Dexter’s Beat Laboratory Vol. 51

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Dexter’s Beat Laboratory Vol. 51Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Barely Alive‘s latest is completely unexpected and so unbelievably funky. The dubstep hard-hitters can generally be found creating some of the filthiest wobbles in today’s scene, but their brand new LP sees them painting a canvas of incredibly varied genres. From this groovy collaboration with Great Good Fine Ok to drum & bass on “Warrior” and hip-hop on “Ride Out,” the duo are taking their style to new heights in such a refreshing way.


Prismo gets down and dirty on his latest release, “Solo.” This power anthem puts Jason Derulo’s “Riding Solo” to shame, packing a much grittier, stronger punch. Prismo’s categorized this track as alternative rock, and it certainly leans much more than way than his previous electronic releases. Turns out this is the first of many new tracks in the Austin, Texas artist’s next chapter. “This is the first single from the next chapter of Prismo,” he says in the track’s description. “It’s a statement of my evolution and the passion behind my project.”


And from here on out, we merge into full-fledged drum & bass. New Music Friday has been good to the drum & bass community, delivering heaters from T & Sugah, Matrix & Futurebound, Friction, and so many more. This first one from T & Sugah is the second part of their new two-track Viper Recordings EP. The 3/4 pattern makes for an interesting touch, catching the listener’s ear with its unique beat. Subtle builds and detail-oriented breaks beautifully showcase why this Dutch duo has been on the rise.


Viper Recordings has also delivered the latest from the UK’s famed Matrix & Futurebound: “TARDIS.” They build anticipation impeccably in the introduction, leading the listener down a dark hallway straight into a frenzied drum & bass beat. It’s vivid and eerie, packed with intense, pounding bass and a furious melody. Unfortunately, it’s not out in its entirety yet, but the two-minute clip already previews the immaculate sound design these two demonstrate time and time.


Described by Pete Tong as “one of the big dogs,” Drum & Bass Hall of Famer Friction never ceases to thrill. In his latest, the Brighton producer has remixed UK legends The Prodigy and their song “Need Some1.” This rework is perhaps one of the most intense and creative drum & bass tracks I’ve heard in recent months, further hyping The Prodigy’s forthcoming No Tourists album, due out later this year.

Dexter’s Beat Laboratory Vol. 50

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 50Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Serbian trance and progressive producer Vintage & Morelli doesn’t often dip his toes into drum & bass, but when he does, the product is unparalleled. “Beyond the Horizon,” part one of a two-track EP that just came out via Silk Music, exudes tranquil melodies that the producer juxtaposes brilliantly with track’s swift drum & bass pattern. He wastes no time, building a mystical aura from the first few seconds of the song. It’s simultaneously calming and invigorating and leads perfectly into the EP’s second track, “Autumn.”


For their latest original, A R I Z O N A take a throwback alt-rock approach. The Jersey trio dig deep into the ’80s for “What She Wants,” and the result is stunning. Singer Zach’s voice shines in this song as he exhibits an impressive range, switching seamlessly from the verses’ deeper tones to delicate crooning in the bridge to a powerful chorus. “What She Wants” closely follows last month’s “Freaking Out,” which also showcased a nostalgic, emotive ambiance. There’s a beautiful music video that accompanies the latest single, which can be found here.


Known for their tantalizing remixes of EDM greats like Illenium and Seven Lions, Crystal Skies have teamed up with Au5 to create an otherworldly collaboration, “Cataclysm.” Packed with ethereal melodies and spacey wubs, the trio deliver their listeners straight to outer space. The song touts hefty bass and heavy drops, satisfying both bass music lovers and those who revel in intricate melodies and outstanding sound design.


NoCopyrightSounds has delivered a soulful drum & bass heater from Showdown as one of their latest releases. IMAN‘s vocals kick off the track in fine fashion, leading the listener directly into a bold combination of brassy horn stabs and a furious drum & bass beat. “Freedom” is a powerful number from start to finish, with each of the track’s components working together to create an authoritative drum & bass atmosphere.


Two new originals from The Midnight in less than a month? Not quite sure what we did to deserve this, but these two synthwave angels have descended once again, this time delivering “America 2.” This subdued retro track is full of hope, with artwork depicting an abandoned ’80s-style mall and a sign that says “permanently closed.” Tyler Lyle’s vocals tell the tale of going to look for “America 2,” backed by the duo’s signature guitar melodies and wavy synths. It’s a gorgeous addition to their discography and an incredible follow-up to last month’s “Lost Boy.”

