Dexter’s Beat Laboratory Vol. 78

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 78Deters 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.


Drum & bass masterminds Matrix & Futurebound are back at it again. In their latest, they’ve tapped the talents of songstress Zelah for an impeccable combination of adrenaline-pounding drum & bass and heavenly vocals. “I Got You There” marks the longstanding duo’s first release of 2019 and also gives fans a first look at their upcoming album, Mystery Machine, on Metro/Viper Recordings.

Kill Paris delighted fans by dropping a funky-fresh LP on Valentine’s Day, featuring collaborations with artists like Big Gigantic, Fatherdude, Tim Moyo, and more. While all tracks bring something special to the table, his swanky collaboration with Fatherdude is particularly ear-catching, featuring silky-smooth vocals from the New York artist. Kill Paris describes how the track came about in its description: “Sent the beginning ideas of this track to Fatherdude, who instantly wrote these wicked lyrics and just like that – a song is born!”

The music world was also gifted with new Goshfather music on Valentine’s Day. In his newest disco-infused venture, the Los Angeles artist drew from Madonna‘s “Like a Prayer” and created his own fun spin on the iconic 1989 hit. Goshfather brought along singer AU8UST for the vocals, and the pair have crafted a fresh take that’s both 1989 and 2019 with filtered vocals and a grooving bassline.

Norwegian artist Rootkit has a fluid style that’s led him to create music across the genre spectrum. From melody-centered future bass remixes to dark house originals, he’s demonstrated his production aptitude across the board. For his newest release, Rootkit takes his talents to Monstercat to drop “Voyage,” a house number that has journey-like qualities, making the title completely appropriate. Beautiful vocals also lend themselves to “Voyage,” accentuating its adventurous spirit.

For weeks, Fox Stevenson has been hyping a new body of work he says is a “little bit different” from what fans may have come to know his music as. He returns to his original focus of songwriting and puts out the first from this new focus of tunes called “Out My Head,” a pop-oriented track that still contains many of the dance-friendly elements his fans have come to know and love. But the spotlight is very much on his vocals in this new release, and it’s beautifully catchy.

Dexter’s Beat Laboratory Vol. 77

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 77Deters 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.


After a slew of impressive originals in 2018, Mielo kicks off his 2019 with the first single from his debut EP, “ILY.” His contemplative style is beautifully exhibited here, ands he teams up with vocalist Sarah De Warren to bring an even more heavenly element to the tune. Gorgeous piano melodies and dreamy synths create a perfect backdrop for the vocals and subdued percussion in “ILY.” Mielo leaves listeners wanting more with this one, and it serves as an introspective precursor to the forthcoming EP.

Speaking of first singles from new EPs, Haywyre has returned to kick off his funky-fresh Panorama: Form EP with “Let Me Hear That.” This one, like much of his music, is irresistibly groovy. It’s packed full of lively piano and synth melodies that embody Haywyre’s sound in every way. He’s categorized this surefire hit as “maximum funk,” and rightly so. It’ll be tricky to get this one out of your head.

Camo & Krooked are putting themselves on the map with the release of “Atlas.” This one manages to contain the powerful, wall-busting energy their tracks tend to have, bottling it carefully with meticulous production. Its journey-like qualities truly make the title appropriate, and the prolonged introduction builds anticipation in a spectacular way. When the drop hits, the listener is taken on a wild ride of dramatic drum & bass rhythms and thrilling themes.

House heavy-hitter Dustycloud has returned to deliver yet another powerful number. The Parisian powerhouse looks to be asserting his dominance in 2019 with “Brave,” which pounds the listener with copious doses of bass right from the get-go. He gives a brief taste of what to expect in the beginning before diving into a deep canyon of bass. A restrained break in the middle of the song gives the listener a brief chance to catch their breath again before the bass again takes over. It’s pure intensity.

Fans of i_o know that he’s been teasing a massive collaboration with Tommy Trash for weeks. “Let Me Go” has finally arrived on mau5trap, much to the delight of those who’ve been waiting seemingly for ages (read: me). The dance floor-primed track reunites the two producers, who first collaborated on “Oxygen” in 2017. They’ve tapped the gorgeous vocals of songstress Daisy Guttridge to deliver this silky-smooth progressive track—and it’s well worth the wait.

