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.
Midnight Kids are flourishing quickly thanks to their enamoring take on pop and commercial crossover releases. Despite now having a growing slate of original releases under their belts, Kyle Girard and Dylan Lee have resumed their remix run, this time taking on P!nk and Khalid’s, “Hurts 2B Human.”
The song is the title release on P!nk’s recent LP, Hurts 2B Human, and Midnight Kids’ new revamp adds an energetic electronic layer that contrasts from the acoustic and vocal-led nature of the original. What is originally a sultry and subtle crossover cut is transformed by a building melodic undertone that yields a euphoric release with an immense break. The duo prove their ability to tastefully add upbeat electronic tropes to a pop hit, creating the perfect blend of styles for a live set or radio play.
Midnight Kids teased the release on their social media, touting their latest as, “the biggest remix we’ve ever done,” and the final product certainly lives up to the producers’ sentiments.
The promise of big beats and an off-the-wall vocal was too seductive for Dillon Francis to keep his hands off. Fresh from the first wave of his new EP series, Magic Is Real, the gifted goofball and IDGAFOS label head was tapped for an official remix of Saweetie’s new single, “My Type.”
It should come with no additional surprise that the LA producer dosed the track with his signature, ultra-potent moombahton flair. The remix touts thunderous horns and walloping beats, which prelude a whistling winded melody. Saweetie’s salaciously irreverent rapping stands as swimming complement to Francis’s perpetually playful production (see: alarm clock sample—nice).
The artist has been toiling away in the studio this year, with not only a four-tracker from earlier this month, but a sundry of other singles bearing the Dillon Francis earmark. He’s scheduled to perform at New York City’s infamous Avant Gardner tomorrow night.
After releasing triple collaboration “Midnight Hour” alongside Ty Dolla $ign, Skrillex and Boys Noize have dropped off an exclusive two-tracker remix package via OWSLA. Containing the duo’s own alternate dub mix as well as one by Desolat label boss Loco Dice, the combination release is available to listen on Beatport here. Having employed the dub mix previously in their sets, the Dog Blood co-members put an energizing spin on their original track that perfects it for dance-floor mayhem.
With select isolation of Ty Dolla $ign’s main vocals, Skrillex and Boys Noize’s dub mix boosts the bass, emphasizes the speedy elements of hard-hitting percussions, and ramps up the four-on-the-floor intensity. Weaving in two vocal interludes that serve as pre-build up sections, the remix is a pure manifestation of a dub mix—stripped to the pure energy of bass and percussion. A true relishing of club movements, Skrillex and Boys Noize’s re-rendering of their track places vocal and melodic embellishments secondary to the core elements of rhythm and pace and cut through the noise to deliver an incisive dance beat.
Between his seemingly interminable menagerie of other musical ventures, Diplo still somehow finds the time to continue his foray into the modern house music fortress. Narrowing in on a recent Arkade anthem: Kaskade and Felix Cartal‘s “More” from the former’s Redux 003 EP.
Stepping outside his new country alias, Thomas Wesley (his real name), Diplo’s ditched the ten-gallon hat and rhinestone Western shirt (for now) to bring some gritty, guttural low end to the formerly fluorescent “More.” The Mad Decent maestro nixes Jenn Blosil’s syrupy croons and frothy vocal chops for a grumbly, club-catering finished product. The rendition arrives like its predecessor’s malevolent twin, donning a mischievous smirk and enough clapping percussion to keep listeners alive and on the floor well after the remix fades out.
Showing four on the floor ardent fidelity in recent years alongside his sprawling sundry of sonic involvements, Diplo has recently gone as far to erect his own label, Higher Ground, in order to celebrate the long-winded development of the genre—propping up its most incisive contemporaries in the process. The Major Lazer patriarch tapped modern house sensations, Walker & Royce for the imprint’s inaugural release: Rave Grave.
Getter has delivered his “Let Me Love You” remix unannounced to the overwhelmingly positive reaction of fans. Last year, he graced the internet with a one-time listen to the previously unreleased rendition of Justin Bieber’s hit song via Instagram live. Since then, a good deal of those catching the event didn’t think the remix would see the light of day again—but that’s all changed now with the appearance of “Let Me Love You” (Getter Remix) on SoundCloud.
Despite recent struggles against reactions toward his debut album Visceral and changing sound as well as his subsequent cancellation of his tour, Getter has rebounded through unplugging off social media, taking care of his mental health, and dedicating his endeavors to making music for himself. The dubstep producer currently has new projects in the works for his hip-hop leaning alter-ego Terror Reid.
Getter’s “Let Me Love You” remix paints the original track into a lush, future-bass landscape containing buzzing synths, climatic drops, and trilling hi-hats. Using a complexity of vocal chops and intense reverb to aid him in building a trap-heavy beat, Getter’s resulting production is dreamy and intoxicating. A second drop with sliding pitches from plucked strings showcases an exotic tinge. Listen to the remix below.
