EPROM, a certified bass sequencing master, delivers his five-track extended play, AIKON—a record bound for reverie, presented by Zeds Dead‘s Deadbeats imprint. The Portland-based producer has established himself as a leading innovator amongst fellow artists and fans alike, adding two unreleased tracks to this year’s already impressive arsenal.
Already released tracks include the G Jones collaboration, “Daemon Vail,” minimal cut “The Cat,” and the wild ride that is “Hope.” The new tracks include the “Shirow Softworks,” a trip-hop inspired beat with melodic synth concoctions for a potent soundscape, and “Phoneme Gothik,” a scintillating work of sequencing timbre through bouts of bass and slicing synths.
With acid-tinged hip-hop to searing garage mutations, complex synth and drum arrangement splatter the audio canvas like a sonic Jackson Pollock.
In a press release, EPROM explains, “Each tune represents a unique point in my trajectory. For me, this release represents a step onto a bigger stage. I have always been reluctant to fully embrace the ethos of dance music, so I have previously kept my work underground, and to a certain degree, intentionally inaccessible. This EP is my take on pure rave music.”
Catch the illustrious sound maestro live with upcoming shows at Bassrush at Exchange LA on November 21, aboard Friendship in Miami on January 6, and at Montreal’s Igloofest on February 8.
As oh so many of its purveyors attest, the term “bass music” is hard to define. After all, bass is nothing more than the lower range of frequencies. Everything from a human voice to a revving engine uses them. So if an artist is going to adopt this term for their music and still stand out, they have to morph the bass into something digestible and enjoyable.
That is what Eprom has done yet again on his latest single, “Hope.” Once again being released on Deadbeats, label bosses Zeds Dead give free rein to Eprom to insert a wide variety of feelings and emotions into his generally grueling style. White-hot flashes of vocals and drum breaks are aligned alongside kick hits that would rumble the foundation of any venue lucky enough to hose Eprom for a show.
It’s not just about the sounds themselves on this track either. Eprom also displays his understanding of restraint, incorporating space that allows sonic ideas to evolve and diminish, making for truly standout piece of music.
Each week, New Music Friday sweeps through with torrential force, showering streaming platforms with immeasurable amounts of new tunes. Just like Dancing Astronaut rounds up 25 of the biggest songs of the week for the Hot 25 Spotify playlist each New Music Friday, Lunar Lunes serves as a landing pad for SoundCloud users who want a whole new dose of tunes to kick off the work week.
Eprom and G Jones are back with some more experimental bass to bend our minds with. “Daemon Veil” is quite unlike anything I’ve heard before, and not only lives up to the DJs sound but goes above and beyond anything they’ve produced before. The track starts out slow with ambient noises but quickly changes to
Eprom and G Jones‘ first collaborative endeavor since 2017’s EP, Acid Disk, “Daemon Veil” is an aggressively textured single that showcases the producers’ shared bass sensibilities. An ominous bassline merges with eerie chords in the early seconds of the collaboration. These elements rise together in simmering synchronicity as the track’s commanding vocal cuts into the instrumental beginning, instructing listeners to raise their torches and their lighters as the bassline plunges.
The jagged bassline descends further downward into sonic grit that spares streamers no smoothness. A breakdown that occurs just around the midway point tempers the bombastic bass that bodies listeners. Comparatively, more melodic tones offer a break from the heavy bass action as the climactic joint project concludes. “Daemon Veil” is out now via Deadbeats. The production will resurface on Eprom’s forthcoming EP, Aikon.
It’s most important day of the week: New Music Friday. With the overwhelming amount of tunes hitting the airwaves today, Dancing Astronaut has you covered with the latest edition of The Hot 25.
REZZ and Deathpact take no prisoners in their new collaboration, “Kiss of Death,” and Wave Racer follows up recent single, “Auto,” with the soothing “Summer Rain.” Skrillex makes an appearance on Ed Sheeran’s latest, “Way To Break My Heart,” and Tycho reveals his full Weather LP on Mom+Pop/Ninja Tune. Ekali and Reo Cragun bring “Runaway” to Big Beat, and Madeon continues his tour de force with “Dream Dream Dream.” Keys N Krates have released a brand new “beat tape,” featuring tunes like “Sad Piano,” and TroyBoi returns to OWSLA for “PAPI CHULO.” Camelphat throw it way back with a remix of Dirty Vegas’ iconic 2002 release, “Days Go By,” and KSHMR taps Mike Waters for “My Best Life.” Moon Boots and Steven Klavier are all “Tied Up,” and David Guetta and Martin Solveig deliver a club mix of “Thing For You.” Tiësto crafts a big room remix of Illenium and Jon Bellion’s “Good Things Fall Apart,” and Armin van Buuren, Avian Grays, and Jordan Shaw team up for “Something Real.” Sofi Tukker get groovy on “Swing,” and Valentino Khan and Diplo collaborate on a hefty house heater, “JustYourSoul.”
