In January, one of my favorite chip artists, Saberpulse, dropped this hard, electro track on the interwebs. Put it in your face for a frame of reference for fantastic, nerdy remix package. The album associated with it was quality, but this single did stand out.
This remix package appeared in late April but I wasn’t able to put it into my face until recently. So glad I did. The Trey Frey remix keeps the deep electro with amazing VGM frosting. This is what I remember electro sounding like before it was used to pad out crappy progressive sets. The chip breakdown 2:30 in is well executed & makes the genre look great. I think more chip producers should be looking to the technical levels that appear all over this remix EP. These peeps know what they’re doing, showing how far the genres involved can be pushed. Makeup and Vanity manages to rework Addicted 2 love into a 90’s NYC house tune, except made with synthy goodness instead of analog synths. I suprisingly don’t actually mind and would rock out to this if I heard it at a house music party in Brooklyn. Even though it strangely reminds me of Sonic 3. The Sushi Killer remix of Flux manages to be something I wasn’t sure was possible. Chip + Jersey Club seems like a really amazing concept in theory, but it’s breathtakingly difficult to execute in practice It gives me hope for the future. I feel like this kind of vibe would’ve found a home on Jet Set Radio or The World Ends With You. A kind of J-Club, it really works. Saskrotch is one of my favorite people on the internet. I don’t think there’s anyone that does chip breaks better. His insane speed, nerdcore vibe & fast/slow mastery is second to none. cTrix adds some color & a lush vibe with his remix, pushing out fun, 16bit indie bass. It’s atmospheric, and melds elements of jungle, future bass & chip. Definitely a sleeper hit on the album. Grimecraft shows up massively with his Future Con Club remix of Flux. It manages to be tropical, heavy & footwork’y at the same time. Which is why I’m so glad he knocked Fontana’s around in NYC recently, and I can’t wait for him to come back. Grimecraft, Get on the bandwagon early. The bonus remix of Horizons by Lockyn is a treat. It’s got a sunny disposition, keeping it bouncy and airy at times. Great way to end the remix EP and glad to see styles of electro besides Knife Party still exist. Electric Disco is fantastic and needs to see wider use on le dance floor. You agree? Get at the comments with your favorite or least favorite track 🙂 Pick up the EP too, it’s like under 5 pounds. I have no idea what that is in US dollars, but 4 of something isn’t that many.
Yea, this collab needs to happen way more often. The track of today could only be Porter Robinson’s stunning remix of The Thrill by Nero. The remix hits this apex when it comes to production, stupendous production values, respect of the original work & blowing the lid off of it at the same time. The arpeggio work is second to none, with Porter reminding everyone he creates soundscapes, not songs. This shimmering remix is one of the first true post-Big Room offerings that aren’t gimmicky. This type of Future Electro really has a shot at unseating the idiocy of Brolectro & Big Room. The power goes crazy, but he never loses control. Porter has shown he can be a master at the massive yet crystalline & this new release is no exception. Put it into your face post haste. At this point, it’s so good & good for you it might as well have Vitamin C in it. (via This Song Is Sick)
Like a crazy masked avenger, The Deuce Cake himself has reappeared on the scene. A new mix of significance has been dropped for us, so all you tech house & garage heads take note. My boy Deuce is one of the most talented sleeper agents in NYC. He was my first Hometown Fire for a reason. The first 10 minutes are some of the most crucial tech house I’ve heard in months. But the hits keep coming with clutch remixes and some stupendous transitions. I’ve watched this guy spin and even I don’t know when he starts some of these. He’s one of those DJs that will give you a taste of something and forget about it for 5 minutes. Making you think you lost your damn mind placing that sample incorrectly, then bam, it’s in your face, re-worked and grooving. I need the names of the tracks 36min in & just over an hour, as those are some of the high watermarks for me when it comes to the vibe that the combo between house & garage can be. By the time I was done with this mix I was even more sad I didn’t have Disclosure’s home phone number. This sound needs to get way bigger.
