Tiga, DC Breaks, MK contribute to London Grammar’s new remix EP

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When London Grammar was formed in a university dorm room back in 2009, little did the trio know they would become one of electronic music’s favorite “neo-progressive” acts. In addition to their debut album If You Wait, which received global critical praise, the three have received remix treatments from SashaRAC, and Jonas Rathsman.

With the soaring vocals of Hannah Reid, the melancholy guitar of Dan Rothman, and Dominic ‘Dot’ Major’s classical piano, the trio’s sound blends together ambient and ethereal into clean, minimalist productions that stand as the perfect raw material to be remixed into any genre. Now the band has shared their latest remix EP of “Oh Woman Oh Man,” which enlists the help of some of electronic music’s greatest producers. Tiga gives the track a complex, hypnotic techno spin that clocks in at over 8 minutes, DC Breaks rearranges the composition with long build-ups and drum n bass releases, and MK brings to the track a progressive flare.

London Grammar’s sophomore album, Truth Is a Beautiful Thing, is out June 9th on Metal & Dust/Columbia Records.

 

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Conro – Lay Low (Original Mix)

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Canadian producer Conro has already had an exceptional 2017, and the year’s not even halfway over yet.

On May 17, the producer put out his latest single on Monstercat: a laid-back track called “Lay Low.” Unlike his previous release, a high-energy remix of Martin Garrix and Dua Lipa‘s “Scared to be Lonely,” “Lay Low” emits a much more relaxed downtempo vibe.

David Benjamin‘s smooth vocals glide perfectly over Conro’s mellow beats in the track. The producer is consistently pushing the boundaries of conventional electronic music, and the remainder of the year is sure to be a success for him.

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A-Trak’s ‘Music Heals’ Mix remains a comforting way of processing current events

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A-Trak outlined a sentiment felt among many when releasing his “Music Heals” mix on November 9, the day after Donald Trump’s election; in the DJ’s words, “Music helps me process these emotions.” A-Trak artfully stitches together a melange of classic R&B and soul pieces across thirty minutes that provide a sense of hope and nostalgic comfort to the listeners with songs like Marvin Gaye’s “What’s Going On” as messages of love and unity are sung over a background of timeless soundscapes.

Meanwhile, songs like Solange’s “Cranes In The Sky” and the Larry Levan edit of “Stand On The World” add a relatable touch to the mix, emulating ardor to stand up against the system tinged with a hint of sadness which is certainly present in a good deal of people who are concerned over the new executive branch’s stance on certain issues.

A-Trak’s “Music Heals” mix is a well-compiled effort to alleviate the sense of uneasiness that many currently feel in the presently divisive political climate. We feel it warrants being shared, given the strong reactions on both sides of the fence following President Trump’s inauguration.

Stream the mix below:

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Break Science and Dreamer’s Delight unite to show listeners a true “Dream Sequence”

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This week, NYC duo Break Science and SoCal producer Dreamers Delight have united to create a downtempo lover’s wet dream. The track “Dream Sequence” takes the back bone of Break Science’s sound and combines it with the bells, whistles and chimes of Dreamer’s Delight to create quite the ethereal experience. Break Science consists of veterans

The post Break Science and Dreamer’s Delight unite to show listeners a true “Dream Sequence” appeared first on EDM Sauce.

Josh Jacobson Releases First Track Off Upcoming EP

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Every once in a while, there comes a song that hits you different than the rest. You find yourself listening to it over and over, with each play just as impressionable as the last. Brooklyn-based artist Josh Jacobson has delivered exactly that with the release of “Polaroids” via Ostereo.

The song comes as a teaser for the rest of his debut EP, set to release later in 2017, but there is plenty of substance in the track that will keep you listening again and again as you wait for future releases. Leading up to this project, Josh Jacobson has spent countless hours refining his sound in the ‘future soul’ genre, a mix of live instruments, sultry vocals, and electronic influences.

