Dexter’s Beat Laboratory Vol. 65

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 65Deters 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.


I first heard i_o‘s “Low” in the early months of 2018 when he sprinkled the track in a mau5trap mix. Its thumping bass and sultry vocals immediately caught my attention, and in the months since, I’ve replayed that snippet of the mix more times than I’d care to mention. This is i_o in his finest form: churning out preposterously filthy beats with a catchy vocal loop that lures the listener from the get-go. “Low” makes up the first half of his latest EP, which is out now on mau5trap.

So much respect for American drum & bass producers who are pushing the scene here in the States! One of my current favorites is BoxPlot, a Boston-based artist who’s been building a following through releases like “Sunroad” with Flite (who’s also American!) on Liquicity. His latest is a rework of Mint Royale’s 2002 “Blue Song.” BoxPlot has modernized the track and brought it swiftly into 2018, switching up the pace considerably by adding a truly intimidating drum & bass backbone to the song.

Following his “Mirage” release in July, Monstercat mastermind Rogue has returned to deliver “Badlands.” This track is a breath of fresh air in a genre where there’s often little variety in sound: future bass. Badlands is beautifully complex, lush with airy melodies and an overall ferociousness that’s apparent from the first few seconds. This intense atmosphere makes it perfect the compilation its a part of: the latest Monstercat x Rocket League compilation.

After building anticipation through singles like “Just Life” and “Behind Those Clothes,” Jaguar Dreams have at last unveiled their debut self-titled EP. The seven-track collection of songs leads the listener on a somewhat nostalgic journey, dwindling down with the last song, “Tapts.” This one’s a bit darker than its predecessors but is equally beautiful. “This first EP is a collection of songs that came about somewhat effortlessly in a shack in the middle of the jungle using basic instruments,” they tell their listeners in the EP’s description. “We produced and arranged everything back in our studio in NYC and the collection became a true culmination of our collective pasts embodied in a new shape that felt right.”

While I can’t understand a word of this song, its beauty is so utterly apparent. “Hislerim” manages to build a bridge between what many would consider a “heater” and a more melodic, ethereal piece. It ebbs and flows from bass-filled choruses to verses of gorgeous vocals backed by minimalist instrumental elements. This song has it all: twinkling piano melodies, heavenly vocals, a hefty dose of bass — and still comes together in a neatly packaged, comprehensive way. Good music truly transcends language barriers.

NMF Roundup: Oliver Heldens remixes CHIC, SLANDER and Spag Heddy team up, Ray Volpe flips Ookay + more

This post was originally published on this site

NMF Roundup: Oliver Heldens remixes CHIC, SLANDER and Spag Heddy team up, Ray Volpe flips Ookay + moreOcaso Festival Tamarindo By Pablo Murillo 06 01 2018 0525

It’s most important day of the week: New Music Friday.

This week’s releases are true stunners. After announcing a collaboration with Lights back in July, deadmau5 has finally unveiled “Drama Free” as part of his mau5ville: Level 2 EP. Oliver Heldens throws it back four decades by remixing CHIC‘s 1978 hit “Le Freak,” adding in a pounding bass to accentuate the original’s groovy beat. Bingo Players and Bali Bandits bring the funk with “Body Rock,” and SLANDER and Spag Heddy waste no time setting “Running to You” on fire. Ray Volpe puts his own spin on Ookay‘s “In My Mind,” while Party Favor taps Naïka for the hefty “Blame.” As part of What So Not‘s Not All The Beautiful Things remix package, AC Slater‘s put his signature bass-fueled house spin on the famous “Goh.” Kill Paris has put his own laid-back twist on Alison Wonderland‘s “Easy,” and Ross From Friends thrills with a take on Thundercat‘s “Friend Zone.”

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.

Photo credit: Pablo Murillo

Dexter’s Beat Laboratory Vol. 58

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 58Deters 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.


Goshfather has a unique ability to see things in songs others never would or could. Flip Drake into a fiery disco track? Check. Up next? Lil Pump and Kanye West‘s raunchy “I Love It.” Going into this funk-ified remix, it’s hard to know what to expect. But like he did with “Nice For What,” Goshfather’s concocted a refreshing take on the wide-shouldered track. He kicks off with a steady-rocking bassline to back Lil Pump’s vocals, hinting at what’s to come with subtle horns. At the drop, he drenches his listener in the grooviest of beats, aiding to the retro atmosphere of the track with an irresistible horn melody. It’s brilliant.


