There’s no shortage of momentum heading Destructo‘s way at the moment. The Los Angeles DJ/producer alias of Hard CEO Gary Richards just released his Higher EP this week in partnership with OWSLA and Boys Noize Records, garnering remix support from Hard event fixtures like Brodinski and Tommy Trash. The release is not yet available in the States, but Richards took to Twitter today to assure American fans that the labels were working hard to fix this.
The Bromance label boss lends his brand’s signature dark touch on a rework that follows a low throbbing electro bass into hip-hop inspired breakdowns with pitch-shifted vocals, syncopated trap hats and a stuttered kick rhythm. Bearing a bit of a resemblance to his own twisted gem “Nobody Rules the Streets,” the arrangement is quintessential Brodinski, a seamless amalgamation of two very different styles within one singularly appealing track.
When he’s not making cameos in comedic YouTube series, Borgore is slaving away in the studio. Though we’ve come to expect an unbarred spontaneity from Asaf, his last few collaborations have surprised even the most devout fans. What started with “Incredible” has culminated in several more collaborations alongside fellow festival music advocate Carnage, the newest of which is a remix to Borgore’s own “Legend.” While the original “Legend” is Asaf’s attempt at a solo trap production, the Borgore and Carnage remix is a bit of festival house mixed with a wrenching trap midsection (and arguably a better track). The Legend EP will be released on June 25th, with Borgore and Carnage’s remix being released on June 18th.
Adherents to the “quality over quantity” mantra need only cite A-Trak‘s remix repetoire to win any argument. The Canadian turntablist extraordinaire does not deign to remix the work of others very often, but he’s got the Midas touch every time he tries his hand.
The latest example is also his greatest, and that says a lot when the architect of this legendary Kanye West remix is being discussed. One listen is all it takes to tell that his forthcoming reinterpretation of Kavinsky‘s “Odd Look” is worthy of superlative praise. Commencing with a moombahton-inspired march beneath a pitched and nearly percussive electro lead, the track navigates through trap hi-hats to build into a breathtaking breakdown, featuring warm analog swells accentuated by choral ambience above a plodding backbeat. Aside from showcasing his signature versatility, the production is a testament to A-Trak’s uncanny ability to sync elements from divergent genres in seamless fashion. Hats off to the man who rarely removes his for a stellar rework that will abuse many a replay button upon its release.
Before you start wondering what a Disney star, a Pittsburgh rapper and a Dutch DJ are doing in the same track, fear not — when that DJ is Sidney Samson, musical integrity is preserved. While the Rock The Houze label head took a risk on his remix of Ariana Grande and Mac Miller’s “The Way,” “remix” isn’t quite the right word for the work done. Sidney stripped the sugary song down to just Ariana’s vocal, cutting the melody and Mac Miller entirely. Left in their stead is a house sound that teeters on the brink of progressive before swinging back to a stuttering minimal electro. Though no release date has been announced, “The Way” proved once again that Sidney knows his way around a remix.
Singularity released his multi-genre Horizon EP earlier this week, and with it came this brilliant remix of “The Tide” from TheFatRat. Though he’s recently dabbled in dubstep with “Splinter” and moombahton with his remix of “Set It Off,” he originally gained notoriety through catchy and accommodating electro house and disco. His remix of “The Tide” is a revival of this signature, carefree style, aptly complimenting Steffi Nguyen’s vocals with a light melody while infusing a gritty sawtooth bassline.
Gesaffelstein has a way of taking dark songs and plunging them deeper into the shadows. On his latest remix release, the French producer strips Depeche Mode‘s latest single of its bluesy instrumentation and replaces it with a plodding industrial beat and minimal atmospheric flourishes. Gesaffelstein leaves his trademark in the thoughtful phased synthesizers that accentuate the impact of key vocal phrases. The overall effect transforms the track from a straightforward lament by singer Dave Gahan into something significantly more desperate and ominous in tone, perfectly complementing the desolate candor of the lyrics.
While their rambunctious touring life is well known, Krewella’s releases have simultaneously garnered massive attention from fellow producers. Their iconic single “Alive” has impressively managed to stay relevant despite being released ten months ago. After receiving countless remixes and reaching the top of Billboard’s Dance/Mix Show airplay chart, it’s safe to say “Alive” has reached the pinnacle of success. For what is being deemed ‘the final’ remix, beloved mainstage talent Hardwell has lent his big room production abilities to the pervasive single. After a warm, sentimental build up, Hardwell introduces a booming drop with a raucous Dutch flavor.
Jeremy Olander is primed to have a big 2013. If that wasn’t clear to you from the pervasive success of “Let Me Feel,” then last week’s release of his enthralling techno odyssey “Factures” should have solidified the conjecture. Recently aired by Above & Beyond on Group Therapy, Jeremy Olander’s forthcoming remix to 16 Bit Lolita’s “Chant a Tune” off Warung Brazil 2012 has been officially previewed by Armada. With scintillating, arpeggiating melodies, Olander’s remix is just as dreamlike as his previous productions. The track is due out on Beatport May 20th alongside a groovy remix of “Deep Space Girls” from DAVI which can also be heard below.
Knife Party returned with their third EP, Haunted House, on Monday, and for whatever reason, “LRAD” is the track that has hence received the most attention from fellow producers. While Candyland first debuted their signature ‘OG Trap Remix,’ now Walden has taken a stab at reworking Knife Party’s big room original. Keeping the drop’s minimal flavor alive, Walden layers distorted synths over the original’s powerful kick drum for a solid electro house bootleg.
Jon Gooch, the man behind Feed Me, is easily one of the most versatile producers in the business. While he’s garnered renown under the guise of Feed Me releasing spectacular electro and dubstep, it’s easy to forget his previous life as drum ‘n’ bass producer Spor. Turning back the clock, Feed Me’s newest remix of Monsta’s “Messiah” is an ode to both the breakbeat revolution of the 90′s as well as his success under his former moniker. Emphasizing the original’s uplifting vocals while layering complex percussive patterns, Feed Me’s remix to “Messiah” is one of his most impressive releases to date.