“Polaroids,” in particular, shares a story that many of us can align with, as we have all had memories we wished we could return to and feel the way we did in that moment. Josh’s smooth-jazz vocals combined with the euphoric instrumentals create a sound that seems to be unrivaled in the music scene right now, and we look forward to hearing what the rest of the EP holds.

Have a listen to Josh Jacobson’s “Polaroids” on Spotify below!

This article was first published on Your EDM.
Source: Josh Jacobson Releases First Track Off Upcoming EP

Bonobo shows growth and skill and on the promising ‘Migration’ [Album Review]

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There’s a common series of complaints leveled against electronic music- that it all sounds the same, and that it takes little skill to create. While these types of comments are enough to make those of us invested in the scene see red, one has to acknowledge that these complaints do have a undercurrent of truth to them. The possibilities and ease of use of modern DAWs have opened up the process of electronic music making to the masses; one need no longer spend years training and honing their craft to get a record contract when they can turn out radio-ready tunes with a free Soundcloud profile and a 15 minute Ableton tutorial video.

Largely, this democratization is a good thing; more opportunity means more diversity and creativity in the scene, allowing more voices to be heard. But, all too often, the same tools that are used by one producer to break barriers are used by others as a crutch, a way to fill the space where talent and vision should reside. Thankfully, if there’s one thing that Bonobo has demonstrated over the course of his nearly 20-year career, it’s that he is, without a doubt, in the former category. The electronica producer, real name Simon Green, is one of the brilliant minority of producers that is always moving forward, and always pushing his sound in new and interesting ways. Green’s latest album, Migration, show no signs of slowing down.

Migration is Bonobo’s sixth LP, and with that kind of career, most artists would be content to rest on their laurels, to settle on the sound that made them popular and resist change. But Bonobo has steadfastly refused to be complacent, and on his newest album, his style has evolved to its most tightly-coiled and intelligent form yet. A truly innovative producer, Green treats all of sound as his instrument, and he plays it with a confident, refreshing virtuosity.

The title track opens the album with gentle piano notes the rise out from a bed of colorful evolving textures, filling out with layers of vocals chops and gleaming cymbal hits and eventually growing into a radiant, ambient beat that wouldn’t be out of place on Tycho’s Epoch. “Kerala” takes simple harp and vocal samples and plays them backwards and forewords on top of each other to otherworldly effect. Even when the album overplays its hand, like on the overstuffed 8-minute odyssey “Outlier,” the result is never boring. A bit distracting and noisy, perhaps, but always changing, always moving.

The guest vocalists on the album manage to be effective and impactful without drawing attention from the main attraction. Rhye’s Milosh is airy and serene on “Break Apart,” while Hundred Waters’ Nicole Miglis is the perfect addition to the dreamy, echoing “Surface.” Even the newly christened Nick Murphy (formerly known as Chet Faker) brings a delicacy and affect to “No Reason” that he often reaches for on his own songs, without giving in to the melodrama that occasionally plagues his solo work.

As consistently interesting and technically compelling as Migration is, it isn’t perfect, at times seemingly afraid to be as adventurous as it would like. The best parts of the album are those when it embraces its weirdness, and branches out eagerly into peculiarity. The delightfully off-kilter “Grains” comes to mind, which opens with a stuttering chorus of modulated vocal cuts, and builds tension with distorted strings and halting, irregular percussion. It’s a strange song, engrossing and exciting precisely because it’s so different.

“Bambo Koyo Ganda,” likewise makes the unusual marriage of Moroccan gnawa music and a funky house beat an infectious success, and the album’s highpoint, “Ontario,” manages to bring together a lush chords, skittering drum rolls, buzzing sound effects, and a sitar melody into one congruent, delirious soundscape. But even at its most nonsensical, Migration feels slightly tempered, a bit restrained. Its sonic experiments, its departures from convention, are what make this album interesting, and one is left wishing that it had embraced this more, that it had taken more risks, and jumped head first into the bizarre, kaleidoscopic vision it hints at in its best moments.

