Bombs Away, an Melbourne Bounce group decided to sample Homer Simpson. That’s right, an Australian bounce act took some of the best quotes from that Simpsons Halloween where they remade The Shining and turned it into a preview/tease. Thanks to Laughing Squid, I’m now of the opinion that this track now needs to come out. I’m sorry. It really, really does. The sample capture is perfect, the use is perfect and the synthetic beat created from Homer’s scream is how you say, Perfect. The last time I heard a competent Simpsons dance remix, it was 2003 and it was psytrance. (Yes, of course I linked it below, and it comes in around 4min, 21sec in)
In one of the better decisions ever made in the history of Trap music,
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 is the 1,000th post on this blog & I am so proud to use the opportunity to talk about Unlike Pluto. ATL-raised, he’s been training on the mean streets of the LA dance music scene, and has it ever paid off. This track is one of a kind, and Mad Decent knows it. He & KickRaux pushed the boundary of what dance music can sound like, way into territory I’m loving. The major chord progression respect, squelchy vocal samples & stunningly good production value on the trap beat is second to none. This is bordering on psychedelic, which, considering it’s a Mad Decent label tune, is astonishing. This has dharma punk written all over it. The pull back into the beat at 2:42 is everything I want to hear out of Mad Decent right now. Whoever convinced diplo to pick this tune up, I’m buying them a bottle of champagne, and none of that plastic top shit neither. Peep the track and show Unlike Pluto & KickRaux some love for this.
Bruh. This is the anthem for 2015. Granted, it’s some anthem trap so I know not everyone may get down to this entire track. However, the build, the anthem break and the auto-tune game is on point. It’s weird to think of auto-tune as something that can be right, but when you hear “Bitch, we Still in this” you’ll know what I mean. I’m kind of amazed “& the B-Sides” hasn’t ever been used before, as it’s a fantastic way to end a band name. The track is massive, and is the closest thing to a diss track I’ve heard in EDM. I would love to hear some more big room “We’re gonna kill it” faux-motivational tracks. Could be great for working out, and this one definitely helps me rip it up at the gym. This needs a rambling crazy trance remix ASAP.
In case you’ve been on the moon, there’s been some shit going down in my city the last week. People made the decision to not indict a cop for chokeholding an asthmatic, obese black father of six to death. This has resulted in demonstrations, protests & non-violent civil actions all over the city. Tommie Sunshine has been a consistent source of news from the streets, because, he’s actually out there protesting with his fans. His 10th edition of his podcast is heavier than normal, mirroring the mood of the streets. Pushing the heaviest of releases out is a strong statement, one that’s hard to execute. He does so, in an almost menacingly competent way. There’s a strong reminder that not all the performers out there forgot that dance music used to be counter-culture, and a place for those pursued by the various authorities. They end with a mini-mix of tracks off their Brooklyn Fire label, another facet of the city he supports. Consistency is important y’all. After this rocks your face & causes gratuitous fist pumping and possible shame, Mr. Sunshine also released a chill Elvis remix with Wuki this week. When he told me he was going to be busy, he wasn’t kidding.
Is this what happens when tropical, trap & indie dance hang out? If so, I’m a fan. This track from Aussie artist Paces, is both bouncey & massive at the same time. The crooning coming in from Crooked Colours create a wistful, but energetic vibe. It’s effervescent enough that you’d be forgiven if you didn’t listen to the lyrics and missed out on the sadface topics entirely. The drop reminds us that trap can be massive without being abrasive. The steel drum remains throughout, anchoring the track in sunshine, even while the lyrics aren’t exactly positive. Great effort by PACES & can’t wait to see where they go next with this sound. (via Stoney Roads)
Incredible & bravo to Prince Fox. This track is exactly where I want Trap to go as a genre. Vintage guitars reimagined with synths, hardcore vocals and a massive but smooth droop make me want to pregame parties listening to Mega Man. This remix solidifies my “Prince Fox is on Festival lineups 2015” hypothesis. Gotta give it to This Song Is Sick for the huge premiere on this one. This is a break out tune and trap producers need to study the hell out of this one. A fresh sound, one that moves away from gimmicky beats and dumb drops. I’m a huge fan of this developing and will actively yell into the internet as often as I can to make this thing happen. One listen and you’ll agree with me.