Dexter’s Beat Laboratory Vol. 76

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 76Deters 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.


Metal and electronic music have been colliding more and more as of late. This collision takes many different forms, including artists like Matt Lange putting their own spin on the instrumentals of a song originally fueled by rock elements. Lange has taken Periphery’s “Lune” and leaned into its subdued beauty, crafting a minimalist backbone of warped bass and a dreamy guitar melody that drifts softly throughout the course of the remix. He allows Spencer Sotelo’s vocals to take center stage in his remix and has crafted a perfect atmosphere to complement Periphery’s original.

Notaker‘s off to an incredible start of 2019. His latest, “Into The Light,” pairs beautifully with its accompanying artwork, which depicts a shadowy forest highlighted by beams of sunlight. Karra‘s heavenly vocals set the scene, leading listeners into a gradual build before dropping into a booming melodic drop. Chirping birds and atmospheric layers of synths create an environment that’s both serene and powerful, as Notaker demonstrates his strong command of sound design.

Far Out’s “Worlds Apart” is what today’s future bass wishes it could be. Much like Notaker’s “Into The Light,” Far Out assemble this dreamy soundscape slowly, building gradually with lush beds of synths, piano, and strings. One could easily mistake this for an orchestral piece until just after the minute mark, when bass and drums enter to assert their dominance. “Worlds Apart” is a world within itself, full of mystery and anthemic melodies that make this a real showstopper.

And now, for a darker turn. Krayysh returns to Mad Zoo with a positively eerie remix of Shadient‘s “Leidenfrost.” He’s been making a name for himself on the Canadian label with his shadowy creations, only stepping briefly into the light for “Talk To Me.” Overall, though, his work takes a trippy, walk-in-the-woods-at-night tone, bolstered by glitchy bass and ominous melodies. His take on Shadient follows along this creepy pathway, pummeling listeners’ ears with haunting ambiance the entire way.

In a world full of endless “Shelter” remixes, it can be difficult to stand out. But REAPER is making his mark with daunting take on the iconic Madeon and Porter Robinson track by packing it full of bass and giving it an unexpected twist toward the end. The vocals have been pitched down in a way that’s a bit menacing, making the song feel more aggressive right from the beginning. With a drum & bass switch-up that takes over the last minute of the song, REAPER makes sure this remix is unforgettable.

Dexter’s Beat Laboratory Vol. 75

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 75Deters 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.


Fans have come to expect consistently groovy tunes from The Knocks, and they always deliver. The New York duo has released some mighty remixes already this year including ones for Charli XCX and Joe Janiak. Now, they’ve taken on ODESZA‘s “Falls,” flipping it into a “Get Up Mix” of easygoing swankiness. This remix brings The Knocks’ signature good vibes, giving listeners a new way to digest one of ODESZA’s most iconic tracks.

BLOODTONE‘s latest original comes at the listener dark and heavy. Fitting in perfectly with his “post-apocalyptic horror house” brand, “Drag Me Down” does just what its name implies and drags its listener down to the deepest depths of his breed of house music. Haunting vocals drift in and out between a weighty bassline and sharp kicks, giving an eerie atmosphere to the song’s entire length. It’s deliciously spooky.

Julian Calor returns to Monstercat with his second single, a spirited psytrance track called “You Might Get Lost.” The track is brilliantly deceptive, with an introduction that seems easygoing enough. A computerized voice warns to not wander around your memories, because you might get lost. Even when a build begins to crescendo, it’s still hard to grasp the pounding trance beat that hits at the drop. The melody is infectious, too.

Hidden Face‘s latest takes on a bit of a different feel, showing a vulnerable and emotive side to his often-mysterious production. “Looking For Happiness” leads in with a delicate guitar introduction and soothing vocals, setting the tone for the minimalist instrumentals to follow. These components together give the track a dreamy and contemplative feel throughout course of the song. It feels deeply personal and somehow familiar, and it’s a beautiful thing.