Dexter’s Beat Laboratory Vol. 49

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 49Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Since its release in fall 2017, Slow Magic‘s “Wildfire” has received numerous remixes. The Float track has been flipped by the likes of Mielo, NΣΣT, and more — including the latest, from Airynore. This new rendition of “Wildfire” comes as a light, breezy song, highlighting the powerful, emotive vocals. Though the majority of the song lacks a percussion backbone, it’s illuminated by warm synths and intriguing piano melodies, making it calming and relaxing.


Monstercat mainstay Rogue has kept fans waiting since last fall for his next release — but it was worth the wait. His first release of 2018 on the Canadian label is “Mirage,” a melody-centric future bass track. The UK artist has been thrilling label listeners worldwide with his versatile production skills since 2012’s release with Tristam, “Pushed Away.” On “Mirage,” we see Rogue in his finest form: lending his own vocals over top of an irresistibly groovy synth melody.


I have Costa Rica’s Envision Festival to thank for my love and respect of Slynk. The gifted Australian producer flaunts insane mixing skills in his performances, and his original tracks are equally impressive. His latest comes from the 2018 Fractal Forest compilation and is called “Scrunched Up Faces.” This Westwood Recordings release radiates good vibes from start to finish, layered with funky guitar licks, lively flute melodies, and a substantial amount of bass along the way,


Bill Withers’ “Ain’t No Sunshine” has been remixed, covered, and redone in nearly every way imaginable. Nearly 50 years after the original’s release, artists are still drawn to its melancholy lyrics and haunting melody. Lido did a thrilling remix in 2014, and Jenaux adds his name to the list in a new cover with Andy Cooper. Jenaux’s mellow take on the iconic track is a minimalist approach, with Cooper’s vocals at center stage, backed by subtle guitar and wavy bass.


Few songs of late have matched the sheer eeriness of WAVEDASH and QUEST‘s “Devil Music.” The title track off the duo’s recent Mad Zoo EP features creepy vocals and unhealthy doses of bass, and has been remixed by label founder Mat Zo himself, along with  label mate Shadient. Shadient doesn’t stray from the sinister atmosphere of the original, using the dramatic intro as a launchpad for his own rendition. He slows the track down considerably, honing in on hefty bass and letting it truly seep into his listeners’ ears.

Dexter’s Beat Laboratory Vol. 48

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 48Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Oliver Nelson is back with another polished disco tune. In “Talk,” Linae’s glossy vocals complement Nelson’s production perfectly, creating a disco atmosphere that’s both modern and retro. The original comes as the Swedish producer’s first release since his January collaboration with Tobtok, “99 Red Balloons.”


I stumbled across a visionary trio a few days ago and was intrigued by the combination of synthwave and Fleetwood Mac. Brooklyn musicians Jaguar Dreams used “simple instruments and modern machines to feed the primitive appetite for dance” in this cover, and it’s a dreamy, gorgeous wonderland. Did I mention that this is their first release ever? The future is bright for this trio.


No matter the feelings toward Drake‘s smash hit “In My Feelings” and its accompanying viral dance movement, listeners will surely appreciate this take from talented brass aficionados Brasstracks. Abandoning Drizzy’s vocals for bright horn stabs, the duo have crafted an infectious rendition that’s packed with power and energy.


Party Ghost‘s venture into darker music has led to some incredible productions. His latest, “Cloak and Dagger,” is completely unpredictable. It gathers momentum slowly, building and dropping into pounding, shadowy bass, followed by another surprise that hits just before the two-minute mark. Incorporating dubstep and heavy wobbles into the final part of the track, Party Ghost demonstrates there’s nothing he can’t do.


Rameses B has been on a roll this year, dolling out one drum & bass masterpiece after another. For his latest, though, he’s followed up his January Spacewalk album with its second installation: Spacewalk II: Zero Gravity. This psytrance track, “Space Race,” is perhaps one of the most upbeat of the album and is both delicate and complex at the same time. “We are explorers and diverge with grace because no matter which path we choose we end up exactly where we need to be,” he says of the album. “Music can tell that story and this music can help us get there.” Couldn’t agree more.