Jaguar Dreams are continuing their recent slew of releases with the next from their arsenal: “Behind Those Clothes.” After a killer debut with their cover of Fleetwood Mac’s “Dreams,” this New York trio are back with new original that oozes a smooth and sexy aura. With slick vocals and instrumentals that glide effortlessly behind them, it’s evident this newly formed group is swiftly paving a road to success. “Beauty has a way of momentarily conquering us, but stripping down to our essence is what makes us fall in love,” they said of the song’s release. “‘Behind Those Clothes’ can be sexual if you want it to be, but at its core, it’s about discovering truth through vulnerability.”


Beware: This is a catchy one. Micky Kojak’s “All That Acid” popped up on SoundCloud just days ago after premiering on Triple J and has since garnered attention from artists like San Holo, Robotaki, and Unlike Pluto. The up-and-coming Australian producer takes his listeners on a ride in this release, with infectious vocals and a funky warped synth melody leading to a beat that’s simultaneously laid-back and energizing. Though it clocks in at less than three minutes long, Kojak packs a powerful punch in “All That Acid,” ensuring it’ll be stuck in listeners’ heads for days to come.


Enschway‘s music typically skews trap, but not this time. For his latest, he’s reworked Golden Features‘ “Telescope” in drum & bass fashion. The rapid beat he’s crafted works impeccably with the track’s sultry vocals, tying the two together for an intense experience. This song, too, clocks in at less than three minutes, but Enschway wastes no time demonstrating his production versatility. This genre suits his music style and was met with enthusiasm in the comment section. “Finished this remix off a while back and thought I’d just chuck it up for everyone to enjoy instead of sitting on my hard drive doing nothing,” he said of the release.


My love of Metrik goes back many years. “Freefall” is one of my favorite songs of all time, and I have such respect for him as an artist. It’s no surprise that I fell in love with his newest production upon first listen. Metrik wrote “Dawnbreaker” for Forza Horizon 4, and it’s out on a Hospital Records compilation that also includes Fred V & Grafix, Etherwood, and more. It’s a gorgeous piece of music that builds a serene soundscape that sounds like what flying must feel like. His melodies are heavenly, and his sound design is unparalleled. For the full five-minute version, listen on Spotify.

Jaguar Dreams unveil debut original track, ‘Just Life’ [Q&A]

This post was originally published on this site

Jaguar Dreams unveil debut original track, ‘Just Life’ [Q&A]Jaguar Dreams Press Wine Grain2 E1534878086776

In mid-July, an enticing cover of Fleetwood Mac‘s iconic “Dreams” made its way onto SoundCloud. Captivated listeners, upon clicking on the source, found the dreamy cover to be the one and only track on the channel.

The channel belonged to Jaguar Dreams, a Brooklyn trio comprised of Ben Eberdt, Michael Kelly and Tim Kiely. In their “Dreams” cover, the group used “simple instruments and modern machines to feed the primitive appetite for dance.” This reasoning came from a trip to the Amazon rainforest, where the three were inspired by the story of the jaguar dream. In the ancient tale, journeymen would trade consciousness while in the jungle and have their souls overtaken by the animal. Re-energized upon returning to New York, Eberdt, Kelly and Kiely embarked on their Jaguar Dreams venture — writing, producing, and illustrating every aspect of their new project themselves.

Two months after the release of “Dreams,” Jaguar Dreams have unveiled their debut original, “Just Life,” which stems from the same undeniably authentic vein as their cover. Emotive harmonies usher the listener into a lush landscape of wistful synth melodies, evoking feelings of nostalgia and times gone by. They call “Just Life” a “bittersweet reflection” — and rightly so.

We caught up with the up-and-coming trio to hear about their journey thus far and what the future holds.


Why did you choose to cover Fleetwood Mac for your debut release?

We had a week there where we were reimagining a bunch of classic tracks. We’d spin records until we heard something that felt right to us, then we’d try to reinterpret it. We wrote a handful of songs that week, but “Dreams” felt like a good way to introduce ourselves.

How is the cover different from your debut original, “Just Life”?

Original music is kind of personal by definition as it comes from someplace within. With a cover, you just want to find a way to reinterpret something that you love. So the process is totally different for each song. With “Dreams,” we made something new out of something old, but with “Just Life,” we’re making something new out of nothing.

What does “Just Life” mean to you? What was the inspiration for the song?

It’s just a bittersweet reflection. It’s impossible to capture everything, so we did our best to capture a glimpse in a few minutes of music.

Who would you name as your inspirations as artists?

We are not affected by a particular set of influences. Our collective life experiences are our influence. We don’t want to sound like anybody, we want to sound like everybody.

How would you describe your music in three words to someone who’s never heard it?

“Sonic Massage Butter”

What’s up next in 2018?

We’re releasing a lot of new music.

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.