Mura Masa and slowthai have proven again their formidable appeal as a producer-vocalist ensemble, linking up for the second time to say “Deal Wiv It,” another cheeky nuanced number, following last year’s “Doorman,” which appeared on slowthai’s Nothing Great About Britain LP.
“Deal Wiv It” packs melodic jaunts and bass struts, equal parts Talking Heads and The Clash, alongside slowthai’s painstakingly British, punky irreverence: “They say, ‘You’ve changed,’ / Fucking deal wiv it.”
Mura Masa’s next album, R.Y.C., is expected at the turn of 2020. The Grammy-winning “Walking Away” remixer recently collaborated with Clairo on “I Don’t Think I Can Do This Again,” expected to appear on the official tracklist for the forthcoming LP. The new single arrives alongside a coinciding visual, starring both “Deal Wiv It” creators.
The track floats in a haunting air of monstrous, glitched out ad libs below KARRA’s eerie vocals. Building up to its calculated demise, the perturbed vox cuts out while thrashing bass bellows amongst sharp percussion cuts for a headbanger’s euphoria. Sustained bass creates an atmosphere of prolonged rage, adding to the track’s emotional weight.
Announced alongside the single is an NYC show on January 17 at the Great Hall at Avant Gardner. The headlining event will feature THE EYE production, which was also announced for their January 31 and February 1 shows at the Shrine in LA.
Martin Garrix has enlisted Australian singer/songwriter Dean Lewis for the former’s latest commercial dance release, “Used To Love.” The pair spent a few weeks together in Amsterdam last summer, getting the crux of the track together.
“Used To Love” is vocal-led by Lewis’s impassioned vocals, while Garrix foregoes a heavy electronic emphasis, trading it in for a subtle production backdrop accented with acoustics. Instead he favors an energy-building violin line and acoustic elements that create a simplistic framework for Lewis’s vocals to shine through and serve as the centerpiece of the song.
Lewis spoke on collaborating with Garrix and how it has opened his mind to the idea of collaborations:
“Since my career began, collaborations never felt like something I saw myself pursuing. As a song writer, who also sings, the entire concept just felt foreign. Until I met Martin. We spent about a week together locked behind closed doors in Amsterdam working on a song, which thought might end up be sung by someone else. But as the track progressed is started to sound a lot like me, but also very Martin. It’s a real collaboration with a guy who’s now become a great friend.”
REZZ and Malaa‘s long-awaited, two-headed aural animal of unearthly proportions has arrived. “Criminals” has been the source audacious anticipation from each artist’s fandom—who often and enthusiastically intersect—but have now directly collided for the occasion.
The track rings of the beguiling mid-tempo riddling REZZ’s catalog, but that has only just began to slither and writhe into Malaa’s repertoire, namely in the form of “Revolt.” Although, the transition has proved a seamless one for the anonymous but sonically marked masked phenomenon.
The track sizzles with the explosive nature of both its creative entities. However it’s rather difficult to discern who contributed to what production-wise, since the song arrives like a bare-bones version of a REZZ original. The grimacing vocal hook, however, harkens Malaa’s handiwork for certain.
Kaskade and Mr. Tape are keeping the club burners coming with “Come On.” The entreating number is another notch in the producers’ carved-up collaborative post. To date, Kaskade and the Mr. Tape duo have hopped on a number of nuanced cuts together. In the past, they’ve showed off their creative synergy on “Fun,” “Show of Hands,” and “Can’t Be Without.”
Kaskade and Mr. Tape are back at it again, unabashed, with another blazing house number in hand. The acute assertion of “Come On”‘s lyrical hook, “My speaker on fire / I got the groove,” is an apt description of Kaskade and Mr. Tape’s style on the single. “Come On” arrives accordingly with all of the trappings of a Kaskade and Mr. Tape weekend-appropriate special: quivering bass lines, dancefloor-determined house sound, and an entreating vocal hook. It’s another climatic, club-destined offering, hand delivered by way of some of house music’s most capable craftsmen.
Major Lazer and Khalid have teamed up for a swooning feeler entitled “Trigger,” released on the soundtrack for the upcoming PlayStation 4 game Death Stranding: Timefall, due November 7.
