair for producing uplifting trance music in addition to his radio-friendly roster of crossover releases. All of these styles are captured within 11-track Escapism. Although it took him three years to finish the album, the time is reflected in the work he has put out, which can only be described as quality.
Highlights of the album are previously released single “Reach” featuring Jamie Hartman’s vocals. Hartman is a delicious deviation from Rathbun’s typical ethereal female vocalist, and the track imbues an iridescent strain of subtle, exceedingly accessible drum ‘n’ bass. “Escape” showcases Rathbun’s playful side with melodic trance notes framing a bouncy electronic progression. The drop is everything Audien fans look for in his live show, and the single can’t help but to induce a smile for the listener.
When asked how his creative process is different now compared to when he started creating music, Rathbun notes it is, “so much different. It’s more structured and serious, versus just having fun. That can be a good and bad thing, but the music I’m making now is far more substantial and has a musical story behind it. I still have just as much fun, it’s just less often.”
“Escape” seems to be a return to his original production inspirations, and he comments on how this is one of the singles from the compilation that is most personal to him. He says, “‘Escape,’ ‘Heaven,’ and ‘Reach’ have really crazy stories. They took a substantial amount of time to complete, but so worth it in the end. Those songs really embody the diversity and variety I wanted to have on the album. I try not to be so one-dimensional as a producer.”
Rathbun will be embarking upon an Escapism Tour to accompany to the full album’s release, and he has a refreshing take on what elements the tour will enlist in order to make it a worthy compliment to his newly released body of work. He says, “The Escapism tour is not a reinvention of the wheel, but more of a heightened and dialed in version of an Audien show, which simply put, is a ravey DJ show. I took all of my favorite things about a show and put it in one tour. I could have bought some drum pads or played piano on stage, but I decided to keep it true to me, which is that ultimate release of a traditional electronic show. That will NEVER go out of style.”
For those who want a taste of what they can expect from his show early, Rathbun crafted a one hour Saturday Night Session that infuses his album releases alongside old school electronic hits to get listeners ready for their nights. He notes that his Saturday Night Session will get listeners ready for a “party, release, forget problems, be with friends, love music kind of night.”
You have been producing music for over a decade. Why the decision to now release your first LP as opposed to continuing to release singles? It’s been a while! Honestly, I’ve tried to put together an album for years, but my life got too busy, and I didn’t want to rush it. It’s honestly coming at the best time.
Is your creative process or your mindset different now than it was when you first started releasing music? If so, how is it different? So much different. It’s more structured and serious, vs. just having fun. That can be a good and bad thing, but the music I’m making now is far more substantial and has a musical story behind it. I still have just as much fun, it’s just less often.
Can you tell us the intention behind your choice to name the album Escapism? I want the album to feel like an escape from reality. I always try to capture that feeling in my music, and the Escapism Tour will be very cohesive with this idea.
Is there a release on the LP is most personal to you? “Escape,” “Heaven,” and “Reach” have really crazy stories. They took a substantial amount of time to complete, but so worth it in the end. Those songs really embody the diversity and variety I wanted to have on the album. I try not to be so one-dimensional as a producer.
How is Escapism going to translate to a your live show? Any details to get fans excited for your tour? The Escapism tour is not a reinvention of the wheel, but more of a heightened and dialed in version of an Audien show, which simply put, is a ravey DJ show. I took all of my favorite things about a show and put it in one tour. I could have bought some drum pads or played piano on stage, but I decided to keep it true to me, which is that ultimate release of a traditional electronic show. That will NEVER go out of style.
How long from start to finish did it take you to complete your LP and how does it feel to finally have it released? 3 years. SO GOOD!!
Where do you draw creative inspiration from and were there any specific creative motivators for this LP? I 100% draw most creative inspiration from nature and being out in the world. Something about vastness, and emotional scenery resonates with me. I’m able to harness that and translate it into melodies easily.
What track on Escapism was easiest for you to produce and were there any that you struggled with completing? The intro, “See You On The Other Side” .. I made that in literally a few hours. I think the best songs come together that way.
What is one thing your fans likely don’t know about you? I love real estate, homes, houses, design, interior design. It’s all an art of it’s own and a side hustle for me.
What kind of Saturday Night is your Saturday Night Session going to get listeners ready for? Party, release, forget problems, be with friends, love music kind of night.
Audacious experimentalist, G Jones has taken an acid-fueled stroll down memory lane. His newest release appears in the form of a rendition of “Drift,” first featured on the bass connoisseur’s debut EP way back in 2012, before getting the VIP treatment just a year later.
As gripping as it is frenetic, “Drift (Acid Mix)” emboldens Jones to flex the production wizardry that he’s known for, having been donned “the most gifted Ableton beatmaker” ever seen by none other than DJ Shadow himself. With the cut’s heavy infusion of acid synth work, the latest release takes on an audible flavor a bit unlike Jones’ typical work, while still possessing many of the Cali-based producer’s signature elements, from his hyper-attentive drumlines to the flipbook of melodic climaxes that his work is commonly lauded for. Organized chaos at its finest, the newest take on “Drift” never loses focus among the clutter of such a high-paced production.
“Drift (Acid Mix)” comes ahead of G Jones’ recently announced Tangential Zones, the respective epilogue to 2018’s widely embraced The Ineffable Truth.
As dubstep enters a new echelon with entire festivals dedicated to its deep, wobbling kiss of death, it’s high time to remember that dubstep arrived at the helm of the EDM explosion in the US.
Skrillex released the Kraken with Scary Monsters and Nice Sprites in 2010, just as the term “EDM” was starting to take shape. At that point, the raw, sometimes island-evocative, minimalist sound known as “riddim” didn’t boast anything near the earnest following it enjoys today. The popular dubstep in the states at the time, commonly referred to as “brostep,” was flashy and rather outlandish. It was raucous. It was huge in both form and function. And MUST DIE! was undoubtedly one of the biggest proponents of the sound, signing on with Skrillex’s OWSLA, where he produced some of the most irreverent and influential cuts of the moment, (i.e., “Gem Shards”). Though, as time went on, once the compositional visionary began regularly releasing with dubstep dominion Never Say Die records, his catalog became riddled with tracks imbuing more riddim-ready sensibilities.
On “Funeral Zone,” his latest Never Say Die release, MUST DIE! aligns himself with the sonic trends of the current dubstep epoch, employing harsh, undulating, riddim accents alongside a series of floaty mid-range synths that would, oddly enough, feel at home in a buildup by the late great Avicii. Don’t fret though, when the drop comes in there is no mistaking this is a MUST DIE! track that belongs in 2019.