For his first release of the year, Grabbitz leans into his pop/hip-hop skills. “Polaroid” on Ultra Music is all about heartbreak and the raw emotions that come with it, which Grabbitz showcases perfectly with wistful vocals and solemn instrumentals. Its smooth beat flows effortlessly with the heartfelt verses, illustrating Grabbitz’s production capabilities in their finest form. The Buffalo native continues to demonstrate his versatility with each release, leaving fans wondering what’s coming next.

Dexter’s Beat Laboratory Vol. 74

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 74Deters 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.


After a massive collaboration with Netsky in December, 1991 returns with an original of his own, “Guiding Light.” The London producer asserts his energetic style of drum & bass in this emotive number. “Guiding Light” contains an impeccable balance of vocals and instrumentals, with the lyrics guiding the verses and the beats driving the chorus. While 1991 was relatively quiet in 2018, one can only hope that this early-2019 release will be the first of many this year. He’s off to a great start.

It takes a special touch to modernize and revamp a 23-year-old song for today’s dance music scene. Oliver Nelson and Tobtok are up to the task, though, as they bring Judge Jules & John Kelly’s Stix ‘N’ Stoned 1996 club anthem “Outrageous” into 2019. This sizzling house heater is ready for dance floors of any decade with its groovy beat and thumping bass. The producers ramp up the energy in the first half, dipping the tempo in the middle for a brief intermission, before building momentum back up again to finish their “Outrageous” rendition off.

After being propelled into the EDM limelight via two REZZ collaborations, 13 is having what is hopefully an extremely lengthy solo moment with a daunting original of his own. “Uppercut,” out via Mad Decent, shows the artist flexing his glitched-out production skills in full form. It’s a shadowy release right from the start, introducing filtered vocals that lead up to a bass-heavy drop, pounding listeners’ ears with the distorted sounds 13’s become known for.

Both halves of The M Machine have built captivating solo projects. Luttrell‘s made a name for himself with a unique strand of melodic techno, gaining notoriety through a variety of Anjunadeep releases over the past few years. His most recent release is a six-plus-minute adventure into the depths of Tycho‘s “Epoch,” which stemmed from their meeting at Burning Man. “It was an honor to share the stage with him that night and even more of an honor to recently be asked to remix his wonderful track, ‘Epoch,’” Luttrell said of the remix. “When I play this one out at shows recently, I always feel transported back to the playa – feeling the warmth of the sunrise over the Black Rock Desert.”

Draper has been making music since late 2010, shifting his sound from dubstep to house to drum & bass to glitch hop and everything in between over the years. He’s shown incredible versatility throughout his career, putting his Draper stamp on anything he’s making with ease. His latest, an EP called Pâro, kicks off with a serene soundscape titled “Her.” Its intro is simply beautiful, painting a vivid picture of two people in love. While the choruses are lighthearted and full of energy, it’s the spaces in between that truly make this track breathtaking.

Dexter’s Beat Laboratory Vol. 73

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 73Deters 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.


After months of anticipation, Gammer‘s much-hyped remix of Ran-D’s “Zombie” has finally arrived. Its comment section is full of fans saying “finally!” – and with good reason. Gammer plays up the emotive intensity of the original, which was initially performed by The Cranberries. Ran-D redid the vocals himself, and Gammer uses them to drum up anticipation for the quickly building drop. It’s ready for festival stages around the world with its energy-loaded hardcore beat.

The Lion King‘s “Circle of Life” has been making its way into the EDM scene for years. It’s popped up in Skrillex sets, been remixed by Mat Zo, and most recently, revamped by Wuki. Uploaded to his Wukileaks channel on January 10, this edit of the iconic track sees the classic introduction worked into a grooving house anthem. It’s primed for the dance floor and guaranteed to have all listeners embracing their inner “hakuna matata” attitude — even 24 years later.

Russia’s Sound Quelle was a huge presence on Silk Music’s channel in 2018, so label has kicked off their 2019 with a three-track EP from the multi-faceted artist. In the Esalia EP, he’s teamed up with Referna for tracks like “Lauria,” an ethereal deep house number rooted in an easygoing bassline and dreamy vocals. This nearly six-minute track has an otherworldly feel to it and features a minimalist synth melody that drifts in and out of progressive beat.

