Both SNBRN and Hotel Garuda are known for their laid back and approachable take on house music. After dropping off “One Reason,” his first solo single since the departure of Manila Killa, back in November, Hotel Garduda has enlisted SNBRN for an official remix of the uplifting track.
SNBRN puts a deeper, more atmospheric house vibe on the pop-oriented original. With powerful chords and bold synths grounding the remix, SNBRN’s take on “One Reason” is equally fitted for a live set from both producers, merging their respective styles into one complementary remix. While keeping the vocal chops of the original intact, SNBRN brings in emotive strings and textures to accompany them, resulting in an alluring rework offering.
A few months after the debut of The Knocks‘ latest albumNew York Narcotic, the album’s most successful single has gotten a re-up with the release of the Brazilian SoulRemixes EP. The new iterations of the song see it evolve from its original style as a funky and laid-back summery groove, into broader electronic territory.
Leading the way on the release is Brooklyn-based tech house outfit Walker & Royce, who have brought “Brazilian Soul” to the club for techno fans, followed by a big room remix from FTampa. The EP also includes an ’80s-influenced electronica take from Gilligan Moss as well as an “Acoustic Bossa Version” that features a gorgeous arrangement of ukuleles and vocals.
Back in September, Mat Zo released his standalone drum and bass track, “Vice.” The track blended Mat Zo’s signature sound across genre and tempo. Filtered-down half-time sections, pitched-up vocal runs, three unique builds and drops, and immaculate synth lines made “Vice” a true example of how much of a virtuoso the Mad Zoo head truly is. Despite the display of skill that is “Vice,” Mat Zo has never been one to leave things alone. The vocals in the original came from an unfinished but great clip called “Stoned Clip 1.wav,” which can still be found on SoundCloud.
“Vice” was released under Mat Zo instead of his drum and bass alias, MRSA, and now it’s clear why. He knew he’d be playing around with this track for a minute, as well as playing it live. The VIP mix has the same atmospheric build as the original — an 8-bit, synth wave, fueled by the city-at-night feeling. The bass bends, and the energy builds and breaks down in more and more unique ways. “Vice – VIP” is polished, reworked, and truly exceptional. It’s even the exact same length at 6 minutes and 53 seconds.
When DJs get nostalgic, it tends to bring about these inventive recycling throwback remixes that often turn out to be great engagement tools in live sets. In this case, Brooklyn-based Luca Lush decided to bring back Jimmy Eat World‘s iconic track “The Middle” with one of his signature “flip” efforts. This clearly meant a lot to Lush, who put out some heart-warming remarks in its SoundCloud description:
“I remember the feeling I had when I first heard this on the radio when I was a kid riding the bus home from middle school. That rush that you get when you hear a song and know instantly it’s gonna be on repeat until you know every word by heart…I wanted to hit that sweet spot of nostalgia without simply re-hashing what was already there, as amazing as the original is.”
Lush is true to his word with the remix, maintaining the original’s renowned vocals and guitar lead while the background production amasses into a synth-heavy, euphoric drop. Unsurprisingly, he wasn’t the only one reminiscing in 2018, as Prince Fox also covered the early-2000’s hit back in March.
1788-L is back to what made the enigma so popular in the first place: remixes. This time, the sophisticated producer tackles the trap stylings of RL Grime on a remix of “Era,” a single from the No. 1 Billboard Dance album, NOVA. Combining elements of trap and heavy bass, the remix extraordinaire computerizes the festival anthem original into three different drops of glitch-filled dubstep and psy-trance.
2018 proved to be a successful year for for 1788-L, collaborating with some of the biggest names in dance music and releasing his debut extended play, S E N T I E N C E, on Zeds Dead‘s Deadbeats imprint. The artist also recently ended a fall touring stint, supporting Ekali and REZZ in select cities.
