Another week, another Midweek Music! This week we’re mixing it up again, bringing you highlights from a couple of different genres. Mostly new, but one classic favorite of mine.
Collin McLoughlin is one of the most versatile & talented producers out there right now. To prove it, he put the decks & launchpad controller away, sat down with a guitar and knocked out a fantastic cover of Trap Queen. You heard me right. The Fetty Wap hit has been reworked, with Collin’s honey voice not only elucidates lyrics I never actually understood listening to the original, but is also a really legit cover. Can’t wait to hear the dance remix & some more general awesome from Collin. Go encourage him on Twitter. (via Fresh New Tracks)
Tarro, brought to us by MrSuicideSheep, serves up some wavy chill trap for your day. This is total hammock music. Tarro’s remix of IDFC by Blackbear works on a couple of levels. It’s relaxed, true to itself, and not trying to prove anything. Great work and this kid’s definitely got my attention now.
Feint‘s back with something incredible. I’ve come to love the inventive and heart-amplifying drum & bass that Feint seems to brush off his shoulders. There’s an effortlessness to this that makes me want to go fly a kite this weekend. It makes me hopeful for a better world. Yes, it’s that good.
Blackmill is finally back! He was a legend 3 years ago, for his unmatched melodic dubstep skills & he hasn’t missed a step. The ethereal, soaring melodic wobble vibe that he puts out makes you wonder when someone introduced Sigur Rios to Skrillex. It’s such an authentic, unique sound, that’s been copied, but never duplicated. Turn it on, sit back and let it wash over you.
This one is my favorite hard trance track ever. Seriously. I heard it in 2005 and nothing has come close to surpassing it. The hard house feel to it provides a level of brutality that you just can’t find in Trance anymore. This was back during the era where Sensation was actually 2 parties. Sensation White & Sensation Black. 3:40 provides the high water mark for electronic builds in the entirety of my listening history, with the break at 4:15 being what drops sound like in my fondest dreams. This is not for the faint of heart, or for people who think that trap remixes of Lean On “go hard.” This is one for the record books kids, blast it at high volume and watch those electrostep punters melt away.
So, this is wonderful. I’d been wondering where my favorite multi-genre artist had gone.
See you next week!
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)
This Hebinomichi compilation must be crazy, if this is what it sounds like. This stellar duo from Cali, TastyTreat collabs with Father Dude (a Gothamite) to push out a shimmering future bass track, steeped in chill trap elements. The playful chord progressions, stuttering bass and soulful call out vocals do a great job of solidifying the non-rave ground that some of the newer funky/indie tunes have been trying to capture. This is a new world and we’ve got R&B vocals hanging out with trap beats, running into some fun little irregular low end. Stuff people never thought of pushing together even a few years ago (hipsters I know, your favorite group was doing this in a basement in 2009, I know), and it’s slowly showing up in a selection of places around the globe. Can’t wait to see how this vibe injects itself into the Western Hemisphere festival scene, especially outside of Mad Decent parties. (via Stoney Roads)
Well, can’t say I saw this one coming. This chilled out trap remix of Children almost excuses the entirety of the minivan trance movement that Children ushered forth (I call it Minivan trance because Children got so popular, DJ Ishkur called the track something that “your mom listened to in her minivan). The remix puts the tune in perspective and brings the energy down to where it matches the actual melody and chords used. This is something I could see in a Cashmere Cat set, or even a deadmau5 set when he was feeling particularly trollish. The “trance breakdown” at 3:15 is great, and reminds you they actually listened to the song a billion times like we all did if you were a fan of EDM (or electronica as we called it) back in the late 90’s.
I’m a huge fan of the Chill Trap these days, a lot of deep underground production going on, with young DJs & producers really walking the line between festival appropriate & chilled/downtempo vibes. Watch this space for more of that stuff of course. And it’s a Free DL so I don’t want to hear any complaining! Hit up www.dropthebassline.com for more as well.
I’ve been grooving on hit for a while now. It got a lot of attention when it dropped back in May, but I was a little late to the game. However, I’ve been putting it in my face ever since, and my July has been a little more massive & symphonic because of it. I want to emphasize that this Chill Bass vibe that I’ve been getting into is kicking off, but not in places local here to the USA outside of a few spotted club nights and Diplo shows. Most stateside trap is still this goofy banger shit (Yes, of course, except Minnesota & Koan Sound of course), while there’s work to be done exploring irregular but massive beats. This reworking of A$AP Rocky is a perfect example of what can be done while heads are still toying with playing the same chord 14 times in a row. I think we’re going to see a shift to this perhaps in the fall or spring of next year, but we shall see. I’d love for this stuff to get big.