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!
Any fan of this blog knows that I’m a huge fan of Rameses B. I think he’s one of the most talented producers out there. So, because I only blog because I like to nerd out about artists I like, and I REALLY LIKE Rameses B, I’m doing a whole week of posts featuring his music. That will include the fact that he crowd-funded a new level of gear and production equipment for himself, in a humble but effective campaign that was executed flawlessly. More on that later 😉
This is an older favorite that shows just how good of a remix artist Rameses B is. Vicetone picked up an amazing producer & vocalist by the name of Collin Mcloughlin and pushed out a quality original track. Rameses B breathes new, glittering life into it, adding his signature frisson (that shiver) inducing chillstep and sparklebass (is that a genre? can it be?). Someone needs to put this remix in front of Seven Lions, because now I really want to pay to see a Rameses B, Collin McLoughlin & Seven Lions show. Can this be a thing please? It would be the most euphoric dubstep show ever. There would be no serotonin anywhere else in the city. Ok, sorry, where was I. Yes, dope track, by Rameses B, because that dude is dope, and makes dope shit. See y’all Wednesday night with your next piece of Rameses B awesome!
The last time I mentioned Collin on this blog was for his stupefyingly good deep house mix. Before that I was ranting on twitter about his vocal dubstep tracks that blew us all out of the water. Last week he dropped a liquid drum & bass remix of White Flag by Dido. Yes, that Dido. Di Freaking “Dear Slim, I wrote you but you still ain’t calling” do. Not only did he provide his own vocal recording for the remix, but the production is on point. The potent drum and bass chops that none of us new he had, shine through. There’s a sensibility about what to take away and what to keep, the mark of an artist who can’t help but go places. The build around 2:15 is silky smooth, and there’s a dude singing Dido. Because fuck your gender roles bro. The tune is dancey without being overbearing or at all harsh. So much to like here, and this continues to prove that Collin McLoughlin isn’t actually human, but just some Jedi producer sent back in time to usher in the era of the Wyld Stallions or something.
My people at EDMTunes have made a serious pick up when it comes to exclusive mixes. I don’t know who convinced Collin McLoughlin to go deep for his new mix, but the Gods sing their praises. This new direction from the dubstep remix maestro extraordinaire is astonishing. To not only switch gears, but to make it seem effortless is truly amazing. The mix convinces me we need to get the kid at a Verboten or Deep Space events ASAP. Someone call Reda Briki and get this kid at Sankeys please. Because if they don’t…I just might.