Dexter’s Beat Laboratory Vol. 96

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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

This post was originally published on this site

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.

Dexter’s Beat Laboratory Vol. 13

This post was originally published on this site

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.


Fox Stevenson‘s For Fox Sake EP made its debut on Disciple on Oct. 27, featuring three original mixes and one remix. Stevenson, who has been releasing a little bit of everything lately, largely featured dubstep on this EP — aside from the fourth track, a drum and bass remix of “Miss You.” He returns to his roots for this bass-heavy rework of his own track, implementing a racing beat to complement his vocals and the original track’s grungy dubstep wobbles.


As a sucker for emotion-packed vocals over a drum and bass rhythm, Dualistic’s “Thunder” featuring MENN caught my ear immediately. Dreamy vocals take center stage in the minute-long build, leading up to a surprisingly bold drum and bass drop. Liquicity Records hit the nail on the head with this release, as it perfectly evokes a feeling of nostalgia while still providing the fast-paced rhythm listeners like me crave.


KRANE‘s new Fallout LP is insane. Throughout the entirety of its 10-track length, the producer takes his listeners on a deeply personal journey, “a celebration of where [his] sound is today.” A stand-out track to me is “Titan,” featuring Nolan Van Lith. This dramatic, anthemic trap tune is so detail-oriented, setting it apart in the saturated trap market. Powerful synth melodies shine in the chorus, made more dramatic by an underlying trap beat.


Rob Gasser‘s playful, glitchy style shines through perfectly in the release of his “Ricochet” VIP mix. In the track description, he notes that the drop featured in this VIP rework was originally supposed to be used in the March NoCopyrightSounds release before he scrapped it. Though it’s short at 2 minutes and 10 seconds, it’s a fun new look at the original track with trippy video game-like vibes and a heavy beat.


Since seeing Puppet live for the first time in September, I have an even greater appreciation for his completely unique style. In recent releases, he’s been showcasing his own vocals layered over top of his impeccably produced instrumentals. August’s “Here Again” and the latest release, “Bigger Picture,” highlight a more punk rock-based style of electronic music with raw vocals and catchy guitar riffs. I’m loving this new style and can’t wait to see what he releases next.


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