I am so happy Shlomo has gone down the Daft Punk “no fucks given” track of artistic pursuit & accomplishment. We are all better for it. In keeping with the internet, I got wind of this music video from an Australian blog, though it looks to have been entirely filmed in places I travel weekly. This is the true majesty of the city, especially when you are young, irresponsible, invincible, and for a brief moment some nights, free. The track is a stupendous blend of drum beats, indie synth chords and a great twangy vibe. The track may seem brash & organic, but any fan of Shlohmo knows how exact he can be. Each sound in the song, just like each image in the video is there specifically. This kind of youthful exuberance & brash risk taking has been associated with creativity & rose-colored memories for so many for so long. Shlohmo is able to give us one of the most sophisticated looks at what that’s like, in a raw, dangerous form, in under 4 minutes. Take that Ken Burns. (via Stoney Roads)
M83 is one of the most important groups in recent memory way too many EDM fans have never heard of. SAINT WKND comes through with a future bass remix of M83’s triumph Midnight City. It’s a synthetic masterpiece. The track positions SAINT WKND in a realm that only a few artists, such as MitiS, Just A Gent, & a few others have gotten to when it comes to this kind of position. This means you need to check out his mix here and start keeping your ear out for when this one starts getting booked. Because with remix chops like this, it’s just a matter of time for this German upstart.
My girl Michelle out at EDMTunes not only tips me off to some of the best tracks, but is consistently in my Top 5 for descriptions of tracks online. Like, check it:
SoySauce delivers an unexpectedly classy track with ‘Broken Records’, heightening a rapport from food court fried rice to high-class sashimi platter.
I mean, honestly, how good is that? She’s totally accurate. This kind of thumping chilltrap could’ve been totally phoned in, warmed over and made you hungry for something real in under 30min from listening to it. However, an original use of some squelchy chords, competent pad work & legit vocals by Joni Fatora gives the track a surprising flavor. This is on the Cashmere Cat & Chet Faker end of the pool, but that side of the pool has hotter people and the ones diving in are doing sweet flips & shit. Letting that metaphor die, the track is quite good, especially in the relatively early stages of the genre they’re working in. The soft sounds mesh with the irregular beat structure in a way that’s inviting, not erratic. And as anyone who has been fucked up at a trap party can tell you, moments of regularity & warmth are precious. Go ahead, pour some SoySauce on your evening. (via Michelle Chu of EDMTunes)
New Grimecraft! For your Thursday night, I’m bringing you some retro future bass by the one and only. This tune has deep feels and a swaying bassline that deserves its own mix. This kind of lazy, but exceptionally produced bass rocks back and forth in a hammock under the VGM-inspired melody. It’s got the odd Pikachu sample, and I think I detected a “Hey, Listen!” in there somewhere, which, would be infuriating, if they weren’t used perfectly. It’s not in a hurry, and doesn’t pretend to be anything it isn’t. Kudos to Maltine Records for picking him up, and check out the rest of his EP here.
So, Redial is no joke. This took me totally by surprise, because it’s like, circus massive. There’s this gregariousness to the bass that’s almost Falstaffian (yea, I went there). For all of my people not up on Shakespeare, it’s almost a sloppy drunk bass, with some triumphant chords sloshing around there. This is what Mad Decent would sound like if diplo was from Brixton instead of Philly. And yea, I understand the gravity of those words. Ride along and see what I mean. Short, sweet & to the point, three minutes and it’s gone, and you’re left wanting for more. Exactly what’s needed to dive into the Soundcloud page and get more into the face. Dude doesn’t even play, so get up on this before it blows up.
Mako kicked the door in & squatted in my head for an entire month last year, so I’m super pleased they’re starting to flex their production muscles. This pair of tracks straddle the line between anthem & symphonic interlude, walking the line with the confidence of a tightrope walker. They put out Part 1 a little while ago, and Part 2 is a punchy, anthem house rework of the cinematic opening. This is a tantalizing beginning to a much bigger sound I’m expecting from Mako and it leaves me wanting in such a big way. This focus on classical & more organic elements, straddling that synthetic sound is going to be huge, and the jam that Part 2 became leads me to get even more excited about where they’re going with it. You heard it here first, Mako 2015.
This one seeps into your awareness, an Indian-infused Future Bass track with enough of a low-end punch to need no explanation. The composition is exquisite, and the broken beat structure melds with the global bass sound choices delightfully. It’s got this feel that makes you think it was an anthem coming out for a World Cup held in Mumbai. The tune is entirely too short, but it definitely explores the space it’s created masterfully. There’s a little Beats Antique here, a little Flashbulb and a lot of skill. SLUMBERJACK is definitely a name to watch out for, with this pair of Perth natives deserving your attention. So show some love and tell em Terry sent you.