But these complaints are relatively minor, and perhaps particular to the listener. There are no real weak spots on the album, just places for improvement, and the sheer technical scope of it is admirable in and of itself. Migration is Bonobo at the height of his powers, the culmination of a long careers worth of progress, success, and evolution. It’s a vivd and complete album, well thought out and executed with style. Not even the harshest of critics could say that it is unoriginal or unimpressive, and we cannot wait to see what Bonobo does next.

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Kingdom – Tears in the Club

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You think about really dark electronic music, and you have this certain image in your head. It might be different for everyone, but common adjectives you’d use to describe the kind of music I’m talking about could be “ominous,” “harrowing,” or even “malicious.”

All are useful to describe “Tears In The Club” by Kingdom. Taken from his album of the same name, forthcoming February 24, the song is incredibly dark. The bassline is ferociously sinister, paradoxically juxtaposed with light and delicate piano notes. There’s a definite duality going on in the track, giving listeners the option to join the light or dark side.

Check out “Tears In The Club” below, and pre-order the album here.

This article was first published on Your EDM.
Source: Kingdom – Tears in the Club

Skrillex’s ‘Leaving’ EP turns 4 today; revisit Skrillex’s most underrated EP here

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Skrillex‘s Leaving EP arrived four years ago today. The short three-track collection came seemingly out of nowhere, and rather than kick off a new year with high-octane bass and house bulldozers like Bangarang did at the onset of 2012, it catalyzed a stylistic departure for Sonny Moore that revealed a new dimension to his artistic complexion. The EP itself is a bit mysterious; it came at a time when fans were on the edge of their seats for a full-length project rumored to be called Voltage that never came to fruition. As it goes, the surprise EP was reportedly finished in a hotel room mere hours before it hit the internet. Matching its enigmatic title with a short selection, the release left a lot of questions open about the OWSLA head’s direction for the coming year.

Leaving included a staple DJ tool that Skrillex allowed to surface live about a year prior, mashing up pieces of “Scary Monsters” and “Fucking Die,” now officially known as “Scary Bolly Dub.” The collection’s opening offering, “Reason” may be one of the best Skrillex b-sides out there. Finally, the title track laid the groundwork for a more pensive, introspective side to Skrillex’s music, paving the way for later tunes like “Fire Away” and eventually “Pretty Bye Bye.” When the EP’s tracklist is considered, albeit being short and sweet, Leaving may be Skrillex’s most underrated EP to date. Revisit it here.

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Trinix – Raining Day

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French creative duo Trinix have stepped into the spotlight this week, with a fresh release for Ultra. The Lyon pair have seen and enjoyed many successes this year, with their DJ bookings continuing to pile in and their releases gaining plenty of positive attention.

They have just dropped ‘Raining Day,’ a textured fusion of down tempo and deep house beats. It has been produced with quality and care, and the softly simmering melodies and swinging bursts of vocals make for wonderful moments as the track develops with assurance.

Don’t take our word for it – you can purchase it here. 

This article was first published on Your EDM.
Source: Trinix – Raining Day

Emmit Fenn Releases Emotional & Daring New Track, “Blinded”

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As an artist, you have to constantly be on the lookout for new ways to stimulate the creative flow. Become too complacent, and you’ll get bored of your own productions. That’s why so many producers and musicians listen to music that is far outside what they actually make or play live.

Emmit Fenn isn’t your typical EDM producer. In fact, you could hardly call either track he’s released so far “EDM.” However, we’ve really come to appreciate his vision and style, so we’re happy making an exception this time.

“Blinded” has a unique story behind it, as does most music. The inspiration for the track came when Emmit was crashing a music class at UCLA and the professor noted that repetition is a powerful force, because it can reinforce meanings in lyrics or phrases or even musical notation.

Emmit decided to turn that on its head and wondered if perhaps repeated phrases could somehow change their meaning. By changing the production throughout the song, steadily building intensity throughout, and leaving the lyrics the same, perhaps the words could be interpreted differently.

Ultimately, that’s open to the listener.

This article was first published on Your EDM.
Source: Emmit Fenn Releases Emotional & Daring New Track, “Blinded”