STREAM NOW: Zeds Dead rocks the Circuit Grounds stage at EDC

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STREAM NOW: Zeds Dead rocks the Circuit Grounds stage at EDCZeds Dead Live Billboard Credit Scott Legato

Zeds Dead are veterans and trendsetters in the electronic space, creating their own lane of new sound both produced and supported by their own Deadbeats imprint. Innovation is currency for the two dubstep flag bearers, combining different amounts of rumbling, melodic low end with dynamic synths and powerful energy for an ever-evolving, idiosyncratic sound.

Dylan Mamid (DC) and Zachary Rapp-Rovan (Hooks) mentioned on Twitter about their upcoming EDC performance, “This’ll be the most unreleased music we’ve had in a set I think.” For these Toronto-based artists who defy categorization brought Bassmentality to one of Canada’s most storied club nights and the rest was history.

Throw tour Z’s up and listen to Zeds Dead rock the Circuit Grounds stage at EDC below.

Photo credit: Scott Legato

Zeds Dead join forces with Dion Timmer on fiery new single ‘Rescue’

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Zeds Dead join forces with Dion Timmer on fiery new single ‘Rescue’Zeds Dead

After releasing a slew of remixes including a rework of Billie Eilish‘s “bury a friend” and Diplo‘s “Close to MeZeds Dead finally drop their second single of the year “Rescue,” preceded by the duo’s Delta Heavy-assisted track “Lift You Up.” Joining the production capabilities of two dominating bass acts— veteran dubstep producers Zeds Dead with the ripe, but explosive talent of Netherlands-based Dion Timmer—”Rescue” embodies the complements of old and new talent lending a hand to each other. With Delaney Jane providing the track’s vocals, the collaboration between the Deadbeats label heads and the Monstercat power player prove to be the latest Zeds Dead heater fit for the live stage.

“Rescue” begins with a plucky guitar riff and beating drums that almost echo the structure of an alt-rock song before descending into a wobbly bass-driven soundscape. Jane’s breathy vocals sing “It’s only you coming to my rescue” inter-weaved into a thumping drop, laced with high and low frequencies that make for a chaotic rush. Zeds Dead and Timmer have given the all-familiar dubstep anthem a refreshing makeover in their collaborative efforts on “Rescue.”

um.. impresses with sound design on ‘now thats what i call branding’ Deadbeats EP

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um.. impresses with sound design on ‘now thats what i call branding’ Deadbeats EPUm.. Red Rocks

Um.. have unleashed a rickety three-track EP, now thats what i call branding, on Zeds Dead‘s Deadbeats label. The duo’s style consists of downtempo bass that soothes the ears for those listening for new sounds with an underlying high-energy. Dubstep noises live between the percussion elements, which creates fluid dynamics; sounding like the tracks are alive and moving. Fans of ’00s hip-hop will indulge in the hilarity of the title tracks, “what?,” “okay,” and “-lil jon;” which are fitting due to the rap tempos played with on the project.

Ben Bruce and Dylan Gold take listeners through unexpected twists and turns, leaving much to the element of surprise. They also recently released “Srillex 5,” their third rendition of yet another genius branding mechanism from their tongue-in-cheek marketing. Um.. are a force to be reckoned with in sound design, curating a unique space even for bass heads.

Photo credit: @shutterfinger/Instagram

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 Alix Perez’ SHADES project releases ‘Black Heart Communion’ EP on Zeds Dead’s Deadbeats imprint

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Eprom and Alix Perez’ SHADES project releases ‘Black Heart Communion’ EP on Zeds Dead’s Deadbeats imprintSHADES Press Pic

Eprom and Alix Perez release their Black Heart Communion EP under their collaborative SHADES moniker, their first piece of work after their debut album In Praise of Darkness from last year. The five-track extended play features the duo’s signature experimental downtempo bass sound that amplifies low registry frequencies, unlocking a new found land of bass music resting on hip-hop rhythms.

Through vocal chops, glitching percussion, and uniquely constructed soundscapes, the SHADES brainchild pushes the boundaries of dubstep into exciting, uncharted spaces.

