Dexter’s Beat Laboratory Vol. 117

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 117Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic—to say nothing of a name that lends itself to punnery—DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


The Knocks released “Colors” in the final days of summer 2019, seeming to wish farewell to warm-weather days with the dreamy and bright single. A few months later, remixes for the tune have begun to trickle out, including this latest one from Robokid. The Los Angeles-based producer has kicked the song into a new key and injected it with energy. It’s infectious.

Scottish disco maestro Last Island has been on a roll in 2019, churning out more than a dozen tunes since February. Among them are his Sustain EP and an otherworldly rendition of Madeon‘s “All My Friends,” and he follows them up with a remix of Ellis and ILY‘s “Falling Through.” He’s infused the single with more electro and disco elements, giving it an entirely new feel.

Vancouver duo The Funk Hunters are back with another effortlessly funky masterpiece. They’ve tapped the talents of A.Skillz for “Body Move,” and the result is a piece that’s captivating both in its beats and in its vocals. It combines elements across the electronic music spectrum, encouraging listeners of all persuasions to embrace it in its entirety.

Friction‘s music is timeless, and his deep involvement in the drum ‘n’ bass community has led more than two decades worth of fans to embrace his artistry. The former BBC Radio 1 host takes to his own Elevate Records to release his newest tune: the much-anticipated “Good To Me.” Powerful female vocals lead the introduction, building steadily into the hefty drum ‘n’ bass rhythms the producer’s become so well-known for.

Side note: Only a snippet of “Good To Me” is available on SoundCloud, but you can find the full version here.

Camo & Krooked never shy away from pushing the drum ‘n’ bass envelope. Their incorporation of different styles of dnb make singles like their latest, “Set It Off,” make their music intriguing to the ear. American rapper Jeru The Damaja lends his fearless vocals to the verses, largely stepping back on the chorus to let the unique drop shine through.

Dexter’s Beat Laboratory Vol. 116

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 116Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic—to say nothing of a name that lends itself to punnery—DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


Grabbitz‘s latest release is an appearance on Ultra Music for the guitar-laden “Roam With You.” His heart-wrenching voice guides listeners through an emotive introductory verse before launching into a dramatic chorus. The second verse finds the artist harmonizing with himself to further the wistful tone of the piece.

Another Buffalo native, Snow-Key, takes to Future Vibes for a vibrant and powerful future bass-inspired piece, “716.” Likely a nod to the area code of that western corner of New York, “716” comes at the listener swinging after a relaxing introduction. Trippy bass and synth punches wallop the eardrums in an unexpected and enticing way, drawing the listener deeper into the dynamic world the artist has crafted.

Seven LionsOphelia Records plays host to Crystal Skies‘ newest set of tunes: the five-track Constellations EP. The duo have tapped collaborators like Satellite Empire, Gallie Fisher, and RUNN for the EP, and songs like “On My Own” prove that the EP is a gorgeous collection of songs. “Incredibly proud and excited to show you guys this EP,” the duo note in the EP’s description. “Some of our favorite music we’ve ever made and we hope you guys think so too.”

Sofi Tukker have remixed Laurent Wolf and Eric Carter’s 2008 classic, “No Stress”—something that seems to be a career highlight for duo member Tucker Halpern. “When I first fell in love with dance music and started to learn how to DJ, I remember the first ever playlist I made and ‘No Stress’ was on it,” he says in a press release. “I remember being so excited to play it in my first ever set, and it went OFF.” Their rendition is a groovy, up-to-date interpretation, allowing fans of the original to relive the original in a fun new way.

SNBRN comes at New Music Friday hot with a new collaboration with 1993, “DMs.” As sultry as ever, the producer has whipped up an irresistibly deep beat to pair with hazy vocals from 1993. While the vocals may sound passive, the lyrics are feisty, claiming “I got million-dollar deals in my DMs.”

Dexter’s Beat Laboratory Vol. 115

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 115Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


It’s been a few years since the world has had new Tut Tut Child material. The artist has been mainly working on a side project, Forest Knot, since mid-2018, and prior to that, there hadn’t been a Tut Tut Child release since 2017. The London-based artist has broken his silence, though, with the release of his Pantheon EP, out now on Extreme Music. Its title track is a dramatic melodic journey and is sure to thrill fans of his previous works, as well as newcomers.