Dexter’s Beat Laboratory Vol. 47

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 47Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


What better genre than disco for a Friday? French producer kramder astounds with this funky fresh original, “Indigo Bay.” With heavily processed vocals, an infectious mesh of groovy synths, and an irresistible retro beat, “Indigo Bay” adds to the producer’s growing armory of hits. His last appearance was in May on Tchami‘s CONFESSION label, ensuring this up-and-comer has a bright future ahead of him.


The release of Pendulum‘s remix album a few weeks ago seems to have inspired other producers to revive some of the Australian group’s hits, too. SYN, a mysterious producer who’s been making waves with remixes of hard-hitters like Slipknot and Metallica, has joined in the Pendulum remix fun with a “new rave” rendition of “Tarantula.” It’s energy-packed and intense, and still manages to maintain an old-school vibe.


Keeping with the revival of old tracks, Prismo has breathed new life into Kaskade‘s seminal “Disarm You.” The Texan producer adds a dramatic touch to the emotive 2015 track, flinging the listener into a bed of impressive synths at the first drop. He flies through styles throughout the remix, even dropping a sound bite from Jay-Z‘s “Public Service Announcement” before an intense dubstep-influenced second drop. His remix is a whirlwind of sounds and emotions, guaranteed to keep the listener engaged from start to finish.


Russian producer Stendahl brings a serene and peaceful environment with his latest release, “Sunrise,” on Silk Music. The song, part of his three-track Dystopia EP, paints a more pensive atmosphere than one would expect with an EP of the name it has. “Sunrise” is guided by a smooth-flowing piano melody, soothing vocals and a downtempo beat that’s easy to get lost in.


And now, the track I’ve been most excited for all week: The Midnight‘s new single. The synthwave duo began teasing the release of “Lost Boy” a week ago, drumming up excitement by pairing the emotive audio snippet with Stranger Things clips. Upon its release, it’s apparent that this might be one of their best pieces of work to date — even with the absence of their usual ascending saxophone melodies. “Lost Boy” tugs at the heartstrings and is highlighted by passionate vocals and soaring guitar themes. Tim McEwan and Tyler Lyle have concocted the perfect dose of smoldering ’80s nostalgia, topped off with impeccable production to complete this four-and-a-half-minute piece of magic.

Dexter’s Beat Laboratory Vol. 46

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 46Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


G-house guru BIJOU is back with another sultry heater, “Young & Reckless,” featuring Way. The new Dim Mak record continues the Arizona native’s tour de force through the burgeoning world of g-house. It’s stamped with a relentless bassline and and fierce vocals from Way. “The vocal with Way came from a long-standing relationship I’ve had with his manager that started out with me buying shoes from him at Finish Line,” BIJOU says of the track. “Fast forward to today and we have worked on numerous tracks together with this one being hands down our best.”


This week’s drum & bass find got me addicted so quickly. Foreign Concept’s rework of SKS’ “Thousand Lives” has a gorgeous air of mystery about it, and the UK artist does a stellar job of amping up the intensity in a way that’s both a little dark and euphoric. While the full track stands at more than five minutes, this three-minute preview is available as a part of Vandal LTD’s Modern Soul 4 LP.


Texan producer Prismo has morphed Satellite Mode’s subtle pop track, “Gave It All,” into something much more forceful. He toys with singer Jessica Carvo’s vocals, weaving them in and out of an intense pattern of bass he’s crafted. Prismo’s ability to juxtapose this powerful style of bass music with Satellite Mode’s delicate form of indie-pop further demonstrates his strong proficiency in electronic music in all forms.


Tom Budin continues his consistent release schedule with a version of Noy’s “Kamikaze.” This gnarly bass house rework hits hard from the get-go, shocking the listener head on at the minute mark with a speaker-shattering bass. The original, too, featured an astoundingly deep bass, but Budin’s morphed the track into a more dance floor-accessible rendition. New Haven’s verses maintain the fiery intensity of the original as Budin works his magic on the beat.


Matroda‘s teamed up with RICCI on his latest original, a feisty house offering on Dim Mak called “Caliente (Na Na Na).” The collaboration offers a clean combination of house and trap and shows both artists in their finest form: crafting the most hard-hitting bass house they can.

Dexter’s Beat Laboratory Vol. 45

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 45Deters Beat Lab@0.

