Dexter’s Beat Laboratory Vol. 115

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Dexter’s Beat Laboratory Vol. 115Deters 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


It’s been a few years since the world has had new Tut Tut Child material. The artist has been mainly working on a side project, Forest Knot, since mid-2018, and prior to that, there hadn’t been a Tut Tut Child release since 2017. The London-based artist has broken his silence, though, with the release of his Pantheon EP, out now on Extreme Music. Its title track is a dramatic melodic journey and is sure to thrill fans of his previous works, as well as newcomers.

Rameses B, too, has a new compilation out Nov. 1. The Liquicity Records Eden EP showcases the artist’s strong command of the liquid drum ‘n’ bass realm, and he praised the label in a tweet announcing the EP, saying “it’s only natural to have this kind of release with them, liquid, emotional and something that represents all the good times.”

For Flite‘s latest venture, he reworked Jon Hopkins‘ 2018 track, “Emerald Rush.” He’s flipped the style into something new, and it’s completely captivating. “I absolutely LOVE Jon Hopkins’ music, he is such an influence on my own tunes,” Flite said in the track’s description. “I decided I would try and rework ‘Emerald Rush’ into a drum ‘n’ bass track. So much respect for his compositions, I hope I have done him justice.” 

The drum ‘n’ bass continues with Mazare and Philip Strand’s “Battlecry,” which debuted this week via Monstercat. Strand’s powerful vocals set the scene for the epic battle that about to take place, leading the listener into a dramatic build. Mazare’s fierce production takes over at the drop, packing a hefty drum ‘n’ bass punch.

Virtual Riot can make whatever he wants forever. The multi-faceted producer excels at whatever genre he’s producing, and for his newest, he returns to glitch-hop to play… Mario? “Bossfight Afterparty” is a brilliant three-minute combination of video game blips and bloops, polished with undeniably precise production. Your move, Bowser.

Premiere: BoxPlot gears up for enthralling Liquicity EP with ‘Voicemail Poems’ [Q&A]

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Premiere: BoxPlot gears up for enthralling Liquicity EP with ‘Voicemail Poems’ [Q&A]Boplot

Introspective drum ‘n’ bass finds its voice in talented producers like BoxPlot. The Boston-based producer first caught the attention of the dnb world back in 2015 and has been making a name for himself via his unique brand of dreamy beats ever since.

His newest piece of work, an EP called Alice, arrives on Liquicity Records on Sept. 6. Hear its opening track, “Voicemail Poems,” and learn more about the work that went into the EP below.


Tell us a little bit about the making of this EP.

The initial idea came from my tune “My Non-Existent Friend, Alice,” but not from the tune itself. It came from the people in the YouTube comments sorta wondering “who is this person” or “why is she non existent.” That got me wondering if I should build this story further into an EP, and so I did. The making of Alice was a pretty grueling and extensive—1.5 years or so—but it was definitely fun. I’m very meticulous when it comes to writing songs because I nitpick on literally every detail and I absolutely want to make sure that it’s 100 percent the direction I want to go in. As for production techniques, I’ve finally gotten to utilize my Eurorack synth that I’ve been on and off building for a year or so. I’ve sorta designed it to where it’s basically made to be an ambient-lofi drone machine, and it does wonders when it comes to making atmospheres.

What can listeners expect from this EP?

I’d definitely consider this to be like a mini concept album if anything, but still very familiar to my Tramontane EP. I really wanted to hone in on the emotions of lust and loss and sorta play around with them. You can sorta view the timeline of these two imaginary characters and see how things evolve over the course of the four tracks. I periodically listen to the entirety of the EP end to end and I still get chills from it.

What does this EP mean to you?

While making the EP, I didn’t really think it had some sort of emotional connection to my actual self. I more or less just thought I was just writing a story just for the sake of writing a story. But after these past few months have gone by, I’ve come to realize that this body of work was actually me subconsciously telling myself how I felt over the past year. It kind of is surreal to think how when writing things you can be writing something that has no meaning or anything behind it, but in actuality it does and you don’t know it yet. 

What are your hopes for drum ‘n’ bass in the United States?

I’m optimistic about it, but I’m realistically in the middle. I’m noticing there’s now tons of hype coming from a good majority of the big EDM guys talking about how drum ‘n’ bass is so sick and are asking for tunes from people, but it’s one of those things where I sorta need to see it to believe it. Now I’m not talking about the talent here in the U.S. The talent I’m seeing from the States is actually rather insane to be honest. A great example of this is a guy named Winslow. His tunes are absolute stompers and he makes really quality YouTube videos that I tend to watch periodically and enjoy greatly. Anyway, back to the original point: it’s the promoters that are based here that I’m iffy about. For example, if you don’t originate from the UK, you aren’t getting booked. It’s as simple as that. Flite I know for a fact is working his butt off to make sure to change that, and it’s working. It’s just that these promoters aren’t willing to pick up these homebrew artists at all, or they are at times but they are getting paid in pennies. It’s a slow process yes, but that’s what it is going to have to be; a waiting game.

