Dexter’s Beat Laboratory Vol. 57

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Dexter’s Beat Laboratory Vol. 57Deters 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.

Seven Lions is a master at building cinematic, picturesque soundscapes. When “Dreamin’” with Fiora came out in July, listeners were enraptured with the blissful beauty of the vocals layered over Seven Lions’ production. The artist just revealed a three-track set of remixes for the track, featuring a drum & bass take by Mazare, a trance remix by Sunny Lax, and melodic dubstep version by Last Heroes. While each one brings something refreshing to the table, Mazare’s drum & bass rendition is particularly entrancing. It’s subtle but strong — my favorite kind of music.

QUIX continues his consistent release schedule with a future bass-meets-trap power piece with Jaden Michaels. The contrast in this track is  jarring — but in a good way. While Michaels’ vocals can be tender at times, she amps up the power in sync with QUIX, who builds into a series of gut-punching drops over the course of the song. This was intentional. “I especially wanted this track to be remembered  for having a powerful first drop and a hard second drop,” he notes in the track’s description.

Hunter Siegel has been churning out a series of genre-spanning tracks this year, ranging in classification from hip-hop to house to electro. His latest, though, dives deep into the bass house realm. He teams up with Seelo for a searing bass-backed heater called “12 Gauge” on Zeds Dead‘s Deadbeats imprint. With feisty vocals and an overpowering dosage of bass, these two have crafted a short but engaging piece of work, encouraging a late-night dance floor fiend to “pump ya body like 12 gauge shotty.”

Talk about a talented trio of artists. Bearson links up with Lemaitre and josh pan for this stunning original, “It’s Not This.” Though seemingly simple, this laid-back track is backed by crisp production, a mellow beat, and a moving melody. Though summer ends officially tomorrow, songs like “It’s Not This” show the timeless quality of sun-soaked rhythms and vocals.

Dutch downtempo producer Allay just released an ethereal collection of tracks, Journey Of The Velvet Adorned Nomad. As mystical-sounding as the LP title, Allay delivers “Adrift In the Borderless Sea” with Rod V. This six-minute venture is ushered in by a saintly set of synths that crescendo into a haunting melody. Its enigmatic qualities draw the listener in immediately, leading them into a song that’s rich in light percussion and lush piano themes.

Boys Noize blasts back with cover of Adamski’s acid house classic, ‘Killer’ [Watch]

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Boys Noize blasts back with cover of Adamski’s acid house classic, ‘Killer’ [Watch]Boys Noize Ajr Photo

Boys Noize is back with more industrial mischief, this time on a cover of Adamski’s late 80’s acid classic “Killer,” arriving on his own Boysnoize Records. For the rework, the producer taps Miami-based singer Steven A. Clark for vocal duties, which were famously handled by Seal on the original. The result is a nostalgic stomper of a track, with Clark’s vocals dripping attitude and swagger the whole the way through. The song’s rebooted debut comes in the form of a psychedelic music video that beckons straight back to smokey New York club nights of decades past.

Boys Noize is on record saying the cover is a love letter of sorts to that era, and that specific track in general. This version has the Mayday artist’s fingerprints all over it, but the feel is still geared towards tributing the original cut all the way.  Boys Noize explained the backstory for the cover’s personal significance, and the origins of its creation via social media,

“Being a 90’s kid, I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun, but it turned banging and lit the dancefloors wherever I’d drop it – so here I am sharing my industrial ‘KILLER.’”

Tiësto’s latest music video for ‘WOW’ gets a dystopian touch

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Tiësto’s latest music video for ‘WOW’ gets a dystopian touchTiesto Interview 1

Tiësto‘s latest single “WOW” finally gets an official music video, and the concept is impressively creative. This production follows the video game theme in his previously released “Jackie Chan” video, yet this one employs a slightly darker touch.

Directed and animated by Bram Knol, we follow a young backpack-clad hero navigating through a dystopian, post-apocalyptic future. In the “WOW” video, it’s clear that technology has taken over and flying drones are the enemy. Our protagonist runs, climbs, and rolls through burning buildings suspended in the air — pretty impressive for a kid that looks like he hasn’t even finished grade school.