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Dutch drum & bass beasts T & Sugah just unleashed a new EP on Liquicity Records called Say My Name. The two-track release features a pair of fast-paced heaters that thrill as their first release since last summer’s “Walk Her Way” and “Demons.” The duo have developed tunes that are the perfect blend of emotive and action-packed. This one, in particular, taps the beautiful vocals of Luna Morgenstern to accentuate the heartfelt atmosphere the duo has created.


Swedish producer F.O.O.L returns with his first release since 2016, “Highway.” The track is packed with cinematic-feeling synthwave production, highlighted by soaring melodies and eerie undertones. It’s rife with the same larger-than-life atmosphere of the killer Astronaut and Far Too Loud remix he did with Didrick years ago. Though its overall vibe is more subdued, it’s a brilliant comeback. With the release of the song, the producer revealed that there’s more to come, including an EP. Excited? Yes, I am.


Hopping back into some higher-BPM tunes with the latest from Sekai and Aleana Redd. This liquid drum & bass piece is simultaneously relaxing and spirited, accented by subtle background horns and gorgeous vocals from Redd. “Rain” is part of Sekai’s Canvas EP, out now on Lacuna Records. As the only drum & bass offering in the four-track collection, it’s an absolute stunner.


Italian producer Lozz has created a swagger-filled house party in his joint Gold Digger and Noir sur Blanc release. “Beast Mode” is a rousing number, emphasized by a hefty bassline and intense chopped-up vocals. With squeaky-clean production and a spirited beat, Lozz’s latest is guaranteed to get even the most stubborn onto the dance floor.


Swiss artist Faux Tales was quiet for the first half of 2018, leading me to wonder what he’s been cooking up. Yet in the past month, he’s dropped an official remix for Pink, along with this thrilling Arcadium release, “Origins.” Faux Tales spends the first portion of the song on a gorgeous piano ballad that steadily builds into something more foreboding. A dark-sounding choir and rapid string melody lead the listener into an epic chillstep section of the track. The producer has created something both beautiful and threatening in “Origins.”

Dexter’s Beat Laboratory Vol. 43

This post was originally published on this site

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


House maven BIJOU has returned with another tasty dance floor-ready offering, “Take A Hit,” with Gerry Gonza. His hard-hitting style fuses perfectly with that of Gonza’s as they pair sultry vocals with a bass-heavy beat for a g-house collaboration that’s sure to entice dance music listeners of all persuasions.


Rameses B‘s style of drum & bass can be summed up in one word: intense. With each new release, the UK artist tells an enthralling tale. During his latest’s six-minute length, “Prometheus” builds and drops in tremendous fashion. Mystery-filled breaks that tell a tale of the narrator searching for someone, adding to the suspense. “This is the first time I’ve combined psytrance and drum and bass, the result is a progressive and ever-evolving track that takes the listener on a journey,” Rameses B says of the Monstercat release. “This could spark future iterations of the psy-dnb genre.”


Hidden Face exhibits a mysterious feel to his music reminiscent of ZHU‘s. The up-and-coming Parisian artist pairs a dark beat with alluring vocals painting a foreboding picture as he goes. Though slightly eerie, the track is fascinating, and I find myself listening again and again. “Turn off the lights” marks Hidden Face’s opening track to his debut three-track EP, out now on Daruma.


I’ll admit I was surprised to see ATTLAS on Louis The Child‘s “Better Not” remix package — pleasantly so. The mau5trap artist has composed a beautiful rendition of the Chicago duo’s hit, layering in a variety of lighthearted synths that give the track an extra feel-good vibe. It’s impeccably produced and shows a lighter side of the Toronto artist’s style.


Elephante‘s Glass Mansion EP has just hit the airwaves, adding nine emotion-packed originals to his repertoire. The EP’s namesake is a blissful and catchy track with a deeper message. “It’s the story about building and dreaming about the “Glass Mansion,” where the streets are made of gold and everything is perfect – and then finally getting there, and realizing that it’s not what you were looking for,” Elephante told Billboard. “You can’t wait to be happy until you achieve something – you have to find joy in the process. Because we’ll never have it better than we do right now.”

