“Can’t Hang” is the latest drop by the LA producer Justin Jay. It’s got a whimsical, almost hypnotizing sound with light key melodies backed by house rhythms. The song is unpredictable with a sick vocoder section mid way through followed by a satisfying full on groove. Check it out here and enjoy.
We’re excited to share this ethereal electronic track by the artist Pat Lok. It’s actually a single from his new album, ‘Hold On Let Go.’ We’re digging “Mar Vista” and a lot of other cuts off the album, especially “Oh No (Oh No)” and “You Street” to name just a couple. According to Pat, “Most
There is some fire bestowed on our ears this fine day. Manse & Shaylen with the help of Thrive music releases “Back To You.” Manse has taken the dance music scene by storm with over 10 million combined streams and support from EDM tastemakers like Hardwell and Axwell Λ Ingrosso; Manse does not fall short of
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Over the past couple months, Megan Hamilton & The Bermudas have been slowly releasing tracks from their remix album of “Photosynthetic”. Each track from the original album has been remixed by different producers across the country, giving the album a refreshing feel. Tortuga, Ghost Channels, and Unlimited Gravity are just a few of the amazing talents you’ll hear
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Again, you should know by now that I thoroughly enjoy a summer track that I can boogie on the beach to. Nothing gets me more fired up than a squeaky production and catchy vocal. Basic. Totally. I aint hiding it. We have been extremely blessed this summer with some insane summer tracks and the former
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Seven Lions is dope. Not knowing much about him, I peeped his set at Tomorrowworld a few years back (RIP) at the Mirror Stage. Those of you that attended can attest to it being one of the raddest stages known to man. On that rainy night, the Bassnectar look-a-like came A LONG way from disappointing.
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I’m going to be completely honest here. I do not know much about Vicetone. I am new to their production. That said, instantly a fan. I can dig tracks with minimal to no vocals. Its funny in this case because the sole words of the track are “I hear you calling” and all you can
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Drezo‘s formative rise through the west coast’s flourishing underground house and tech scene has been an impressive progression to watch unfold. The LA-based producer has brought his infectiously eerie, warehouse-primed brand of house music to labels like Mad Decent and OWSLA, but for his latest project, he’s taking the full control of the reins with a new independently released EP, Jaded, out in full July 14. To roll out the forthcoming three-track collection, Drezo has dropped off a blistering new original cut titled “Dead.”
In signature Drezo fashion, the track opens with a pumping kick and a textured hum that gradually builds into an aggressive growl leading into the break. The “Guap” producer chops up a characteristically punchy yet simple sample selection on his latest, as “Dead” drops into an oscillating barrage of snarling chords designed for packed festival tents and sweaty after hours club floors alike. Much like his mentor, Dillon Francis, who has recently adopted a label-free release strategy, Drezo is coming in full force on his own this summer with Jaded, and if “Dead” is any indication, it’s going to be high caliber tech house quality from one of the genre’s brightest prospects.
Superpoze might not be a superstar just yet, but this French talent is certainly one to keep a look out for. Having began his tenure in the music world as a classically trained artist and multi-instrumentalist, he’s spent the past half decade carefully cultivating his electronic career with a series of releases and live appearances that leave those happening upon him highly impressed and wanting to hear more.
In particular, a standout feature of Superpoze’s performances is that he showcases the full breadth of his talent by using actual instruments and a hybrid setting of sorts rather than simply DJing. The result feels almost like a Kiasmos, Jon Hopkins or Stephan Bodzin show – immersive as ever, profoundly melodic, and, in general, he fosters nouveau-classical atmosphere that can please music enthusiasts across multiple generations.
Fans can now revel in a special Radar mix the burgeoning producer has provided – a true journey through sentimental and sweeping soundscapes that are stitched tidily together for a truly awe-inspiring hour. Additionally, he also took some time out of his schedule to discuss his musical upbringing and creative process. Peruse below while listening along to the melodies he puts forth.
1. Superpoze – Azur
2. John Talabot – Voices
3. Adesse Versions – Pressured
4. Superpoze – Gleam
5. The xx – A Violent Noise (Four Tet Remix)
6. Parple – Sacred
7. Cosmin TRG – Vertigo (Tale of Us & Fango Remix)
8. Dark Sky – Em Cy
9. Daniel Schmidt – And the Darkest Hour is Just Before Dawn
Do you think your classical training/instrumentation has made you a more well rounded musician?
Classical training allows me to understand what I feel when I’m making music. It makes it easier. When I feel ‘this’ should happen I know which note or which chord [it takes to make] ‘this.’ If you want to use a word you’ve heard, it is always good to know how to write it.
Do you generate your own samples and sounds? What’s your process there?
I mostly record my own sounds, percussion, synthesizers, etc. and sometimes I use those as samples. I record a sound, do something I like with it, and then I treat this recording as an external sample. I pitch it, make slices, and make something new with it.
I do this to create a conversation between me and myself. I’m playing chess alone.
Why do you choose to perform so many elements of your music live?
I need to create accidents during a live set. When strange things happens live—this is the most exciting moment of a concert. If everything is written, you can enjoy it, but I don’t want to miss this moment when the audience and the artist are both surprised by the sound.
When did you start making music and how? In general, but also specifically electronic music.
I was a music student from 6 to 14 years old. I studied classical percussion, played in a lot of teenage bands in my hometown and I started to record music on my computer when I was 18. I first started with sample-based tracks and when I got my first synthesizer, I started to record my first album Opening, which came out when I was 22.
What is your process for making such nuanced and layered tracks? Where does it start and where does it end?
I definitely takes a lot of time to make music—and I follow time’s arrow. I don’t start a song with a hook and then look for an introduction, an end, etc.. I always start at the first second and then develop it until I feel the sound should stop.
Who are some people whose work you really appreciate or are inspired by?
I love the music of Moondog, Talk Talk, Jon Hopkins, and Nosaj Thing among a lot of other artists.
House music has long been one of my favorite factions in the EDM genre. The style’s uplifting melodies and unstoppable percussion never fails to stick me in a good, energetic mood. One producer DJ duo, Jef Miles, has proven themselves masters of the craft with each consecutive release. Over the past two years, these two
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