Texas-born Tim Gunter is giving fans exactly what they want in 2018, following up a Chainsmokersremix with an upbeat, hour-long summer mix. Hailing from Austin, the DJ/producer continues this success streak in flipping Loud Luxury‘s Billboard Top 10 hit “Body.” According to the edit’s SoundCloud description, Gunter’s been ready to drop this one for a while, and now its finally seeing the light of day:
“Made this flip for my sets and people liked it so much I decided to put it out. Shout out to Loud Luxury for making this bop.”
The edit takes all the catchy, melodic elements of Loud Luxury’s original work and elevates them to new heights, with a high-octane, multi-layered future bass drop. The edit was designed for Gunter’s live performances, and as one can imagine, when played for a crowd, the new “Body” remix bound to turn heads. According to Billboard, the original has finally reached Top 10 status on the Hot Dance/Electronic songs chart. This was a slow journey, as Loud Luxury’s hit track had been climbing the charts for 37 weeks. With a fresh perspective from Tim Gunter, expect the track’s charting shelf-life to be extended well into the end of summer.
Chromeo‘s DRAM-assisted “Must’ve Been” has been given a stunning overhaul by fast rising R&B duo THEY. The original track has been in rotation since April as an up-beat single from the Funklordz latest LP Head Over Heels, featuring an infectious hook courtesy of the Virginia-born rapper and an ultra-cheeky music video to match. The song previously received remix treatments from artists including CID, Mercer, and Yolanda Be Cool.
Mind of a Genius-championed production outfit THEY. take the original’s chorus and a slinky new verse from singer Drew Love, and lay them over a lush, retro-inspired R&B production from the duo’s producer Dante Jones. The result isn’t just a remix, but a unique reimagining of the original canvas. Even Chromeo themselves admit THEY.’s take caught them by surprise, and could be even better than the original. Dave 1 elaborated to Complex,
“Obviously we’ve been fans of THEY. for a minute (Dante’s a genius producer). We were initially expecting some sort of remix or rework but they’ve turned ‘Must’ve Been’ into an entire different song! Not gonna lie, it might be better than the original.”
Dutch super producer Don Diablo is the latest heavy hitter to try his hand at remixing Martin Garrix‘s hit collaboration with R&B crooner Khalid, “Oceans.” Adding his signature upbeat flair to the track, Don Diablo undoubtedly extends the shelf life of Garrix and Khalid’s infectious crossover cut, with a remix effort that stands head and shoulders above the rest.
Don Diablo slows down the tempo and enhances Khalid’s vocals to become the centerpiece of the track during the introduction. The track breaks with cutting, club-ready chords as Don Diablo injects a fresh energy into “Oceans.” Diablo’s ability to pick up the energy while maintaining the song’s original allure showcases the producer’s versatile hand behind the console. The new “Oceans” remix is out now on Garrix’s STMPD Records.
A melodic, trancier form of tech has been taking the dance world by storm as of late, with an outpouring of skilled artists made visible by the likes of Tale Of Us, Mind Against, Âme, Dixon, and more. In Anima are one such act operating below surface who are behind some destructive weapons in their colleagues’ sets. They’ve just signed onto the fledgling Barcelona-based imprint Venom Recordings with Void Observatory, in which the dup have served up three new originals alongside two remixes.
Rising Italian talent Pisetzky was chosen as one of the remixers, taking on the record’s namesake track and molding it into his own. He maintains the thunderous energy of the original, but focuses on a more muffled, yet sinister low end to accomplish this feat. The remix unfolds like a ride through the underworld, filled with chilling synth riffs, layers of tense sampling, and vibrating bass coming together in a cohesive and impactful union. It’s safe to say that Pisetzky has created a peaktime number in his rendition of “Void Observatory.”
Dion Timmer has built his catalog up with face melting bass products, all marked by his gritty, energetic production style. Dropping off an extended experience of his recent Textacy EP, the young talent enlisted a grip of artists to re-imagine each song, resulting in a six-track remix EP.
Overall the remix package packs a handful of highlights, but standing above the rest is Figure‘s remix of Timmer and Excision‘s “Hoods Up” ft. Messinian. The venerated bass factotum has become a legendary name in bass music over time by releasing over 100 tracks that showcase his characteristically heavy, dirty bass offerings. On his “Hoods Up,” remix, Figure introduces the track with an eerie lead, the crispiest of snares, and explosive synths that will is designed to level dance floors. If you’re wearing headphones, proceed with caution.
Getting signed to a record label is no small feat for any artist, though OddKidOut’s initiation into OWSLA‘s rankings might be the most nerve racking trial by fire any new signee has ever faced. The young Philadelphia-native’s first assignment, handed down from Skrillex, was to dig through OWSLA’s discography, chop up his favorite samples, and to turn them into something entirely new.
The final returned product from the prodigious beatsmith is a spectacular four-track debut EP titled Solstice, that recreates some of the label’s finest sonic snippets. On the EP’s latest offering, “Napa Street,” OddKidOut reconstructs the hook of Skrillex and Poo Bear‘s “Would You Ever,” into an echoing lo-fi hip-hop gem, piecing together an unwinding downtempo glitch primed for hazy summer night cruising. Ahead of the track and Liam Underwood-directed music video premiere, OddKidOut sat down with Dancing Astronaut to dive into the producer’s storied come up that amounted to his new OWSLA EP.
Tell us a little bit about yourself. You’ve been a touring dummer since you were 13. How did drumming impact the transition to making electronic music?
