While the Pryda camp has unquestionably aided Jeremy Olander in his rise to progressive house prominence, his next output marks his debut on Hernan Cattaneo’s Sudbeat label. While it will be hard to top the enchanting allure of “Let Me Feel,” ”Factures” is no tune to sleep on. With its minimally-driven structure and emphatic groove, Olander’s latest takes on a delectable tech house flavor, one that goes down smooth and satisfying. The track will be released May 6th on Sudbeats, the South American label’s first ever compilation.
Though Barrett Richards has been releasing forward-thinking music under the moniker of Kastle for over three years now, Tuesday marked the release of his self-titled debut album Kastle – a 15-track odyssey of warping, vocal-driven bass music. With countless tempos represented, Kastle oscillates between slower 2-step jams and more upbeat, garage-centric productions. The culmination is an awe-inspiring first album playing off the sonic signatures of the past with a futuristic vision in mind.
As if their debut album Welcome Reality wasn’t cinematic enough, Nero have concocted a haunting, orchestral composition for Baz Luhrmann’s film adaptation of the F. Scott Fitzgerald classic, The Great Gatsby. “Into The Past” is a gorgeously dark production, making use of foreboding reverb, sparsely placed kicks and snares, and ethereal vocals from Alana Watson to craft quite the visceral experience. When combined with the emotional absorption of a full-feature blockbuster, the power of Nero’s “Into the Past” on the big screen will undoubtedly be cathartic. The official soundtrack for The Great Gatsby is due out May 7th on Interscope Records, including “Into The Past” and unreleased material from Florence + the Machine, Jay-Z and more.
Two of the finest Dutch talents in the industry, Hardwell and Laidback Luke have welded their big room-savvy abilities to craft “Dynamo,” a riot-inducing electro production complete with a palatable melody, marching drum percussion, and a fire alarm. With its semi-innocuous chord-laden buildup, the real fun in “Dynamo” starts with its teetering, brassy drop — a boisterous festival-pleaser brimming with Dutch house influence. Anyone who has seen Laidback Luke or Hardwell recently can attest, the live appeal of “Dynamo” is undeniable. The track is out today on LBL’s Mixmash Records.
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While Tim Bergling has been heavily associated with his more melody-friendly productions as Avicii, some of his best work has come under the guise of Tim Berg. “Alcoholic” is one such track, dating all the way to 2009. Despite its antiquated nature, its dark and hedonistic sample still pervades dance music to this day. Working off the notorious sample and sinister melody, Cazzette have transformed “Alcoholic” into a delightful, thumping trap remix — undoubtedly a laudable effort for their first stab at the genre (their remix of “Harlem Shake” being dubstep, not trap).
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There’s a sort of magic evoked when Bassnectar steps up behind the decks. With his bristling, Dumbledore-like hairstyle, bony limps, and spiritually-infused voice, one could easily mistake Lorin Ashton for a new age shaman. When considering his vast catalogue of mystical bass productions and the accompanying ethereal experience they entail, perhaps the label isn’t too far off. His Friday night set from Coachella’s Sahara Tent was a testament to both his remarkable mixing abilities as well as the more awe-inspiring elements of his live production. Read past the break for a full set review from his recent Coachella performance.
Jon Gooch has returned, and he’s done so in excellent fashion. His latest production may be under the guise of Feed Me, but it’s brimming with conspicuous Spor influence. While Dirty South unveiled his big room remix of ”Messiah“ last week, Feed Me’s dubstep and breaks rendition has just been aired, and it’s phenomenal. Alvin Risk may have gotten the first stab at a dubstep remix, but Feed Me’s production is arguably stronger, making wonderful use of the vocals and layering diverse drum patterns. Dubstep at times, breakbeat at others, Feed Me’s brilliant take on the empowering single will be released May 7th on OWSLA.
Baauer’s ”Harlem Shake” has not quite run its course — anyone who went to Coachella and saw Baauer or Major Lazer can confirm this, judging by the track’s seismic response. In light of its undeniable appeal, Cazzette have released their sprawling dubstep bootleg to the ubiquitous trap anthem, layering massive, maniacal synths over the original sample. Cazzette’s penchant for the proliferating genre has become increasingly more evident with this heavy rendition of the “Harlem Shake” out today and their trap remix to Avicii’s “Alcoholic” dropping in two days.
The latest project from OWSLA arbiter Alvin Risk is a boisterous dubstep collaboration alongside New York duo Designer Drugs. “Empty Hearted” begins with a quick four-on-the-floor beat bolstered by transposed lyrics and clicking 8-bit synths. The drop that ensues is a bit rambunctious, but balanced out nicely by an overriding big room melody. Along the same lines as his previous release ”Skyclad,“ Alvin Risk has lent his own voice to the production, warping and tuning it into a robotic and melancholic vocal track.
It’s been a long time coming (about two and a half years to be precise), but Pretty Lights’ new album A Color Map of the Sun is finally on its way. In anticipation of the release, Derek has uploaded the album’s first single, “Around the Block,” as a free download from his website. In typical Derek Vincent Smith fashion, the track employs psychedelic live instrumentation and some stupefying sub-bass. Throw on the feel-good rhythmic vibes of Talib Kweli and you’ve got a tantalizing first official single. Check out the official video above, and look out for A Color Map of the Sun, dropping July 2nd.