Combining both artists’ strong points, the radio-rendered production lays a bed of lush synths for Khalid’s crooning vocals to rest upon and flourish. The soft chords caress the verse and lead into another keynote from the Diplo-led group: their combination of wind instruments and vocal melody that hook the listener after Khalid succeeds in seducing them with his emotive incandescence.
Aside from the musicality, the lyrics run deep, alluding to a gunshot as a metaphor for a breakup. The words arrive as reflective poetry.
Major Lazer have yet to announce the release of their impending and presumably final LP, Lazerism. So far this year, they’ve released three singles and were featured on Beyoncé’s Lion King album.
Death Stranding: Timefall Track List:
1. “Trigger” Major Lazer & Khalid 2. “Ghost” Au/Ra & Alan Walker 3. “Death Stranding” Chvrches 4. “Yellow Box” The Neighbourhood 5. “Meanwhile…In Genova” The S.L.P. 6. “Ludens” Bring Me the Horizon 7. “Born In The Slumber” Flora Cash 8. “Sing To Me” MISSIO
Flux Pavilion continues to counter notions that his name is solely of use in tandem with heavy bass compositions, with the release of “I Will Stay.” The producer has flipped the artistic table for the greater part of 2019, demonstrating his ability to adequately deviate from the wonky, bass-fueled constructions that defined his early discography.
The Next to Neon and A:M-assisted “Surrender” and its successor, “20:25,” produced alongside What So Not and The Chain Gang of 1974, saw Flux veer into more melodic territory that stands in stark contrast to a cut like “I Can’t Stop.” The artistic recasting continues with “I Will Stay,” a record that places Flux Pavilion in good company: Turin Brakes.
“I Will Stay” is no one-off collaborative endeavor. Following 2017’s “Cut Me Out” and 2013’s “Mountains and Molehills,” “I Will Stay” is the third joint project to get the Flux-Brakes co-signature. Brakes’ rock conventions reflect from both the band-supplied vocal and chord progressions. “I Will Stay” bears a twinkling, synth-heavy construction. Not one to release a production wholly bereft of bass, Flux outfits the track with an ebbing bass line.
Grabbitz and NGHTMRE have teamed up for the first time with new Ultra Music release, “Bruises.” Grabbitz lends not only his production skills to the track, but also a compelling vocal line that he has dubbed one of his most “challenging vocal performances to date.”
A vocal-led introduction paired with an instrumental-paved pathway guides Grabbitz’s singing before yielding to an unrelenting bass drop. The crux of the tune overtakes the listener’s conscious thanks to punching melody fused with a searing bassline, giving the track versatility for both live performance and radio play. Indie elements fuse with a future bass foreground, giving both producers’ fanbases something to agree on in “Bruises.”
Grabbitz elaborates on this theme in an official release, stating, “There is just something special about ‘Bruises.’ It’s tough to pinpoint, but the raw emotion and high energy came together just right. It’s the perfect blend of our styles.”
Just a few minutes ago, Excision and Illenium debuted a new unreleased collaboration during the last few moments of their B2B at Lost Lands. Popular dubstep DJ, Excision, stated that the two of them created the new track when their set at Bass Canyon was canceled due to unforeseen weather conditions. Attendees at the festival,
It seems absurd that this didn’t happen sooner, but now we finally have a proper collaboration between two of Australia’s most beloved electronic exports—Nina Las Vegas and Anna Lunoe. The longtime friends, who shared similar trajectories coming up as dance tastemakers down under before both finding global breakthroughs, had never actually done a joint track together. Though, that all changed with “One Thirty.” And as you’d imagine, it’s a certified club burner that wraps the two curatorial queens’ unmistakable energies into one complementary mix.
“One Thirty” lands as a dual release via Nina Las Vegas’ own NLV Records imprint and Lunoe’s longtime home base Mad Decent. Speaking on the track’s obvious chemistry, NLV explains,
“It only took 15 years of friendship and [collaborating] in every other aspect of our life to finally build the courage to work on a song together. With so much shared between us already, it might have been the easiest day in the studio for each of us.”
It took a decade and a half for the Beats 1 and Triple J selectors to link on a song, though, now we can say it was well worth the wait, and hopefully there’s a lot more from these two underway. Listen below.