Rameses B, too, has a new compilation out Nov. 1. The Liquicity Records Eden EP showcases the artist’s strong command of the liquid drum ‘n’ bass realm, and he praised the label in a tweet announcing the EP, saying “it’s only natural to have this kind of release with them, liquid, emotional and something that represents all the good times.”

For Flite‘s latest venture, he reworked Jon Hopkins‘ 2018 track, “Emerald Rush.” He’s flipped the style into something new, and it’s completely captivating. “I absolutely LOVE Jon Hopkins’ music, he is such an influence on my own tunes,” Flite said in the track’s description. “I decided I would try and rework ‘Emerald Rush’ into a drum ‘n’ bass track. So much respect for his compositions, I hope I have done him justice.” 

The drum ‘n’ bass continues with Mazare and Philip Strand’s “Battlecry,” which debuted this week via Monstercat. Strand’s powerful vocals set the scene for the epic battle that about to take place, leading the listener into a dramatic build. Mazare’s fierce production takes over at the drop, packing a hefty drum ‘n’ bass punch.

Virtual Riot can make whatever he wants forever. The multi-faceted producer excels at whatever genre he’s producing, and for his newest, he returns to glitch-hop to play… Mario? “Bossfight Afterparty” is a brilliant three-minute combination of video game blips and bloops, polished with undeniably precise production. Your move, Bowser.

Dexter’s Beat Laboratory Vol. 114

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 114Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


New Gramatik always makes for a good day. The funk maestro’s latest piece of work is the eight-track Re:Coil, Pt. II, which includes tracks like “Don’t Give Up.” He taps the vocal talents of Ryan Shaw and ProbCause to polish off a piece of music that’s soulful, hopeful, and groovy.

Also releasing an eight-track body of work on Oct. 25 is StayLoose, who’s unveiled his Bad Star album. This contemplative compilation pulls together some of the artist’s best work to date, like the otherworldly “Deadspace” that’s dripping with mystery and a subtle feeling of melancholy.

Au5 takes to Metanoia Music for the release of his new single, “For You”—an emotive, romantic piece that strongly reflects Au5 in his prime. The vocals are sweet, and the production (as always) is top-of-the-line. He even goes for a completely different feel nearly four minutes into the song, showing just how far he can take the songs he creates.

Wilkinson is back swinging, coming through with a new single for UKF‘s 10th birthday celebration. “Machina” has a gorgeous introduction that allows the producer build the world he’s constructing for “Machina” to take place in. A vocal drop at the minute mark delivers the listener into intense drum ‘n’ bass madness—a Wilkinson specialty.

Grammy-nominated dance act Fatum takes the reins on the latest Win and Woo original, putting together a bold remix on Armada of “Here U R.” The original song had a mellow, slow-groovy feel to it, but Fatum give the tune a darker spin.

Dexter’s Beat Laboratory Vol. 113

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 113Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


Faux Tales‘ latest body of work is a beautiful sight to behold and absorb. Titled Hiraeth, the LP has been in the works for nearly two years. Its nine tracks allow the listener to transcend time and space, taking them on a cinematic, journey-like sonic venture. Faux Tales has a story to tell, and the album takes the listener through the chapters with thought-provoking tracks like “Home.”

Speaking of journeys, Murtagh transforms Dezza‘s “Apollo” in his newest piece of work. Dezza crafted an ethereal original track, full of builds and outer space-inspired dreamy synths. Dezza’s was fully otherworldly, abstaining from a beat or drop, but Irish producer Murtagh seizes his opportunity to introduce them. A steady, unobtrusive beat leads the listener through the song, giving it a bit of a mysterious and almost gloomy feel.

Grum starts his new single, “Tomorrow,” on a bold note, leading with bright, colorful synths and ushering in a deep-pounding bass. Wavy synths announce the entrance of emotive vocals, offsetting the tune’s darker feel with the distinctive singer’s voice. After the middle of the song, the flashy synths are reintroduced, lifting the listener back up before plunging them back into the shadowy, bass-filled instrumentals.

Inukshuk and Trove grab hold of the heartstrings and don’t let go on their new collaboration, “Pull Me In.” The joint effort is delicate and beautiful in both its vocal elements and in its instrumentals. Both aspects of the song manage to dig deep into the listener’s emotions and cradle the parts that are vulnerable and raw. It’s a gorgeous piece of work.

Fox Stevenson fans have been waiting for years upon years for the producer’s debut LP, and it’s finally arrived as of Oct. 18. The majority of the songs have been released as singles over time, but a fewlike “Use Me”arrived with the release of the album. The tune is a fun and creative amalgamation of the artist’s modern sound: pop-leaning with impeccable production and his own endearing vocals.