Matt Medved is adding another high profile remix to his catalog with his new take on Marshmello and Bastille‘s smash hit, “Happier.” Closely following a grooving house remix of Khalid‘s “Love Lies,” Matt Medved has followed up with a buoyant, upbeat take on “Happier,” taking the tune from the radio waves to the dance floor with his re-visioning.
Accenting the track’s foundation with his own house-inspired theme, Medved leaves Bastille’s vocal work largely intact, working in his own infectious percussion arrangements around the track’s ubiquitous topline. Lush club-ready soundscapes supplant Marshmello’s cheerful piano chords as Medved breathes new life into his masked companion’s latest hit. Matt Medved’s remix also follows another inventive take on the track by JAUZ — who opted to offer a more downtempo perspective on one of the year’s biggest tracks. Stream Matt Medved’s remix of “Happier” below.
Drezo has spent the past half decade carving out his own lane in the realm of bass-heavy, dark house music. With his spastic percussion and ominous vibe, the LA-based artist draws influences from new wave electronic music while tapping the rave sounds of the past. Now, he’s broken nearly a year of radio silence, taking on the title track of Gesaffelstein‘s seminal debut album, Aleph. Drezo flexes his production prowess with a hard-hitting remix for the French icon, reinventing the track just as Gesaffelstein’s resurgence is beginning.
Drezo begins the remix by playing up the eerie guitar found in Gesaffelstein’s original. As the track begins to build, a bass line eases in, before quickly jumping to prominence with a fierce break. Though his signature heavy low-end is present, this remix stands as a more minimal take on Drezo’s usual style in homage to Gesaffelstein’s characteristically stripped back aesthetic. With hollow synth stabs and a brooding energy, Drezo has put forth a remix fitting for the newly returned French techno luminary, alluding to his own comeback primed for 2019.
At long last, Illenium has just let go of his remix of Halsey‘s pop hit “Without Me,” which he first teased during his EDC Orlando set. His take on the release adds numerous of his own elements while still retaining the original’s ethos. The rising producer spoke about the remix, stating, “I’m stoked to finally get this one out to the world. I’ve always been a huge fan of Halsey, so being able to put my own spin on one of her tracks was really fun. Super happy with how it turned out, and I’m really hoping that it connects with both our fans.”
Illenium drops Halsey’s vocals into his signature future bass foundation, creating a more mellowed feeling, and frames them with guitar riffs and cymbal clangs. As the song progresses, the artist pivots from the instrumental layers into a drop meant to send his large audiences into a heartfelt frenzy. He connects the instrumental and future bass sections with building electronic layers, tying the remix together into a dynamic whole.
Jauz has remixed Marshmello‘s hit collaboration with Bastille, “Happier,” almost entirely transforming the track, with the exception of Bastille’s vocal work. The Bite This helmer has made the track his own with a moody, albeit equally addicting, new take on Marshmello’s chart-topping hit.
Hushed vocals creep over chopping drums that serve as the backbone of the release. The original electronic notes are drawn out, with the tempo dramatically altered to suit JAUZ’s take on “Happier.” Bastille’s vocals are still a focal point for the track, with the emphasis on the opening lyrics as opposed to the catchy melody that hooks the listener in the original.
REZZ never shies from an opportunity to provide her fans with precisely what they’ve been craving. For her latest demonstration, REZZ has dimmed the lights on a feverishly beloved Porter Robinson production, “Divinity” from his iconically insurgent Worlds album.
REZZ’s commanding rendition of “Divinity” materializes like a malevolent stepsister. Glitchy and deliciously wicked, REZZ’s “Divinity” is like a fiery lullaby from the netherworld, as the track’s original, ethereal vocals and twinkling synth allure give way to her thunderous and highly nuanced bass and percussion infusion.
Quite characteristically of the Canadian mau5trap talent, REZZ delivered on her Twitter intonations of the remix in under a week. Her patently expedient turnaround in the studio is evident in her packed release record in recent years, with back-to-back August album releases in 2017 and 2018 amid a wall-to-wall touring schedule.