If you’ve listened to the last few Zeds Dead sets, you will have noticed that they have been teasing quite a few new collaborations. A few examples include Dion Timmer, Peekaboo, and Ganja White Night. Now, Zeds Dead has announced that they will be releasing an album dedicated completely to these collabs. And, with some
“The Greatest” begins with ominous trumpet-like synths and works into a drum line drop, not before a chillingly deep vocal chop claims, ‘I’m the greatest.” The track only intensifies as it progresses, an irresistible trait of a headbanger’s delight. Primal and electrifying, LICK and WHIPPED CREAM’s joint effort is a declaration from both artists, staking their claim in dirty dub game.
H/T: Run the Trap
Moody Good (real name Eddie Jefferys) has spent the better part of the last decade coming up with deliciously wicked ways to approach dubstep, to considerable avail. After stepping outside his tenure with his former duo, 16bit, in 2014, he soon found a new home for his pernicious productions with the likes of OWSLA, wherein he released his self-titled debut album that same year.
Now he’s emerged from his low-lit dubstep den for another intuitive pairing, this time with the Zeds Dead-championed Deadbeats, for his latest track, “Bite Your Lip.” Jeffery’s debut on the flourishing imprint is a dastardly dub/trap one-two punch. “Bite Your Lip” makes its audacious aural attack with snarling synths, warped extraterrestrial-status bass, and a harrowing chorus of distorted vocals. If the track had teeth, they’d be full-on fangs.
Los Angeles-based electronic sweetheart DUCKY returns with her fourth release of 2019, “Addicted to Your Distance.” Debuting on Zeds Dead‘s Deadbeats imprint, the single follows her four-track EP, I Still Believe in Love, aligning thematically with the EP’s personal heartbreak backstory. “Addicted to Your Distance” is undeniably the next chapter in DUCKY’s growth, with lyricism centered on moving on from a past relationship and unforgiving bass packed into the production.
The track employs signature DUCKY elements, from her synthesized vocals to her eclectic fusion of dubstep and happy hardcore-inspired sound. Speedy vocal chops serve as buildup to a heavy drop that packages frenetic synths and punchy bass into a classic dubstep production. DUCKY’s angelic voice juxtaposes the thrashing sound design, ultimately delivering a melodic ensemble of bass-infused stylings. Echoing her self-molded genre of music, “Addicted to Your Distance” capitalizes on DUCKY’s ability to put a gaming-inspired twist on heavy-hitters.
Zeds Dead have teamed up with Dutch duo DROELOE for a new release, “Stars Tonight,” which DROELOE debuted at their recent Spring Awakening performance. The two groups have been teasing the track on their social media channels, and the unlikely combination has led to a melodic bass-fused release that showcases the best of both production duos.
The track begins with pounding synths and light accents that build as a vocal weaves in and out of the notes. “Stars Tonight” then drops into what the listener would perceive to be the drop, until another build falls into extended bass themes. The track takes the listener through sonic twists and turns, and the multiple drops within the release all show live performance potential.
The track is out now via Zeds Dead’s own imprint, Deadbeats.
In the modern age of electronic music, an endless amount of producers claim to have an affinity for every genre. Yet there are only a handful who really put in the time and effort to create a catalog that encompasses multiple tempos, sounds, and styles. Chief among those select few—Zeds Dead.
However, despite their ever-expanding library of different styles of electronic music (accelerated further by their multi-genre label, Deadbeats), those who have been with D.C. and Hooks since the beginning know that dubstep holds a special place in the Canadian duo’s hearts.
Seminal tracks from early in their careers like “Rude Boy,” “In The Beginning,” and “Adrenaline,” gave them a platform to succeed, and they were going to honor their roots at EDC Vegas this year with a surprise throwback set at BassPod Sunday night. Unfortunately, high winds on Saturday night forced RL Grime to cancel his set. In response Zeds Dead graciously offered him their surprise slot on Sunday, preventing them from performing their throwback set.
Those circumstances may have been a blessing in disguise though. Rather than play the throwback set for only one crowd to hear, Zeds Dead have released the set as episode 100 of Deadbeats Radio. Now, fans can enjoy the headbanging nostalgia over and over.
The mix is primarily dubstep tracks from Zed Dead’s own catalog as well as legends of the genre like Caspa, Skrillex, and Emalkay. It also features house, drum ‘n’ bass, and other heavy-handed offerings. Get down with Zeds Dead below.
Featured Image: Rukes
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
After releasing a slew of remixes including a rework of Billie Eilish‘s “bury a friend” and Diplo‘s “Close to Me” Zeds 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.. 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 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