Dexter’s Beat Laboratory Vol. 112

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 112Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


Netsky and Aloe Blacc‘s “Snitch” came out swinging in July, thrilling listeners with wobbling synths, powerful bass, and forceful lyrics. Since it’s Netsky, it was only a matter of time before a drum ‘n’ bass iteration made its debut, and the world is treated to just that via Toronto Is Broken‘s remix. This “Snitch” remix is packed with energy from start to finish.

Matrix & Futurebound are slowly unraveling sets of remixes for Mystery Machine on Viper Records. In the latest set, Flite, T & Sugah, and Glitch City lend their production talents to the April LP. Flite takes on “Believe,” which was initially released last October. He gives the dreamy drum ‘n’ bass track a rougher edge, introducing a drop and following rhythm that are more vigorous than the initial track they’re derived from.

The release of Fox Stevenson‘s debut album, Killjoy, is only a week away. He’s been steadily drumming up excitement by revealing some of its components, including the latest, “Headlights.” Stevenson’s songwriting and production shines in this tune, as his vocals soar over a delicate introduction before he kicks it up a notch in the chorus.

Who doesn’t love “Million Voices” by Otto Knows? The tune is nearly at 30 million YouTube plays and has soundtracked countless parties since its release in 2012. Win & Woo have put their signature slow-burning-yet-groovy take on this beloved song after it was well-received by festival crowds over the summer. “We made it for our Lollapalooza set & loved it so much we knew we had to put it out,” the duo said in the song’s description.

A R I Z O N A‘s ASYLUM album has been two years in the making, and it finally made its full debut on Oct. 11 via Atlantic. The nine-track LP includes tunes like the previously released “Nostalgic” and “Freaking Out,” along with several new cuts like “Where You Are.” The New Jersey trio have a special knack for tapping into listeners’ emotions, and their retro instrumentals complement lead singer Zach Hannah’s vocals impeccably.

Dexter’s Beat Laboratory Vol. 111

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 111Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


Two powerhouse artists have come together for an innovative new collaboration, “Bruises.” NGHTMRE and Grabbitz have both had stellar 2019s so far, each with multiple well-received releases under their belts. “Bruises” seamlessly blends both of their styles for an irresistible electronic-alternative product.

The Knocks are unveiling remixes of their recent tunes to the world, and one of the latest of these is a sultry rework of “No Requests” by Steff Da Campo. The Dutch producer gives the lighthearted song a deeper, darker tone, backing its merry vocals with an ominous bassline. It’s groovy but bold in its reinvented soundscape.

The release date of Goldroom‘s Plunge / Surface LP draws nearer, as do the single releases that lead up to it. The latest is “Just Like a Dream,” a blissful, piano-laden piece that features longtime collaborator Nikki Segal on vocals. “Just Like a Dream” dreamily draws out the end of summer, shining bright rays into the early days of autumn.

Modernized disco is seeing a resurgence, popping up in festival sets and across streaming platforms from notable artists. The Disco Fries—as their name aptly implies—are helping lead the charge with fun bootlegs like this Janet Jackson one. “We put together this bootleg of Janet Jackson’s smash ‘All For You’ around the same time we did Mary J’s ‘Family Affair’ and it has crushed in our live sets,” Disco Fries said of the tune.

Scottish artists Last Island and Alex Martyn have clearly been having fun composing music together on their Island Life imprint. July saw the release of “Miles Away,” an effortlessly groovy and lighthearted collaboration, and now they’ve returned with “Romeo.” They call “Romeo” their “attempt at a disco track… not particularly disco,” but it still showcases that spirited soundscape they both seem to foster in their music.

Dexter’s Beat Laboratory Vol. 110

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 110Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


I’ve loved Maduk and Dennis Pedersen‘s “Miles Apart” since its release last spring and was intrigued to see that Fox Stevenson had done a remix of the tune for Liquicity‘s Reflections Part 3. In true Fox Stevenson fashion, the producer has flipped the tune into a more energetic iteration, complete with his own harmonies underneath Ella Noël’s. It’s flawless.

Tobtok‘s name seems to be popping up everywhere, and his funky vintage style of house music keeps drawing me in. His latest is a collaboration with Adam Griffin and vocalist Hayley May. With a bold, anthemic melody and steady grooving beat, “The Stand Off (I Want You)” is irresistible. The Swedish producer knows how to craft tunes for the dance floor, and this is ready for just that.