What’s in store for the remainder of 2019?

I do have some collaborations with some artists that I’ve always wanted to work with, but I won’t name drop them because I do want to keep things secret. I do have plans to also make a non drum ‘n’ bass EP for once since the good majority of music I actually listen to isn’t really drum and bass. Finally, I also have another EP lined up, but this time it’s for my side project, Tetracase. Nothing is completely set in stone for that one, but it’s probably going to receive the majority of my attention for the remainder of the year.

Dexter’s Beat Laboratory Vol. 96

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 96Deters 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.


Grabbitz and Sullivan King‘s roots are firmly planted in rock ‘n’ roll, and their new Monstercat collaboration showcases that fact perfectly. “Crazy As You” manages to be simultaneously vulnerable and heavy, weaving seamlessly between Grabbitz’s emotive vocals and Sullivan Kings fiery guitar progressions. This song is inspiring, allowing both artists’ talents to shine in their rawest forms. Prepare to have your heartstrings tugged.

Ever in pursuit of a party, The Knocks have created a pristine summer tune called “Awa Ni.” Just in time for the longest day of the year, they’ve linked with Nigerian singer Kah-Lo for an easygoing, carefree single. The phrase “awa ni” roughly translates to “that’s us” in Yoruba, one of the native languages spoken in the city of Lagos, Nigeria, where Kah-Lo’s from. She said in a release that the beat The Knocks concocted “gave me the vibe of rolling around town back home with my friends” and made her want to write something about where she’s from. “Awa Ni” is the perfect result.

The countdown to Flite‘s Calm Before the Storm EP continues with the release of a new single, “Skywalker,” on Liquicity Records. The tune follows the debut single of the compilation, “Decisions,” which arrived a few weeks ago. Both songs are are impeccable examples of top-quality U.S. drum ‘n’ bass, as Flite continues his mission to bring such music to the States’ masses. “Skywalker” is a full-throttle launch into outer space, rocketing through its drum ‘n’ bass rhythm and gliding at a more graceful pace through interludes of twinkling melodies and soothing vocals.

BLOODTONE brings listeners back to earth with the release of “Already Dead,” an ominous techno endeavor that pounds furiously in listeners’ ears. Backed by a frenetic beat of the deepest bass, “Already Dead” drifts between melancholy piano melodies and eerie vocals chanting “already dead” that bleed into the corners of the brain. BLOODTONE continues to cement his dark and sinister style with captivating releases such as this one.

Horn connoisseur Alexander Lewis is back again with another trap-infused heater. He continues to make music that’s unpredictable and completely unique, opting this time to take a cinematic and orchestral approach. He described “Soar” perfectly in the song’s description: “‘Soar’ is an amalgamation of my influences from current movie scores and trap. It features three string players (recorded and layered to sound like a full orchestra) and eight brass players (two horns, two trumpets, four trombones). At the time of writing the song, ‘chaos’ was the only word to express how I was feeling, but when I had a final product it ended up being so much more than that. It represented/represents positive ways of dealing with chaos, and finding the beauty in it.”

Dexter’s Beat Laboratory Vol. 95

This post was originally published on this site

Dexter’s Beat Laboratory Vol. 95Deters 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.


Who would’ve thought Bring Me The Horizon and Sub Focus were a match made in heaven? The English drum ‘n’ bass producer has truly worked his magic on this subtle January release from the rock band, meticulously maintaining its delicate aspects while sprinkling in more intense drum ‘n’ bass elements. The beauty of this remix is that it doesn’t detract from the brilliance BMTH’s original. Instead, it gives listeners a refreshing new way to digest its intricacies.

Haywyre was the perfect person to tap for an official remix of Martin Garrix‘s “Summer Days.” The pianist brings an effortlessly groovy air to the track, incorporating funk-laden synths during the instrumental-focused sections and gorgeous piano chords to the vocal intervals. Like all Haywyre tunes, it’s impossible to not bob your head or tap your foot on this one. Check him out playing it live here.

In his new two-track EP for Liquicity Records, mystery producer Oakwite shines. “Chlorophyll,” in particular, is full of intrigue. The name for the song is fitting, as the artist appears to convert sunlight into alluring drum ‘n’ bass. The new body of work follows the February release of Oakwite’s bootleg of nothing,nowhere’s “Hammer,” which also proved to be beautifully unique.