As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed this NMF.
Eprom and Alix Perez release their Black Heart Communion EP under their collaborative SHADES moniker, their first piece of work after their debut album In Praise of Darkness from last year. The five-track extended play features the duo’s signature experimental downtempo bass sound that amplifies low registry frequencies, unlocking a new found land of bass music resting on hip-hop rhythms.
Through vocal chops, glitching percussion, and uniquely constructed soundscapes, the SHADES brainchild pushes the boundaries of dubstep into exciting, uncharted spaces.
SHADES are slated to play a number of festivals this year such as Paradiso Festival, Lightning in a Bottle, and Bassnectar’s Freestyle Sessions. It’s no surprise that Zeds Dead is promoting SHADES’ dark and twisted fantasy via their Deadbeats imprint. Listen to Black Heart Communion below.
Vital Events are back at it again with their yearly iteration of bass music paradise called Wobbleland. Founded in California, the event has seen massive lineups over the years, from last year’s two day event featuring Rezz and Troyboi, to other big names like 12th Planet, Feed Me, and Herobust. This year however, they’re coming
“Stagnation” isn’t a word in Flume‘s vocabulary. The prodigious talent had barely turned 21 when he admissibly defined and spoon-fed the contemporary future bass sound to the masses via his debut, self-titled LP. Sure enough, a star was born. He moved on to solidify his position as one of the most groundbreaking and forward-thinking artists of the current generation after collaborations with Nick Murphy (then known as Chet Faker) and Emoh Instead under their omnipresent What So Not alias.
By 2016, he’d become a fully independent entity, dedicating all his time to solo work and treading the line of pop and electronica with finesse in his Grammy award-winning Skin album. He’d set the bar improbably high for himself. But, being the true innovator he is, Flume has managed to finish another revolution around the experimental sun with Hi This Is Flume. Short, but indubitably sweet, the mixtape stands out as perhaps his most idiosyncratic work to date.
Hi This Is Flume is the product of an artist unburdening himself his self-imposed boundaries and surrendering himself to the abstract. It’s a complete change of pace from Skin, which, likely due to its numerous collaborations, strikes a tame, and even formulaic, chord at times despite its cohesive and invariably appealing nature. This body of work feels structure-less—take for example cuts like “Wormhole” and “Dreamtime”—but united all the same. Flume’s enduring love for squelchy, staggered arrangement is the bedrock of the record, with each of its 17 tracks ebbing towards the next, as organically as the tides turn over. We’d gotten a taste of this in the Skin Companion EPs, but the Aussie talent eclipses expectations in this latest undertaking.
Flume’s work alongside Vince Staples and other rappers appears to have influenced the direction of Hi This Is Flume, as well. The mixtape is packed with low-end stunners, like the euphorically unorthodox “Ecdysis” or the resplendent, twinkling “Jewel.” His choice of collaborators this time around also mirrors this irreverence towards convention: the eternally strange EPROM makes his way into the fold on two tracks, one of which was an ethereal rework of SOPHIE’s “Is It Cold In The Water?” Meanwhile, “How To Build A Relationship,” featuring superior lyricism by JPEGMAFIA, arrives as an unearthly melding of warped bass and avant-garde rap.
Awe-inspiring too is the amount of impact Flume manages to squeeze into such a short time span. Most of the productions in Hi This Is Flume are two minutes or less, but are so cleverly engineered, texturized, and intricately layered that they feel as expansive as a piece that clocks in at triple the length. “Voices,” another powerhouse effort crafted with SOPHIE and Skin collaborator KUČKA, is biting, with glitchy effects galore, contrasting with dreamy, fluid undertones to facilitate a cerebral and fully loaded listening expedition in all of 115 seconds. The hazy, lo-fi tune “Daze 22.00” captivates with Eastern influence and viscous synthesis that make for an off-kilter combination, without proving too jarring. And optimism lives inside a single song in “Spring”—a gracious way to end such a stunning compilation, with its subtle, saccharine buoyancy.
It would be remiss not to mention the stunning visualizer that accompanies Hi This Is Flume. Crafted by Jonathan Zawada, who’s also behind Skin’s designwork, the video is as quixotic and crafty as the music beneath it. While the record is plenty enticing on its own, Zawada’s interpretation of it in a visual medium really bolsters the entire listening experience, with its swirling psychedelia and internal/external journey premise.
Hi This Is Flume points to a new era for Flume that sees an already remarkable artist stepping away from convention, while remaining accessible. The advanced sound design and clear step outside his creative cavern showcase a matured talent who continues to carve new niches in the modern electronic sphere where no artist formerly thought to look. With news of even more music on the horizon, Flume is poised to continue throwing himself from experimental precipices for the better.