Last month brought the arrival of a new Dimension song, “If You Want To”—an aggressive drum ‘n’ bass number with a dramatic, foreboding tone. Here in the following month, the British producer has reworked his own song into an electro interpretation, fueled by the sultry spoken vocals. This one has a more laid-back feel, but its underlying orchestral elements give the tune a bit of an eerie feel.

At long last, the second remix EP for The Midnight has arrived via Silk Music. It’s been more than two years since the release of the first one, but it appears lush remixes featured on this new collection have been worth the way. This take on the Nocturnal song is breathtaking, as Kobana builds a rich sonic landscape with his progressive house-inspired version of the song.

Essenger‘s new single, “Tether,” combines a wide range of styles effortlessly. It opens with a wistful guitar melody, leading into a nostalgia-fueled verse from the producer, who does his own vocals. “Tether” drips with emotion from start to finish and seems to encourage the listener to look inward and absorb the very soul of the song in a raw and real way.

Dexter’s Beat Laboratory Vol. 109

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 109Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


When Haywyre‘s “Tell Me” first came out last November, I was immediately hooked. It’s effortlessly funky, incorporating Haywyre’s own vocoder-filtered vocals and array of bright and blissful synth and keyboard elements. As part of a set of remixes, Notaker is the latest to take on the groovy tune. The St. Louis producer has put his own moody, atmospheric spin on the original, packing a serious punch with dramatic builds and hefty bass. It gives an entirely different tone to the piece, and it’s breathtakingly powerful.

Disco overlords Goshfather and Aylen are at it again. The duo have a joint two-track EP out, featuring the previously released “Found You” and the debut of “Coastin’.” The tune seeks to continue the effortless, sun-soaked tone of the summer months, incorporating a retro melody and carefree lyrics to move the steady bassline along. It’s hard not to move your feet to this one.

Liquicity mainstay Maduk is back with new heat. The Dutch producer teamed up with Calixte to create a truly infectious tune. “Everytime” seems subdued enough in the beginning, but steadily builds into a mighty drum ‘n’ bass song. A piano melody and rushing beat carry Calixte’s vocals beautifully from start to finish. “Everytime” is a tune that’s as alluring as its hypnotic cover art.

Fans of Metrik have long anticipated the arrival of “Gravity.” The release is the first time Metrik has ever featured his own vocals, and the addition rounds out what I believe is one of his best releases in recent history. “This track represents a new wave of music I’ve been developing using my voice, guitar & synthesisers and is the purest expression of my sound yet,” Metrik said of the release.

UKF is celebrating its 10th anniversary, and with it comes an exclusive set of singles and EP from the notable platform. The latest of these is Kove‘s “Le Retour,” a drum ‘n’ bass number with cheery horns and an irresistible overall retro style. It’s quite a swerve from its predecessor, “Motor,” which had a decidedly darker feel to it, but the difference in the songs just demonstrates Kove’s ridiculously wide range when it comes to production and sound design.

Dexter’s Beat Laboratory Vol. 108

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 108Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Listen in playlist format here


I really, really love Mamma Mia. It’s fabulous, and so is its soundtrack. In the rare moments when today’s electronic music scene acknowledges the greatness of ABBA, I rejoice. So this week, I rejoice in Kramder‘s “disco tool” edit of “Gimme! Gimme! Gimme!” It’s just way too fun.

Aero Chord‘s new EP, The Sound, arrived Sept. 12 via Monstercat, delivering four songs of broad sonic range. The collection’s title track bursts into the listeners’ ears with anthemic production, booming with powerful, trap-oriented goodness from start to finish.

Unexpected drum ‘n’ bass is the best drum ‘n’ bass. I certainly wasn’t expecting it when I saw Manic Focus had released his sixth studio album, but I was pleasantly surprised when the first track had a racing beat. “Star Sweeper” still contains many of the groovy, jammed out elements fans have come to expect from a Manic Focus track, but they’re incorporated in an unexpected way.

Duskus‘ new original is a relaxing piece, leading the listener to sonic bliss with a subdued beat and filtered vocals. The orchestral interlude brings a different form of calm, delivering an almost therapeutic sense of peace.

Direct and Matt Van are an iconic duo, consistently delivering impeccable sound design and production when they get together. Their newest, “Cold Ground,” is no different, bringing their fans a flawless, mellow experience. The artists seem to implore the listener to get lost in the passion they’ve put into their music, and it’s easy to do.