Dexter’s Beat Laboratory Vol. 42

This post was originally published on this site

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


Since he started releasing music again at the beginning of last year, Party Ghost has been on a roll with originals. Each one’s been quite varied in style, tied together with his signature dark and somewhat glitchy vibe. “Kill,” released in early April, slams its listener with deep, reverberating bass — much like his most recent: “Phantom.” This stormy, brooding vibe is executed perfectly in “Phantom,” though it’s more subdued than its April predecessor. “In the year 2145 the world is ran by Spectre Industries,” Party Ghost notes in the song description. “The story begins with Phantom.”


Ryan Browne has been consistently wreaking havoc on the dance music world with fiery remixes and originals that put a hardcore twist on tracks like Krewella‘s “Alive” and Alison Wonderland‘s “Messiah.” In his latest, a cover of the classic “Everytime We Touch” by Cascada, Browne whips out the drum sticks for a powerful take on the 2007 classic, mixing in elements of hardstyle and dubstep for a rendition that’s not for the faint of heart.


Armada powerhouse Armin Van Buuren has followed up his mid-April “Therapy” with the release of a funk-injected remix from Throttle. The Melbourne artist has made a name for himself with groovy hits like his take on “Hit the Road Jack” and his remix of Earth, Wind & Fire’s iconic “September.” His “Therapy” remix looks to be another stellar addition to his discography, as he adds a classic disco vibe to James Newman’s vocals.


There are few things I love more than the mixing of genres. German drum & bass duo Neonlight have put a VIP spin on one of their own tracks, combining gorgeous orchestral elements, soaring electric guitar and a drum & bass rhythm for a formidable four-minute venture. Its action-packed, cinematic feel is bolstered by hefty bass and dramatic builds that leave the listener wanting more as the synths peter out at the end.


Fresh off a four-track NEST HQ EP, Canadian duo Chuurch have come back with a sultry remix of REZZ and 13‘s celebrated collaboration, “DRUGS!” Digging into the style they call “lean bass,” the pair have crafted a remix saturated with wobbles and weighty bass. REZZ and 13’s haunting melody drifts in and out of the remix, allowing the duo to carry it through while adding their own unique twist.

Dexter’s Beat Laboratory Vol. 41

This post was originally published on this site

Dexter’s Beat Laboratory is a weekly collection of songs from DA music editor and staff writer 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.


San Francisco producer Spencer Brown has been thrilling audiences with his ethereal progressive house style for years. Most recently, he’s released his debut album, Illusion of Perfection. One of the tracks, “Nightwalk,” perfectly conveys the subtle mystery of late nights and early hours of the morning. “This song was directly inspired by walks around the Marina Green (near the Golden Gate Bridge) in San Francisco very late at night near the end of last year,” Brown says of the song. “There is something spiritual for me about walks at 3 a.m. or 4 a.m.; I love the stillness, tranquility, and feeling that the entire landscape is yours.”


The fiery drum & bass coming out of Liquicity Records lately has been so inspiring. One of the label’s latest, a fervent collaboration between Madface, MC Coppa and Meditat1on, is a clear standout for 2018 on the Dutch label. “What It Looks Like” unites the talents of three countries (Czech Republic, United Kingdom and Italy, respectively) for a dynamic drum & bass tune that shines with intense vocals from MC Coppa and stellar production from the Madface and Meditat1on.


Disco Fries are typically the bringers of funk. On the heels of the groovy DF EP on Enhanced in November, the duo have opted for a change of pace in their latest release. “The Cut” shows a more intense side of the New York producers, as they layer on hefty bass and mysterious Middle Eastern-influenced melodies. With booming bass and an intense beat, “The Cut” shows there’s nothing these two can’t do.


A Nitro Fun release is always an adventure. The Mexican producer opens his latest release, “Time Goes By,” with a bold blast of ’80s-style synths (think Van Halen’s “Jump”) and an immediately addicting melody. He hooks the listener from the get-go, leading them into a formidable dosage of bass and a cacophony of glitchy, computerized synths. “Time Goes By” is a full demonstration of the breadth of the Monstercat artist’s production, and it’s a beauty to behold.


Unlike Pluto has spent the last few years establishing himself as an unquestionably versatile artist. With releases that have varied from a collaboration with Seven Lions to a cover of TLC‘s “No Scrubs,” the Los Angeles producer has made it known that each release will be an entirely fresh experience. Earlier this week, he released the first song in a collection he’s called the Pluto Tapes. With a laidback feel, impeccable harmonies and elements of dance music poking through, “Run, Bobby, Run” is an intriguing addition to his music arsenal.