EDX’s debut artist album On The Edge gave us the smooth and melodic progressive house tracks we’ve come to expect from the Italian DJ. While we love listening to the album as a whole, there were a couple of standout songs that, in our opinion, deserved harder-edged remixes. One such track was “Love Express,” EDX’s collaboration with Seamus Haji, released today as a single. The single package includes the perfect electro-meets-progressive remix from French producer Romain Curtis; he gives “Love Express” a jolt of energy and a unique synth line. Jerique’s electrifying vocals sound totally new over this fresher, altogether bigger beat. Have a listen below and grab the original and remix on Haji’s Big Love records now.
Dada Life’s “Rolling Stones T-Shirt” has long been a staple in the duo’s live sets, and we were starting to worry it would never see an official release. Thankfully, the track is finally here, and summer can now officially begin. This is the perfect Vegas pool party track: Dada’s signature electro synth and a thick bassline, not to mention the ideal drunk sing-a-long lyrics. Have a listen to the original mix below – the Dada boys seem to have revamped the track since they released the preview – and check out the Chuckie and Cazzette remixes after the break.
One of our favorite tracks from Kaskade’s Fire & Ice was “Lick It,” his collaboration with Skrillex. Aside from the sheer shock value of these two incredibly different artists working together, the resulting track turned out to be one hell of a disco-glitchy groove. There was a lot going on in the original, between Kaskade’s bouncy bassline, big build-ups, and Skrillex’s wobbly touches; each of the three remixes released today plays on different elements from “Lick It,” making for a great remix package that has something for every kind of dance fan. Check out the Alex Kenji, Normay Doray, and Datsik remixes past the jump.
Update: The official video for the original mix is also out today. Check it out below!
Quintino may not release songs as often as, say, Tommy Trash, but that only means to expect greatness when he does. “Epic” – which recently went platinum in Quintino’s native Holland – and “We Gonna Rock” set the bar incredibly high. Luckily, “Circuits,” the DJ’s collaboration with MOTI, does not disappoint. The track’s upbeat synth line and hard electro drop make it an ideal release for Afrojack’s Wall Recordings; it sounds a whole lot like an early Afrojack tune. Not that that’s a bad thing.
There are no doubt a pair of very familiar names in the title of this post: Ken Loi, Dancing Astronaut favorite and Play Me producer extraordinaire, and Erik Hecht, the vocalist behind “Walking Alone.” But Nordean and Minx are two newer names out of Australia – the former is a 24-year-old DJ, and the latter won EMI’s She Can DJ competition last year. The pair’s track, “You & I,” is an impressive showing from the two newcomers, a dreamy feel-good progressive house tune with Hecht’s silky vocals. Ken Loi reliably adds that big-room sound we’ve come to love from his tracks, giving it a definite “Walking Alone”-like feel. This is definitely something we can envision hearing in a Kaskade or Dirty South set this summer (Vegas, maybe?). Have a listen below.
Tiesto‘s Miami edition of Club Life isn’t hitting Beatport until April 24th, but the wait for its most hotly anticipated track is over. Tiesto and Wolfgang Gartner bring their A-game to “We Own The Night,” a high-energy slice of electro-house. There’s a lot going on here, but it all works: from Luciana’s sultry vocals to the unmistakable hints of Gartner’s electro synths and a breakdown that’s all Tiesto. The Dutch DJ has worked with too many names to count, but we appreciate that Gartner pushed him out of his comfort zone here. Have a listen to the full track below.
We, as dance fans, have been trained by our favorite DJs, our expectations honed by countless rides on the build-up/drop/breakdown roller coaster. Our insistence on bigger, badder drops and ever-louder bass can cloud our vision and make us forget about dance music’s potential to be a fully immersive experience. Morgan Page makes music to get lost in, with evocative lyrics and soothing yet carefully crafted beats. His blend of progressive and deep house is a far cry from tracks like “Atom,” a more nuanced sound with more emotional heft. On In The Air, his third studio album, Page presents songs that makes listeners feel something – something beyond floor-shaking bass, something more powerful and lasting. Read on for our review.
Like many of you, we’re still struggling to get back to our real lives after the madness that was Ultra 2012. Yet we can’t help but continue to rehash all of our favorite sets and appearances. In addition to listening to live sets on repeat, we now can’t stop watching UMFTV‘s recap videos. There’s something pretty amazing about seeing a set from all angles – and realizing that you were part of that dancing, screaming mass of dance fans. Click past the break to watch each day’s individual recap.
[Editor's note: Eric Prydz's remix of "Circles" was used in all three videos... why?]
Writing about Avicii as a DJ is impossible without also writing about Avicii as a producer. This isn’t the case for every EDM artist – Kaskade, for example, spins with a considerably harder sound than his own productions might indicate, and creates bootlegs galore. For Avicii, however, a DJ gig isn’t an opportunity to showcase his mixing skills, but rather a chance to see a crowd react to his hard work in the studio.
We don’t think it’s unfair to say that Avicii the DJ relies a little too much on Avicii the producer – playing his own hits back-to-back, interspersed with a few bootlegs crafted by other artists, just wasn’t sufficient for an Ultra headlining gig. Don’t get us wrong: we had a great time in the massive crowd during his headlining set, and even ran over to Bayfront Park from Masquerade Motel to catch it. We just think that, given how much Avicii tours and DJs, we can reasonably expect more than ten straight minutes of “Levels.” Read on for our full take on the set, as well as a certain special appearance.
One of the great things about Skrillex is that he just doesn’t think about boundaries or rules. He doesn’t care about minute distinctions between sub-genres; he plays whatever he wants (BPM be damned) as long as it sounds good — and he’ll sample from YouTube clips or, frankly, anywhere. As someone who spends a good deal of time working within the confines of the EDM world — “Is this track nu-disco or just classic house?” is a question I’ve actually asked while writing a song review — it is incredibly refreshing to watch Skrillex, who simply lets himself be inspired by anything and everything. His Main Stage set at Ultra last night showed just how successful this anything-goes approach can be: in his hour-long mix, he played not only his own tracks in creative new ways, but integrated hip-hop and reggae elements with great aplomb. And the packed crowd loved every minute.