Glitch Mob and ZEKE BEATS team up for ‘Lazer Vision’

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Glitch Mob and ZEKE BEATS team up for ‘Lazer Vision’The Glitch Mob 1 1

Glitch Mob can always be counted on when it comes to crafting wild, yet innovative records. With the right collaborators, their aesthetic is brought to new heights—and such is the case with their latest work alongside ZEKE BEATS. “Lazer Vision” is emblematic of both acts’ penchant for blistering low-end numbers, blasting listeners with gritty synth work, clever sound effects, and off-kilter rhythms. The pair raise goosebumps with sinister melodies and harsh drops, resulting in a tune that cuts deep.

The release is the first of a series Glitch Mob announced which sees them teaming with multiple collaborators for a string of year-ending singles. They’ve kept the other names under wraps for now, but based off “Lazer Vision,” fans are in for a treat. Prior to showing off the fruits of their studio labor, the trio were participants in one of 2019’s dominating tours: ALCHEMY, with SLANDER and NGHTMRE.

NMF Roundup: ZHU and partywithray join forces, Ekali and Kiiara deliver ‘Back To You’ + more

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NMF Roundup: ZHU and partywithray join forces, Ekali and Kiiara deliver ‘Back To You’ + moreEkali Crystal Eyes 1

It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.

ZHU and partywithray craft a sinister masterpiece on their new collaboration, “Came For The Low,” and Ekali and Kiiara are a dynamic duo when they come together for “Back To You.” Gareth Emery continues to bless the music world with his masterpieces with the installment of “Laserface 03 (Leaving You).” Nora En Pure has revealed her new EP, Homebound, and EDEN releases “projector.” The Knocks team up with Great Good Fine Ok for “Lucky Me,” and Audien brings some drum ‘n’ bass heat with “Reach.” Gryffin soars in his debut LP, Gravity, and Kaskade and Mr. Tape flex on “Come On.” Notaker crafts an otherworldly sonic journey on “From Dust & Ashes,” and Galantis unexpectedly team up with Dolly Parton and Mr. Probz on “Faith.” Moon Boots and Black Gatsby unwind for the weekend on “Whisper In The Wind.” Showtek and Gammer tell us how they really feel on their new collaboration, “EDM Sucks,” and Ryan Browne gives BIJOU and Tyler Graves’ “Crown” a rougher edge. Wilkinson shines on his new single, “Machina,” and Gramatik reveals Re:Coil, Pt. II, featuring tracks like “Don’t Give Up” with Ryan Shaw and ProbCause.

As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.

Photo credit: Bryan Van Wyk

Zeke Beats and G-Rex collide on bass-heavy ‘Purple Haze’

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Zeke Beats and G-Rex collide on bass-heavy ‘Purple Haze’Image2 1

Since its launch, Zeds Dead‘s label, Deadbeats, has been driving the conversation on bass music. Rather than adhering to a specific sub-genre in the low-end umbrella, the label focuses on an overall sound and energy in its releases.

Zeke Beats is a mainstay on this label, and his diversity as a producer makes him a perfect fit. Now, he has brought another talented bass-wizard into the fold who goes by the name of G-Rex for a new, heavy single entitled “Purple Haze.”

“Purple Haze” alludes to Zeds Dead’s love of dubstep, but maintains a level of originality that can only be produced the first time two artists work together. Hopefully there will be more to come in the future of this duo.

Producer Sessions 010: ZEKE BEATS shares the inter-workings of his ‘Bad Robot’ EP [Interview]

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Producer Sessions 010: ZEKE BEATS shares the inter-workings of his ‘Bad Robot’ EP [Interview]Zeke Beats Press Shot Horizontal

Producer Sessions is a series from Dancing Astronaut meant to shine a brighter light on the producer community. Each volume will guide producers toward professionals in their field.

ZEKE BEATS released his Bad Robot EP off Zeds Dead‘s Deadbeats imprint, an experimental bass three-tracker that thrusts dance music’s more mischievous side to electronic music into listeners’ faces. With the horrifying, but fun lead single “Bad Robot” to the drilling bass sounds of “Fire Tonight,” and through the dizzying basslines in “The Mammoth,” this taste of music provides a peak into whats coming next from the up-and-coming low end conductor.

Prior to the EP, ZEKE BEATS contributed to the Peekaboo & G-Rex remixes with one of his own that contained an assortment of bass spinning sounds that certainly prove dynamic in the Australian producers unique sampling choices.

Below, ZEKE BEATS answers producer-focused questions about the EP.

Why did you call the EP, Bad Robot?

The single itself really sounded devious, mischievous and super robotic, so naturally I thought “Bad Robot!” Once that was established the whole artwork and branding of the EP really took shape.

Do you have a typical production process? If so, what is it?

I generally try to make a heap of overwhelming bass sounds. When I find something I really resonate with I generally become super motivated to keep going. Most of the time I use a blank skeleton and building upon that!

What was your collaboration process like with Avance?

