Four months after Chris Lake‘s “I Want You” took OWSLA by force, a package of remixes is reigniting the hype around the track.
Among these remixes is a trippy trap track courtesy of QUIX. The New Zealand producer was thrilled at the chance to remix the house song.
“When OWSLA asked me to put my spin on this Chris Lake house anthem I was stoked,” he said.
In his rework, QUIX chops up the track’s vocals and staggers them over a grinding trap beat. The remix veers sharply from the original, taking it from a grooving, dance-ready house song to more of a festival-ready “banger.” Its nitty gritty, mechanical sounds give it a rough edge, breathing new life into what was already a strong production.
An official Mr. Oizo remix is a rare honor for any producer to receive. With his propensity for bizarrely innovative electro, the legendary French producer has a distinct way of transforming songs into engaging revisions that stand apart entirely from their original counterparts. Oizo’s formidable take on Dog Blood’s “Chella Ride” and computerization of Chromeo’s “Over Your Shoulder” come to mind as particularly compelling examples of this trend.
In his newest remix, the Ed Banger veteran inverts “Operator (Ring Ring),” from UK house mainstay Chris Lake. The original song, which seemingly builds upon the influence of Green Velvet’s Cajmere alter-ego, was a hit for months prior to its release on OWSLA’s Howsla compilation in May. Dances With White Girls‘ recognizable vocal sample and Lake’s frenetic tech house synthesis led the track to be unofficially dubbed as the “soundtrack to Holy Ship 2017.”
Mr. Oizo’s interpretation, which comes as part of the OWSLA-backed remix package for Chris Lake’s assisted singles “Operator” and “I Want You,” takes the form of invigorating, glitch-laden electro. By modulating the vocals into a cerebral synth arrangement that coexists alongside Lake’s own production, Oizo manages to shift the single into an entirely new piece, while retaining the essence of the original.
Stream the full I Want You vs. OperatorRemixes EP below, featuring further contributions from Quix, DJ Sliink, and 1991.
Hundred Waters have officially announced the release of their long-awaited third studio album, due to land on September 14 via their longtime home imprint, OWSLA. The Los Angeles transplants, by way of Gainesville, Florida, began the summer with a surprise EP, Currency, that camein conjunction with the commencement of their annual FORM Arcosanti festival alternative. The five-track precursor set the tone for the band’s inbound Communicating LP, expected to be a collection of new material that gives a highly personalized look into Hundred Waters’ complex evolution.
The LP is led by a new single, titled “Blanket Me,” an emotive piano-driven ballad fueled by lead singer Nicole Miglis’ pensive vocals and drummer Zach Tetrault’s uplifting percussion arrangements. In quintessential Hundred Waters fashion, the album’s altruistic rawness derives from the group’s homespun recording process, capturing sounds at their own kitchen table, in the solitude of bedroom closes, and even in an abandoned Detroit church.
Concerning the ethos of Communicating, Miglis elaborates:
“[The] album is a breakup. It starts with a need for independence and it ends with an ‘all better,’ like we did it: we learned, we loved, we separated, and now it’s time for the next.”
In the time since 2014’s critically acclaimed Moon Rang Like A Bell and this year’s incoming release, Hundred Waters have experienced a span of events that most bands barely cover in their entire lifespan. Communicating explores that entire space in between, from breakups, reunions, losing a band member, and sharing the living space that ultimately fosters the group’s creative cohesion. The album’s central concept explores Miglis’ relationship with fellow band member Trayer Tryon, and how the catalyzing changes in their romantic union translates into their art.
Listen to “Blanket Me” ahead of Hundred Waters’ official album release this fall.
Wiwek is undoubtedly one of the driving forces behind jungle terror’s partial revival. The genre dropped significantly in popularity post the big room boom in the late 2000s and, while his style bears little resemblance to jungle terror of old, it still encapsulates the same feral, unhinged and raw spirit it is known for. The sound is a trend for the breakout producer that has continued with latest single “Drum Nation.”
The single features Wiwek’s signature tasteful chaos, but is simultaneously slower and heavier than some of his previous work. Underlying layers of sound, the mix features an unmistakably tribal theme, underscored by the beat of the overpowering bass drum and trancelike chanting vocals.
Drezo‘s formative rise through the west coast’s flourishing underground house and tech scene has been an impressive progression to watch unfold. The LA-based producer has brought his infectiously eerie, warehouse-primed brand of house music to labels like Mad Decent and OWSLA, but for his latest project, he’s taking the full control of the reins with a new independently released EP, Jaded, out in full July 14. To roll out the forthcoming three-track collection, Drezo has dropped off a blistering new original cut titled “Dead.”