London-based drum ‘n’ bass artist Etherwood is fresh off a new six-track release, which contains a graceful tune called “Away From It All.” Featuring a beautiful reoccurring piano melody and drifting vocals, this one instantly transports the listen to a still forest or a scenic vista. If the listener can fully submerge themselves in the sonic landscape Etherwood’s composed, it’s likely they’ll find themselves in a truly blissful state.

Speaking of six-track releases, Pierce Fulton, too, has released a new body of work. Hoarder’s Paradise made its full appearance on Potential Fun on June 14, featuring songs like “The Move.” This four-minute song is an introspective one, carrying with it an almost wistful theme as it ebbs and flows. Throughout the tune, piano melodies build from delicate to more forceful and are backed by a subtle but substantial beat. The journey-like qualities of “The Move” are completely entrancing.

Dexter’s Beat Laboratory Vol. 41

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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.


San Francisco producer Spencer Brown has been thrilling audiences with his ethereal progressive house style for years. Most recently, he’s released his debut album, Illusion of Perfection. One of the tracks, “Nightwalk,” perfectly conveys the subtle mystery of late nights and early hours of the morning. “This song was directly inspired by walks around the Marina Green (near the Golden Gate Bridge) in San Francisco very late at night near the end of last year,” Brown says of the song. “There is something spiritual for me about walks at 3 a.m. or 4 a.m.; I love the stillness, tranquility, and feeling that the entire landscape is yours.”


The fiery drum & bass coming out of Liquicity Records lately has been so inspiring. One of the label’s latest, a fervent collaboration between Madface, MC Coppa and Meditat1on, is a clear standout for 2018 on the Dutch label. “What It Looks Like” unites the talents of three countries (Czech Republic, United Kingdom and Italy, respectively) for a dynamic drum & bass tune that shines with intense vocals from MC Coppa and stellar production from the Madface and Meditat1on.


Disco Fries are typically the bringers of funk. On the heels of the groovy DF EP on Enhanced in November, the duo have opted for a change of pace in their latest release. “The Cut” shows a more intense side of the New York producers, as they layer on hefty bass and mysterious Middle Eastern-influenced melodies. With booming bass and an intense beat, “The Cut” shows there’s nothing these two can’t do.


A Nitro Fun release is always an adventure. The Mexican producer opens his latest release, “Time Goes By,” with a bold blast of ’80s-style synths (think Van Halen’s “Jump”) and an immediately addicting melody. He hooks the listener from the get-go, leading them into a formidable dosage of bass and a cacophony of glitchy, computerized synths. “Time Goes By” is a full demonstration of the breadth of the Monstercat artist’s production, and it’s a beauty to behold.


Unlike Pluto has spent the last few years establishing himself as an unquestionably versatile artist. With releases that have varied from a collaboration with Seven Lions to a cover of TLC‘s “No Scrubs,” the Los Angeles producer has made it known that each release will be an entirely fresh experience. Earlier this week, he released the first song in a collection he’s called the Pluto Tapes. With a laidback feel, impeccable harmonies and elements of dance music poking through, “Run, Bobby, Run” is an intriguing addition to his music arsenal.

Exclusive: Fox Stevenson – Take You Down

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Fox Stevenson 7

For more than half a decade, Stanley Stevenson Byrne — known to the music world as Fox Stevenson — has been cranking out consistently innovative electronic tunes, distinguished by his recognizable vocals. Though he’s worked mainly in the drum & bass realm over the years, he’s released dubstep, house and even pop-leaning tracks in recent years. 2017 proved to be huge for the UK producer, as his Monstercat collaboration with Ookay, “Lighthouse,” caught the ears of listeners around the world and is closing in on nearly 1 million plays on both SoundCloud and YouTube. He also closed out the year with a dubstep-heavy EP, For Fox Sake, on Disciple.

In 2018, Byrne looks to return to his roots with the forthcoming release of an EP on Liquicity Records. The two-track compilation, set to drop on March 12, consists of “Take You Down” and “Melange.” The EP will highlight Byrne’s energetic vocals and fast-paced drum & bass patterns. DA has the exclusive on “Take You Down.”

“I’m really happy to be releasing ‘Take You Down,’ it’s been a long time coming,” Byrne says. “Thrown together from pieces of rock band sessions and testing a more minimal approach at some drum & bass, it’s kind of a weird amalgamation of where my heads been the last year, it’s nice to throw this out there.”

Preorder the Take You Down/Melange EP here.