SHADES are slated to play a number of festivals this year such as Paradiso Festival, Lightning in a Bottle, and Bassnectar’s Freestyle Sessions. It’s no surprise that Zeds Dead is promoting SHADES’ dark and twisted fantasy via their Deadbeats imprint. Listen to Black Heart Communion below.

Duke & Jones Hit Us With Another Banger In “Delusions” Featuring FJØRA

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Weeks after dropping their massive track “Synthetic”, Duke & Jones have returned with yet another steamer for y’all to splurge on. Having received support from Zedd, The Chainsmokers, Drezo and many, many more, there latest release “Delusions” is set to take the frigid winter months by storm. “Delusions”, released on Thrive Music, hits us with

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EPROM releases striking first single from forthcoming ‘Aikon’ EP

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EPROM releases striking first single from forthcoming ‘Aikon’ EPImage1 4

EPROM has unloaded “The Cat,” the first track from his forthcoming Aikon EP released through Deadbeats, and it’s unlike anything in the freeform bass space. Coming off last year’s In Praise of Darkness LP with Alix Perez from their Shades project, EPROM has shifted focus back on his solo work.

“The Cat” does what felines do best, ignoring human desires by playfully beckoning for attention on their terms. With a sinister tone and raw filter, the track plays with empty space while deconstructing club music and teasing listeners with melodies and builds. The song is intentionally evil with tension that evaporated into minimal sub bass simply strolling along and minding its own business in a hallucinogenic fever dream. If this is a taste of what EPROM’s Deadbeats EP is going to be, there’s no telling in which direction the sound design maestro will go.

EPROM also recently released a music video, “Drone Warefare,” that he wrote, produced, directed, and animated.

Good Morning Mix: Deadbeats hosts LICK for earthshaking guest mix

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Good Morning Mix: Deadbeats hosts LICK for earthshaking guest mixLICK Deadbeats

Rising talent LICK caught attention early on in his career from Zeds Dead, signing onto the duo’s iconic Deadbeats imprint shortly afterward and establishing a reputation as a bass act to watch. His remixes in particular have bolstered his career, with the producer providing ever-creative, and raunchy, takes on the originals he targets. Naturally, the new label signee would be invited onto the Deadbeats podcast in due time, and his debut works as a fiery upstart to the day. The hour-long mix fills the body with electric shock, opening on a creepy note before bounding over robotic synths, wild trap and dubstep drops, and valleys of funk-based grooves. It shows off LICK’s diverse influences and palette, while his own work in the mix reminds us why he’s been so well-received after barely making his industry break.

 

Rusko to release new EP on Zeds Dead’s Deadbeats imprint, plots return to old-school dubstep with ‘Squeeze’

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Rusko to release new EP on Zeds Dead’s Deadbeats imprint, plots return to old-school dubstep with ‘Squeeze’Rusko

Rusko is releasing a new five-track EP on Zeds Dead‘s Deadbeats label, teasing the inbound project with a single that returns to his UK dubstep roots, “Squeeze.” In fact, the venerated dubstep flag-bearer looks to explore this theme throughout the entirety of his upcoming extended play. The final EP cut was decided at Lost Lands Festival, an opportunity Rusko took in 2018 to test a big batch of new music. The songs that performed the best made it on the project.

“Squeeze” hits listeners with a reggae bounce and melody while Rusko’s signature gritty synth drives the track. He told Billboard in a recent interview that he’s trying to put the “dub” back in dubstep and focus on melody, breaking from the popular hardcore riddim bass. “It’s a deliberate attempt to to rekindle those fires of the old vibe,” says the “Woo Boost” vet.

Rusko also mentioned he has a collaborations with Bassnectar (about time) and Ducky in the works. The EP is set to drop in full this spring. Hear “Squeeze” below.

H/T: Billboard

Photo Credit: Chris Stack

Duke & Jones Drop Downtempo Trap Track “Synthetic”

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Duke & Jones are back with the release of another vibed out single titled “Synthetic”. Having received support from Zedd, The Chainsmokers, Drezo and many, many more, “Synthetic” is set to take the frigid winter months by storm. “Synthetic” is an independently-released single & following their official remix for Zedd’s monster hit “Happy Now”, along

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