In signature Drezo fashion, the track opens with a pumping kick and a textured hum that gradually builds into an aggressive growl leading into the break. The “Guap” producer chops up a characteristically punchy yet simple sample selection on his latest, as “Dead” drops into an oscillating barrage of snarling chords designed for packed festival tents and sweaty after hours club floors alike. Much like his mentor, Dillon Francis, who has recently adopted a label-free release strategy, Drezo is coming in full force on his own this summer with Jaded, and if “Dead” is any indication, it’s going to be high caliber tech house quality from one of the genre’s brightest prospects.
What So Not is starting to heat up in the second half of 2017, returning to an occupied touring itinerary that kicked off at Coachella and has brought him from Paris to Tokyo this summer to crowd test new music. Following last year’s RL Grime and Skrillex-assisted mega-collaboration “Waiting,” Emoh went radio silent with a much-deserved break in Australia — a short hiatus that effectively churned out the producer’s debut studio album. Now, according to What So Not, his record has been completed, and is presumably in post-production. To tease his fans’ insatiable appetites ahead of the forthcoming album, the Aussie beat-maker has shared a new remix package for 2016’s Divide & Conquer EP, out now via OWSLA and Sweat It Out, lead by a highly-anticipated Noisia remix of the EP’s title track.
The Dutch electronic legends lay down a thunderous drum n’ bass treatment on the remix EP’s only “Divide & Conquer,” rework. The rest of the collection covers inventive new versions of “Lone,” and “Trust.” Slumberjack proctor a vibrant future bass rendition of “Lone,” while Ribongia offers up a tribal, textured take on the track. Fellow Sweat It Out affiliate Plastic Plates drops a jazzy, funk-inspired “Trust” rework, and MYRNE takes the track in a heavily trap-leaning direction, offering a wide variety of fresh new remixes on What So Not’s first official solo endeavor.
New Jersey producer Au5 is known for his transcendent melodic dubstep tracks on labels like Monstercat, Simplify, OWSLA, and more. Over the years, fans have come to expect beautifully vivid soundscapes from the producer, but his latest release is something a little different.
In a genre he’s calling “future trap,” Au5 has released his latest song “I Miss You,” featuring vocalist Kenny Raye, on Simplify.
“I Miss You” initially appears to be completely different territory for the producer, but upon a closer listen, the components that make Au5’s music so unique are still very much present. The chorus contains heavy-hitting dubstep elements, and Raye’s vocals expertly capture the emotion of the song.
Perhaps the best surprise of the HARD Summer Musical Festival 10th anniversary line-up was the news that Dog Blood would be topping the bill in 2017. As the supergroup side project conceived by Skrillex and Boys Noize, the two haven’t appeared together since HARD Red Rocks nearly two years ago.
On May 18th, however, Dog Blood took to their Facebook socials to express their excitement for HSMF, but also to announce to fans that it would be their only show in 2017. The announcement most likely comes as a joy to HARD founder Gary Richards, since Dog Blood is sure to draw in a massive crowd on their own. Now that it’s been confirmed as their first and only show in nearly two years, tickets should be start flying off the decks.
Maybe there’s a possibility for the return of Dog Blood in 2018? There’s no way to know for sure, but their HARD Summer appearance is sure to be the 2017 festival set to see. Grab tickets here to join Dog Blood August 5-6, 2017 at The Auto Club Speedway in Fontana, California.
Though Jochen Sablon and Vincent De Boeck have prolific histories in the Belgian dance music scene, they’ve only just begun their venture into stateside consciousness. As Madou, the duo may be newcomers to the American music industry, but their tasteful production is likely to soon make a lasting imprint.
In their recently-launched project, Sablon and De Boeck proved their knack for combining an eclectic range of stirring garage, house, and downtempo elements with their first single, “Changing.” With this recent release, Madou began to define themselves as sitting somewhere in the stylistic nexus of Jamie xx, Four Tet, and Moderat.
Madou’s newest track, “Nowhere Else,” fuses these varied, sedate influences into a deep, warm melange of house and indie dance. The song’s sultry vocal line builds upon subdued bass patterns, stripped-back rhythms, timpani-like chimes, which culminate in an end product which is likely to garner significant attention in the coming months.
Already supported by The Magician in his Magic Tape 68, “Nowhere Else” is backed by OWSLA’s NEST.
OWSLA continues to stand in accordance with good people and good times in this four minute video, featuring some of best moments from their European showcase.
The tripbegins with Valentino Khan standing on the ledge of a giant crane before cutting to various scenes of Khan and Vindata‘s Branden Ratcliff roaming the streets of Europe from performing at renowned nightclub Favst to trying new treats at the Cereal Killer Cafe in London.
One of the more significant bits highlights Khan and Ratcliff taking a moment to acknowledge the music scene in Europe and how it helped develop their craft as producers:
“It’s just dope being influenced by people across the globe and they like inspire you to take what you grew up on and put a twist on it..and you know..bring what you have to the table.” – Ratcliff.
A key takeaway from this European recap is the true sense community between the artists who refer to OWSLA as “more than just a label” which is what makes this collective a driving force in today’s industry.