I started drumming when I was six and eventually got into producing when I was 15. I had been listening to everything from hip-hop to death metal, dubstep to jazz. Once I got my chops up on producing after a few years, I started to combine all those genres into something that was exciting to me. The transition wasn’t that hard because I was just doing what I thought sounded cool. I never really labeled it as a “genre” though. But all those years of learning the drums, plus working in a bunch of different environments made producing a bit easier from the jump.
Diplo (among others) is on record as saying that Skrillex is one of the best drummers alive in the way that he understands and designs percussion. Working closely with him now, can you speak to that?
What’s really cool about Sonny’s music is that even when it’s not a percussive element, it’s still super rhythmic and has a ton of motion. Listening to his music is so fun when you’re a percussionist because you’re picking up on all the cadences of the way he chops vocals, to the way he programs his signature sounds. And even better…getting to watch his workflow a few times really opened up the way I program my sounds now.
We’d be hard pressed to find another instance in which a newly signed artist is first tasked with remixing pieces of the label’s existing discography. Was making Solstice stressful? Tell us a little bit about going through OWSLA’s discography for this EP.
It was definitely an unorthodox approach for a debut project, but I loved making it. Sonny knew I was good at chopping up samples, so he sent OWSLA’s full discography to me and I spent like five to six months creating all types of new tracks [with] them. I probably made [something] like 45 songs, but ended up only wanting to release four of them. I had a lot of time to myself in Los Angeles so I would go through, artist by artist, and just flip them over and over until I got something I really liked. We all thought it was just a cool concept.
Some projects experience trouble translating the studio output into a live performance; and a typical CDJ setup doesn’t really seem to align with your style. What would your ideal live performance hardware setup look like?
I try not to pigeon-hole myself with anything musically. I do spin a lot with just CDJ’s…but I think you’re right in the sense that I want my live show to be more than just that. Ideally, I would have CDJ’s, a Native Instruments Maschine MK3 and Jam, and an acoustic drum set, preferably a Gretsch. That way I could trigger a shit-ton of loops and be able to spazz out percussively on a few different mediums.
Sampling is obviously a huge part of your craft. How does hip-hop culture’s use of sampling inspire what you do? Who initially sparked that interest in you?
The 90’s boom-bap era is one of the defining reasons why I love music. I remember playing Tony Hawk’s Underground on my PS2 when I was younger and hearing “Low Class Conspiracy” by Quasimoto. That lead me to start listening to Madlib, and then from there came J Dilla, Pete Rock, etc. Watching these guys inspired me to get an MPC and to start flipping up records. I always loved older music, and music with soul, so the whole process of flipping up records quickly became my favorite thing to do.
2018 looks to be your breakout year and OWSLA feels like a fitting home for you. What’s next for OKO?
Shlohmo‘s remixes have a tendency to conjure feelings of transcendence each time. The bass stalwart has clocked many re-works under his belt, bathing each of his targets in moody, deep soundscapes that are aurally pleasing.
The latest to receive this treatment is WeDidIt freshman Juice Jackal, whose track “Looney Toon” has been transformed into a piece whose emotive atmosphere is packed with hearty guitar riffs and subdued vocals whose dynamics summon chills. Naturally, Shlohmo injects a smoothed-out, mellow low-end into the mix, tying together his interpretation and making the piece completely into his own.
This production also happens to be the first we’ve heard of Shlohmo in 2018; the LA-based producer is currently hard at work on his new album, which he’s stated is due before the year ends.
Robotaki recently released his debut EP Science, impressing fans with a six-track work that dazzled from beautifully jazzy acoustic soundscapes to his vibrant electronic sound and own distinguished style. Now he teases us with his upcoming Science Re-Examined pack, slated to land on June 22 via Majestic Casual, with a leaked single from Manu Dia, once known as Lotus.
Belgian musician Manuel Buendia is no stranger and has been smashing the scene in the last months from his remix of “I Still See Your Face” for San Holo, to his lush remix for Astre’s “Shades.”
Adding to the repertoire, he releases his exclusive remix for Robotaki’s “Limbo,” that strips down the original and adds his playful and majestic touch. By intertwining vibrant plucks, delicate atmospherics and a bumpin’ bassline, he takes the club oriented “Limbo” and turns it into a whimsical wonderland, good for any occasion.
With such talent and an EP coming in the fall, all eyes will be on Dia.
Throughout his career, Lido has proven himself to be among the most forward-thinking producers around. From his heartfelt debut album, Everything, to his high-energy, career-boosting Soundcloud singles, his unique blend of soul, electronic production, and songwriting prowess has kept everyone intently waiting for his next release. For his latest project, the Norwegian producer has unveiled a seven-minute reimagining of Kanye West and Kid Cudi‘s critically acclaimed album, Kids See Ghosts.
Titled kidsloveghosts, the project is not Lido’s first attempt at creating something from a Kanye West album. In 2016, the artist released The Life of Peder, a similarly eclectic interpretation on West’s The Life of Pablo. Lido once again proves his masterful ear for production and remixing, seamlessly weaving the seven-track project into a comprehensive electronic composition. The piece jumps between stunningly vibrant low-end punches and acoustic, soulful ballads, assisted by Lido’s multi-instrumental talents. Available for free on his website, this is a must hear for Lido, Kid Cudi, and Kanye West fans around the world.
Xan Griffin taps into the lighthearted soul of the track and amplifies it, adding future bass production behind Tonino Speciale’s vocals. He primed the formerly low-key track for the dance floor with a soaring synth theme, backed by layers of atmospheric melodies. Xan Griffin lights a fire under “Boomerang,” preserving the heartfelt message of the original while adding his own spin to its memorable melodies.
The track is part of a remix package that also includes a rework by KRONO. The two tracks are out June 15 via Universal Music.