Check out the video and catch Tiësto this Fall, with a string of tour dates in China followed by a residency at Hakkasan Vegas in late September.

Whethan locks listeners in on his ‘Radar’ with endearing new track

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Whethan locks listeners in on his ‘Radar’ with endearing new trackWhethan Radar 1

EDM boy wonder, Whethan, is at again. The 19-year-old is capping off a rich season of releases and touring with one last memento: “Radar,” featuring like-minded British duo, HONNE.

The genre-irreverent track is comprised of Whethan’s edifying nature and unfettered light in high supply. As the vocals tell a story of a lofty, enduring love, the production complements the sentiment, with whimsical piano and funked-out bass guitar plucks. A mass of flutters, stutters, and chirps permeate throughout the shimmery track, adding that categorical nuance which puts Whethan so resolutely in a league all his own.

At 19, Whethan has achieved success most producers spend lifetimes lusting after. His sound is deeply inspired by the rippling, feel-good accents of Louis The Child, who also happen to double as his best friends.

Old and new Anjunadeepians, Lane 8 and Ben Böhmer, converge to create celestial sonic babies

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Old and new Anjunadeepians, Lane 8 and Ben Böhmer, converge to create celestial sonic babies21167308 1621164124582516 8262895326888040930 O E1537542533850

One of Anjunadeep‘s newest breadwinners, Ben Böhmer, has proved himself an austere presence within the Anjunabeats sub-label, melding his visceral, atmospheric sound to its most intimate foundations. His latest remix of Lane 8‘s “Hold On” further solidifies his vocation to that lofty, singularly Anjunadeepian deep house.

Though now running his own rapidly sprouting label, Lane 8 spent years nurturing his heavenly emblem on Anjunadeep soil, still regularly mixing for the imprint and even performing at their first-ever Open Air festival in London this year. Naturally, Böhmer adopted the particularly tranquilizing track as part of Lane 8’s official remix album for Little By Little

Böhmer leaves the polished patriarch’s creation still starkly recognizable, slightly pitching up and restructuring the lead synth line, and leaving Fracture’s exploratory vocals ringing true through the chorus. The remix, like the Lane 8 original, is the ideal soundtrack for flying over a sea of snowy mountain peaks, or a long rest atop a vapory mass of clouds.

The young German made his Anjunadeep debut last year with his miraculously mellow “Flug & Fall,” which appeared on the label’s fourth Explorations album installment. He soon followed up therein with the warming tones of his stirring Morning Falls EP.

Deathpact has arrived: unlock the mystery with his debut EP [STREAM]

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Deathpact has arrived: unlock the mystery with his debut EP [STREAM]Deathpact Cipher 1

The dance music world has been fixated on the mysterious Deathpact from the moment the mysterious producer’s name — and a series of coded, cryptic messages — began circulating all over social media. Speculation ensued as more odd clues like dial-in numbers and lockboxes began surfacing; many posited the new act was Madeon, and others questioned his relationship to REZZ, who seemed to be in on the surprise. Now, its debut EP, Cipher 1, is finally out, along with the final piece of the puzzle that will help pinpoint his identity.

Akin to previous snippets from the enigma, Cipher 1 is an intense, futuristic listen that fashions a dystopian landscape within the mind and shakes one to their core with its robotic synth accents. It wades through the darkness, driven by chunky basslines and percussion, until the final track is reached: “Circadian.” It is here that Deathpact followers can unlock a final clue as to who this new musician really is — if they’re strong enough to make it to the end of the record, that is.

Mercer inflects house with vintage disco sound in ‘Alright’

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Mercer inflects house with vintage disco sound in ‘Alright’Mercer

Disco never died, and while some naysayers aim to disavow the longevity of four-on-the-floor beat arrangements and the soulful funk of coalescing synthesizers, horns, and syncopated bass lines, MERCER‘s latest single vibrant evidence that disco stylistics are alive and well in 2018. The Parisian producer inflects house aesthetics with a hybrid of vintage jazz and disco sounds in “Alright” — a feel-good dance floor filler with a soulful groove.