In their latest, Win & Woo take a journey across the pond to craft a new original, “Tea Time.” The duo have fashioned an infectious house beat around a catchy British vocal sample that declares “it’s time for tea,” making this track one of their most entertaining to date with the help of some cowbell. Win & Woo have called the track “something fun for being awesome to us in 2018,” promising even more to come in 2019.

In his debut Mad Zoo appearance, Canada’s Brock Wilson has created an intriguing and diverse two-track EP. “hollow shell” is a thrilling and slightly spooky track that showcases the artist’s curiosity and experimentation in a variety of electronic styles. From glitchy, grinding bass to an eerie, minimalist melody, Wilson shows us what he’s all about. “I’ve never really been good at making bangers or high energy songs, but I’ve always been interested in tight mixing and sound design.” It shows, in the best possible way.

Dexter’s Beat Laboratory Vol. 72

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 72Deters 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 pure, vibrant energy of this Oliver Heldens remix from Tom Staar is what initially drew me to it. The original is also full of life, but Staar’s take gives it an extra kick in the chorus, priming it for festival stages around the world. I’m hooked on the anthemic kick of the bass and the added percussion elements that make it completely irresistible. Songstress Shungudzo’s vocals work impeccably with the groovy beat, too.

nanobii is a master at flipping iconic childhood songs into modernized EDM masterpieces. He’s done takes on “Part of Your World” from The Little Mermaid and “Go The Distance” from Hercules. His infectious happy hardcore elements somehow meld perfectly with these nostalgic tracks, and his latest is no different. He’s taken “I2I” from 1995 Disney classic A Goofy Movie and flipped into a powerful live edit. In its brief 1-minute-and-36-second length, nanobii weaves in elements of hardstyle and thumping bass… and it works. Don’t ask me how — it just does.

I’ve said it before and I’ll say it again: any day with Feint in it is a good day. But any day with brand new Feint in it is an even better day. The Manchester artist has revealed his first release of 2019: “Drifters,” out now on Monstercat. In true Feint fashion, “Drifters” is comprised of lush melodies, emotive vocals, and pristine production. This one also contains a gorgeous guitar theme in the background that complements the drum & bass rhythm beautifully.

Also from 1995 is this original piece of music from Japanese film Ghost in the Shell. American drum & bass producer Flite has put his own spin on “Making of Cyborg” from the movie, calling the tune “truly exceptional and timeless” in his description. This five-minute remix is a true journey, as Flite meticulously works to preserve the cinematic atmosphere of the song while adding his own intense stamp on the number. It’s thrilling.

With the release of mau5trap‘s We Are Friends, Vol. 8 compilation on January 4 comes the arrival of two new i_o songs: a remix of deadmau5‘s “Imaginary Friends” and an original called “404 Anonymous.” The shadowy producer welcomes his listeners to hell in these two authoritative pieces that cement his standing in the music world after a strong 2018. “404 Anonymous,” in particular, shows off his dark and eerie style perfectly, dragging fans into the deepest depths of techno with sinister synths and pounding bass.

Dexter’s Beat Laboratory Vol. 71 | Top Tracks of 2018

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 71 | Top Tracks of 2018Deters 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.


This week’s Beat Lab will take a slightly different format.

When I started using SoundCloud in early 2014, I made playlists weekly (read: obsessively). I’ve backed off a bit in recent years, but I still take time to collect songs for my yearly “best of” playlist, which I create every January and add to throughout the year. In late December for the past four years, I’ve narrowed it down to my 50 favorite releases of the year. They range from hard-hitting anthems to serene soundscapes, which truly sums up my music preferences.

I’ve discovered and fallen in love with many new artists this year, along with cherishing new releases from some of my previous favorites. I threw myself head-first into a bunch of synthwave tunes this year, leading to the discovery of tracks like Timecop1983’s heart-wrenching “Back To You” and A R I Z O N A‘s nostalgic “What She Wants.” This year’s drum & bass releases thrilled me, from Fox Stevenson‘s “Bruises” to Feint‘s “Shockwave.” I’ve loved every single thing Mat Zo has done this year, whether it’s Anjunabeats release “Meaning Lost All Words” (possibly my favorite song of 2018) or his infectious “Vice” drum & bass number. I’ve also loved everything from Goshfather this year, particularly his groovy disco takes on Drake‘s “Nice for What” and Lil Pump and Kanye‘s “I Love It.” Mielo had me hitting repeat on “The Wayfarer” over and over, and Au5 reignited my love for glitch hop with his take on APEK‘s “Supernatural.”