It looks like deadmau5’s next album is on the way, and judging by the similarity of both its title and artwork to those of 2018’s where’s the drop?, the forthcoming project will likely be the re-imaginative follow up to last year’s orchestral LP. deadmau5 announced here’s the drop via social media, and while details are currently scarce, a connection between the two projects seems likely. Though, the Gregory Reveret-assited where’s the drop? was a reinvention of some of the mau5trap boss’s canonized hallmarks, so it is difficult to say exactly what format the follow up delivery will take as of now.
The new release will land on October 4, presumably bringing streamers high octane remixes of where’s the drop? album inclusions. The full-length orchestral album included 15 classical renditions of deadmau5 catalog staples, such as “Imaginary Friends” and “Monophobia.”
South African-Swiss queen of melodic/deep house, Nora En Pure has materialized on the auspicious Armada landscape with another transcendent dancefloor delivery in hand. Over the years, En Pure has raked in accolades for both her DJ and production prowess , as well as ample acclaim for her radio show, Purified. Though she’s demonstrated affinity for both club-conscious and sweeter, melodic stylings, it’s in the piano-driven endeavors where En Pure shines with the most invariable splendor.
Arriving a day early exclusively through Dancing Astronaut, the iridescent Armada affront takes shape in a remix of Eelke Kleijn‘s “Lost Souls,” featuring Ost. En Pure elevates the original’s subtle piano musings and drapes them across the remix’s forefront. The vapory house offering solidifies another celestial notch in En Pure’s prolific sonic catalog.
Thomas Gold has been keeping busy producing music and touring, but the artist has kept it particularly fresh for fans as he continues to diversify his portfolio. Whether with his tech house alias AU-1 or experimenting with new sounds like tropical-leaning “Seventeen,” Gold is one of those producers who increasingly has something for everyone. His latest release is his remix of Madonna‘s “I Rise,” which is the final release from recent album Madame X.
Gold spoke with Dancing Astronaut about being chosen to do the remix, explaining, “It’s a great honor to do an official remix for Madonna. I grew up to all her music, she was kind of always ‘there’ as she released so many great songs throughout the years. So when I got the request to do a remix for ‘I Rise,’ I was like ‘Yes, I want to do this, but I want to deliver something which pays respect to Madonna’s voice and the vibe of the original song.’”
The original track is a slow and sultry tune that highlights Madonna’s vocals. A slow pulsating humming in the background is juxtaposed with her singing, leaving the vocals to do most of the work on the track. Gold speaks to his goal for the remix, saying, “As the original version runs at a much slower tempo than my remix, I had to find the right way to speed up the vocal and the sounds I intended to use – without losing the vibe of the original.”
Gold keeps Madonna’s alluring vocals intact with the same cool tone of the original, but he completely transforms the BPM and enlists a vintage house style that is fitting, as those who are familiar with Madonna’s earlier releases can attest.
He explains the creative process behind what yielded his final result, saying, “I went for a classic house style approach with some well-known organ and piano sounds (hello Korg M1!), which I thought would fit perfectly for her voice. For the verses, I created a completely new chord progression. It was actually just a spontaneous idea I had, but I liked it, so I kept it. Once I had put together the basic sounds and the layout structure of the remix, it was just about creating a good flow throughout the track. I also used almost the entire original vocal, this was not too difficult, and it was fun to see how everything came together nicely.”
Ultimately, Gold trades in some of the sultry mood for more of a euphoric one, and his remix takes the track to a dance-worthy and fun-loving piece of music that showcases both artists at their finest. It’s an infectious song to begin with, but Gold’s house touch takes the track to the next level.
“At the end, I was happy that I had been able to still maintain some of the typical ‘Madonna’ vocal sound whilst giving the music a completely fresh approach,” Gold says. “And I was super happy when I got the final approval from Madonna and her team!”
PROJECT, the contemporary fashion event gearing up to kick off in Las Vegas August 12 – 14, is teasing the event with the release of a brand new musical compilation PROJECTmusic. Designed to help soundtrack the forward-thinking fashion event, PROJECTmusic: Volume 2 features exclusive remixes that can’t be found anywhere else, led by a new spin by Dreamers Delight on Fitz & The Tantrums’ “123456.”
Dreamers Delight, best known for his profile-raising work on Gramatik’s Lowtemp Records imprint, turns in his own unique electronic-focused take on the LA-based indie pop band’s spring single “123456.” Highlighting his distinguished production style’s strong suits, Dreamers Delight artfully merges Fitz & The Tantrums sonic aesthetic with his own and still manages to keep the remix in a comfortable place for the fashion-forward context it was made for. PROJECTmusic: Volume 2 lands in full on August 8. Stream below.