It was fantastic. I was touring Australia and we met up in Sydney at the Poster Child studio and made the main parts of the song that one day! After that we sent back and forth a few times online to finish it off. It was a really fun track to make.

What was your go-to synth for the EP?

I didn’t really have a go to synth. I like to use a different array of synth, vsts, and hardware synths. Those being serum, operator, massive, and a little phatty.

What was you go-to MIDI controller?

I don’t use any midi controllers for production, just the inbuilt keyboard in Ableton.

Any special VST that really took the production home?

Fab filter proQ and Ableton’s glue compressor

Which song took the longest work and why?

“Fire Tonight” took the longest, mainly because I wanted to go more in depth on the second drop. I had already had a completed version of it but then went back to the track and totally transformed that section.

How would you define your sound?

Visceral bass which pushes the envelope of electronic music.

What DAW do you use and why?

Ableton because of it’s efficiency and super fast work flow.

What was the most difficult sound to conquer on the project?

Just generally trying to get the cleanest mix downs possible really, there was no one single hurdle.

Do you have any unique studio habits?

Hmm not really unique but I do like my coffee

What is your favorite in-studio snack?

Coffee and avocado toast lol

What is next for ZEKE BEATS?

I’ve got a few amazing collaborations in the works and generally a ton of new music ready to be released. I’d just started my Bad Robot tour 2-3 weeks ago which has been so unreal. Another couple weeks to go. But that’s about it. Lots more music, original & collaborations, and a lot more shows!

Photo Credit: Turk Photos

EPROM and ZEKE BEATS drop talking bass heavyweight, ‘Humanoid 2.0’

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EPROM and ZEKE BEATS drop talking bass heavyweight, ‘Humanoid 2.0’EPROM ZEKE BEATS

Fan-favorite“Humanoid 1.0,” just got an upgrade to “Humanoid 2.0.” Eprom and ZEKE BEATS have been quite the tag-team on the bass festival circuit as of late. To add to rumblings, they’ve unleashed a considerable robotic bass magnate. Not only do the vocals play a high end registry, they also take a dip in the deep end for some modern talking bass.

The collaborators mentioned on SoundCloud, “Humanoid 2.0 was a really fun collaboration which started when we were staying at EPROM’s place in Portland a couple years back. The idea came about when we discovered a new ‘text to speech’ VST which had just been released. Whilst eating breakfast we both purchased it and started playing around and we’re hooked immediately. That morning we created the skeleton of the track. We’ve been sitting on this song for a couple of years now and are so stoked it’s finally out. Big ups to Noisia for allowing us to do that.”

The scratch legend from down under and important cog in the international Rwina machine both released an ORBIT playlist on Spotify that is a must listen through for bass heads. ZEKE BEATS recently remixed Eprom’s “Pineapple” single, and dubstep was dripping through the cracks. Eprom also just released an LP with Alix Perez off their SHADES project, In Praise of Darkness, which is also a must-listen for bass heads.

Photo Credit: @treevalds/Instagram

What So Not unveils three-track remix pack for ‘Beautiful’

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Aussie solo act, What So Not, known also under his Emoh Instead alias, is currently riding a wave of success after releasing his debut long play, Not All The Beautiful Things, on March 9 via Counter Records. The album marks the first collection of tracks to surface since Flume left the joint project back in 2015, featuring some high-powered collaborations with SkrillexSan HoloRome Fortune, SLUMBERJACK, and more.

Now, What So Not has unveiled an official remix pack for the album’s third track, “Beautiful,” which features the show-stopping vocals of Winona Oak. He enlisted the production talents of Volac, Kaz James, and Zeke Beats to build upon the track’s hypnotic, carefree aesthetic, gripping drum breakdowns, and those signature WSN top lines.

From Volac’s house spin on the track, with its thumping Night Bass drums, to the charming stylings of fellow Aussie producer Kaz James’ rendition, to Zeke Beats’ seismic bass-powered drops, the entire collection stands as a testament to the power and pull of the producer’s newly minted What So Not sound.

What So Not unveils three-track remix pack for ‘Beautiful’

This post was originally published on this site

Aussie solo act, What So Not, known also under his Emoh Instead alias, is currently riding a wave of success after releasing his debut long play, Not All The Beautiful Things, on March 9 via Counter Records. The album marks the first collection of tracks to surface since Flume left the joint project back in 2015, featuring some high-powered collaborations with SkrillexSan HoloRome Fortune, SLUMBERJACK, and more.

Now, What So Not has unveiled an official remix pack for the album’s third track, “Beautiful,” which features the show-stopping vocals of Winona Oak. He enlisted the production talents of Volac, Kaz James, and Zeke Beats to build upon the track’s hypnotic, carefree aesthetic, gripping drum breakdowns, and those signature WSN top lines.

From Volac’s house spin on the track, with its thumping Night Bass drums, to the charming stylings of fellow Aussie producer Kaz James’ rendition, to Zeke Beats’ seismic bass-powered drops, the entire collection stands as a testament to the power and pull of the producer’s newly minted What So Not sound.