Who knows how many centuries the fortune under the eastern slope of Mount Davidson went untapped before the Grosh brothers happened upon it. The Pennsylvanian preacher’s sons had become seasoned prospectors during the gold rush years of the mid-19th century, and that experience served them well in Nevada’s Virginia Range southeast of Reno, where in … More »
We included Khalid on our Best New Bands list last year, and today the singer has teamed up with Fifth Harmony’s Normani Kordei for a new song that appears on the Jack Antonoff-curated soundtrack for Love, Simon. “Love Lies” is smooth and inviting, a simmering slow-burn about the intoxicating feeling of losing yourself … More »
There’s a moment on “Opps,” a track from the Kendrick Lamar-curated compilation Black Panther: The Album, where the South African rapper Yugen Blakrok says, “Stand behind my own bars like a seasoned criminal / Gotham City streets, I’ll play the Riddler.” Except we don’t hear the word “Riddler”; all we hear is a prolonged beep. More »
The past few years have paved the way for sub-alias’ for some of the industry’s biggest names. We were given Party Marty Garrix’ Area 21, deadmau5’s Testpilot, “someone” is Marshmello and most recently (prior to today’s news) Porter Robinsons’ Virtual Self. A few months back, an artist came onto the scene with his debut track
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Before this year’s Grammys, news broke that Lorde would not be performing at the ceremony, since the producers wouldn’t let her sing one of her own songs — an invitation extended to all four other Album Of The Year nominees, all of whom were men. So in looking at this year’s performances, of which … More »
The Grammys are this weekend — Sunday at 7:30PM EST on your local CBS affiliate, to be exact — and as always, we’re (almost certainly naïvely) hoping they won’t suck this time. They probably will; they always do. Yet thanks to a somewhat promising slate of nominees in the major categories, a similarly half-decent … More »
“New Rules” is a great song. Using the ingredients of the moment — nimbly tapped tropical-house keyboards, complex but airy drum programming indebted to Africa and the Caribbean, a morphing stylistic terrain that veers from booming rock-indebted bridges into surging dance-infused choruses — it serves as a contagious canvas for 22-year-old British pop singer Dua … More »
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.
Over the past few weeks, the United States has been racked with harsh winter conditions. As cruel as winter can be, there are some songs make the perfect soundtrack for the more serene, peaceful side of the season. Ennja’s latest release, “Mirrors” is such a song. With glistening vocals and a minimalist, ambient pattern, the nearly 7-minute song is an ethereal journey that encompasses the sounds of the season in an impeccable manner.
StéLouse has been on a roll lately, releasing a fiery cover of Post Malone just last month and following it up with a fresh flip of Khalid‘s “Young Dumb & Broke.” He’s transformed the R&B track into an EDM-friendly future bass remix that’s more lighthearted than its foundation track. “[I] wanted to throw it back to some of that OG StéLouse sound I was doing back in ’14-’15,” the producer explains.
Crystalize promised his fans a big 2018, and he wasn’t kidding. Just four days into the new year, he unleashed a powerful remix of Knife Party‘s iconic “Rage Valley.” It kicks off with pure bass madness that’s rings true to the song’s name. Halfway through, Crystalize steps back, then builds to something even more intriguing: a shimmery, synth-laden, downtempo pattern that’s bursting with creativity and passion. The second half of the song is by far my favorite, and it makes me wish I had more than a minute and a half of it.
It’s been 14 years since ATB‘s “Ecstasy” came out, but passing time hasn’t stopped producers of all persuasions from modernizing the track in their own way. The latest such artists are “8-bit rogue” duo Pixel Terror. Their revival of “Ecstasy” uses the original’s vocals to draw the listener in before building into a formidable melodic drop. Its harmonized layers of synths lay the groundwork for a rework that’s glitchy and computerized, while still maintaining the emotive power of the root song.
BIJOU is in for a huge year. Just watch. The g-house guru has been cranking out a steady stream of top-notch songs for a few years now, making appearances on AC Slater‘s Night Bass imprint and kicking it into high gear the past few months with originals like “Warning” and “Assassin.” He tells of the work that went into his latest, “Count On Me,” on SoundCloud. “This song has been over a year in the making with over 10 different versions worked during that time. This final record is one that is a crossover record with Kaleena’s beautiful vocals, but a dark and driving drop that has the potential to be a dance floor killer.”
The LA-based producer YULTRON proves he’s one to watch come 2018 in dropping an official remix of Marshmello’s hit single “Silence” feat. Khalid on vocals. YULTRON has shown listeners that when it comes to production style, he’s as diverse as they come, displaying a variety of sounds on official remixes for The Chainsmokers, KAYZO, Adventure Club and more.
Sometimes it’s dubstep or slowed-down future bass, butthis time he’s decided to put a happy hardcore-esque spin on Marshmello’s chart-topper. With some bouncy synths and off-beat kicks under Khalid’s verses, YULTRON brings the rework into a rapid assortment of pitch vocals and up-beat bass-line making for a euphoric drop.
Portland-based DJ/producer Electric Mantis is back with another intriguing original track titled “Lying & Loving,” featuring Mothica on vocals. Hailing from Alaska, Wyatt Pearson is certainly heating up some icy roots here in 2017, remixing tracks for Mija and Alina Baraz ( “Electric” featuring Khalid), as well as a few originals that have accumulated millions of streams.
Pearson proves why he is worthy of those numbers on this new release, with eclectic synth elements and an off-beat drum rhythm that somehow fits perfectly under Mothica’s echoing verses. Mantis ultimately chops up her verses for some pitch-vocals, and for leading into an even more dynamic drop.