“Alright” is an edit of Jamiroquai’s 1996 house heater of the same name. The original sampled Eddie Harris’ “It’s All Right Now,” and Idris Muhammed’s “Could Heaven Ever Be Like This,” but MERCER lends his own distinctive flair to the edit in his implementation of a swifter tempo that renders this new version more danceable by comparison. MERCER cuts straight to the lyrical hook of the original, salvaging only the hook in his edit, which loops in a disco-house inspired fashion.

Mysterious new Deathpact project continues to emerge with latest drop, ‘Piston’

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Mysterious new Deathpact project continues to emerge with latest drop, ‘Piston’Image From IOS

There is a certain allure that accompanies the unknown — that curious whisper that can beckon one blindly, vertigo that comes not from fear of falling from city rooftops but rather from knowing that one could. It’s from that place of interest that draws our attention towards Deathpact.

Deathpact has a very limited discography but that isn’t to say it has gone unnoticed at all. Deathpact turned heads with involvement on REZZ’s Certain Kind Of Magic assisting with the track “Life & Death.” Since then, the enigmatic new Deathpact, rumored to be a new project from an already well-established producer, has released “Danger” and “First Interference,” both hard-hitting, dark, almost sinister tunes.

With the release of their latest, “Piston,” Deathpact has done it once more. The track begins with an eerie alien-like mutter only to quickly form into an explosive, bass-heavy, rail riding, headbanger. Sonically, “Piston” demands an energetic reaction through a dark, cosmic calling that says, “come one, come all… if you can handle it.” It holds a circus of bass, kicks, and synths that are in perfect disarray. The track comes to a close as eloquently abruptly as it arrived leaving the listener dumbfounded, exhausted, and immensely entertained. “Piston” has definitely further developed the mystery shrouding this artist. This perplexing website doesn’t hurt the cause either.

Premiere: Mont Blvck – Letting Go (Franky Rizardo Remix)

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Premiere: Mont Blvck – Letting Go (Franky Rizardo Remix)Franky Rizardo Live

2017 saw notorious LA party crew Gari Safari expand from collective and event company to an official label. With Gari Records’ debut release highlighting the music of its members — Anabel Englund, Matt Ossentjuk, Human Life and Mont Blvck — “Rising” launched a new era. Now nearly a year later, the label has resurfaced for a long-awaited sophomore single release and remix package.

This time, “Letting Go” puts a spotlight on one of the group’s members, Mont Blvck. A duo whose talents go much beyond just being DJs, Jackson Englund and Diego Cuevas Casale make music as singers, multi-instrumentalists, writers, and producers, all culminating on stage as a live electronic act. But their story is not the only one to associate with “Letting Go,” as the track has received an impressive remix from Dutch house artist Franky Rizardo. A student of classically styled house tracks, Rizardo consistently pushes the envelope with out of the box productions, and his remix here is no different. Melding retro acidic synths with contemporary progressions, his remix of “Letting Go” is unstoppable both in energy and in its irresistibility.

Alongside remixes from Huxley and his alter ego Martinet, the Franky Rizardo remix of “Letting Go” will be out September 21 via none other than Gari Records.

Ghastly drops his hardest track of the year, fittingly titled ‘This Song Scares People’

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Ghastly drops his hardest track of the year, fittingly titled ‘This Song Scares People’Ghastly2017

Earlier this year, Ghastly dropped his 13 track debut album titled The Mystifying Oracle, and apparently he’s kept the pedal to the floor in the studio since. Ghastly back again new track, and it might just be his hardest release of the year. The title of the new original cut, aptly dubbed, “This Song Scares People,” is certainly a worthy name for the ominous new tune. The LA-based artist is known for his hard-hitting sonic style, but this track will add an even heavier dynamic to his live sets with its frenzied bass assault.

Ghastly — known equally for his dark aesthetic as he for his complex, multi-layered set list weapons, often capped by menacing synthwork and stirring vocal accents, falls right on brand with “This Song Scares People.” And based on the new track’s title alone, this one is certainly not a listen for the faint of heart.