Without further ado, here are my 50 favorite songs of 2018, in no particular order.

Dexter’s Beat Laboratory Vol. 70

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 70Deters 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. Check back next week for her annual favorite tracks of the year playlist!


I was a big fan of Tim Schaufert and CASHFORGOLD‘s original “Gold,” so a recent remix of the track by SNOWMASS intrigued me. The wintery producer has added a chilling melodic dubstep touch to the original, adding in a gorgeous whirlwind introduction of synth melodies leading up to the drop. This pleasing rendition, while much different from its predecessor, maintains the same aura of mystery and wonder as the original — just in a different form.

It’s been nearly two and a half decades since the release of Desree’s “You Gotta Be,” and artists are still picking up on its timeless vocals and message today. New Jersey producer Aylen is the latest to put his own spin on the iconic number, bolstering its bold theme with an easygoing house beat.

Scotland’s Last Island is closing out 2018 in a big way: with a massive remix of The 1975. This rework is effortlessly funky and primed to take over a dance floor. “I’ve always loved The 1975,” Last Island says of the track. “With their latest album, this track stood out to me the most… the line ‘Love It If We Made It’ is so infectious, creating a track ’round it was so much fun and it fell into place perfectly.”

Camo & Krooked‘s “History of the Future” first made its debut in 2010, but given its re-release on Audioporn Records’ 10 Years of Audioporn Records compilation, I’ve deemed now a great time to re-recognize its greatness. This successful duo has been pushing drum & bass boundaries for well over a decade, and tracks like “History of the Future” are perfect examples of just how timeless the genre can be.

New York duo Brasstracks have been all across the continent this year, giving eager fans earfuls of powerful, dynamic horns. They close out their 2018 by bringing the sounds of the season in “Snowdaze,” a collaboration with Charles Gaines. “Snowdaze” paints a serene soundscape of gliding vocals and lush horns rounding out the background for a full, rich R&B number. Its relaxing tone encourages — and rightfully so — everyone to slow down this holiday season and take in the soulful tones of tracks like these. Merry Christmas, everyone!

Dexter’s Beat Laboratory Vol. 69

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 69Deters 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 a good week for drum & bass. Feint has teamed up with vocalist Heather Sommer for a brilliant new NoCopyrightSounds release, “Shockwave.” This new release dips back and forth between melodic drum & bass and heavier, wobble-laden interludes that make “Shockwave” appealing to fans of the full drum & bass spectrum. This track is feel-good drum & bass at its finest, and Feint’s production remains unparalleled.

Twenty-five-year-old Ram Records has released its annual drum & bass compilation, and with it comes a slew of exclusives and classics. UK producer Culture Shock makes his mark early in the 60-song collection with the emotive “There For You” as the second track. This touching track pulls the listener in right from the beginning with its infectious vocal hook and builds — with the help of some elegant synth melodies — into a welcoming drum & bass number.

RL Grime‘s NOVA has received an impressive array of remixes since its release in July. The final installation, released this week, features hot takes from artists from Vincent to Valentino Khan to Alexander Lewis, who’s crafted a heavy trap take on “Take It Away.” Lewis’ signature horns add an extra punch to the bassline and command a more authoritative and fiery atmosphere than the original, making it a standout on the latest remix compilation.

Hidden Face has had a steady stream of solid songs this year, never seeming to slow his release schedule. A stringed melody demands the spotlight in his latest, “Flowers,” which is backed by a steady deep house beat to drive it along. Intermittent snaps and twinkling notes comprise two brief interludes, giving the song an extra element of diversity. With countless releases this year, 2019 is sure to hold even more stellar work from the mysterious Parisian artist.

Tut Tut Child began a new project in August called Forest Knot, in which he creates a new song each month for a year. Each month since then, he’s been thrilling old and new fans with ambient and contemplative tunes he’s composed from years of traveling. He told listeners to “expect downtempo, explorative electronica, filled to the brim with real sounds,” and he’s delivered on that promise with a gorgeous tune called “We Walk Through The Streets Of Lisbon.”