British drum and bass trio Drumsound & Bassline Smith have teamed up with Hadouken to produce their latest single “Daylight”. In anticipation of the new track’s November 12th release date, the group has been dropping remixes of the single all over the Internet. We’ve got the exclusive by Tom Swoon, who recently put out his remix of Alex Gaudino’s “Don’t Wanna Dance.” He makes the otherwise gritty D&B track dance floor-appropriate with an uplifting build-up that leads to a satisfying drop. As the remix progresses, the build-ups and drops get more intense, ending with an extensive loop of the chorus. If you’re not typically a D&B fan, let this track be your introduction into the genre.
Operatic vocals and thematic hyperbole have helped make Muse a remix favorite for artists as varied as Tiësto and Feed Me. However, few producers have tackled “Starlight,” the anthemic highlight of their 2006 album Black Holes and Revelations.
It was about time this track was given the treatment, and NYC progressive house duo Hyperbits have delivered. They wisely allowed Matthew Bellamy’s soaring vocal line to breathe, bolstering it with pleasant synth plucks and trance-inspired rhythms. While the track eventually builds into a seemingly inevitable electro-bass drop, it manages to retain the melodic nature of the preceding sections. In a genre too often characterized by disposable pop remixes, it’s refreshing to see artists thoughtfully tackling solid tracks that predated the American EDM boom.Posted by
Bassjackers and Quintino have revived Spencer & Hill’s chart-topping electro track “Surrender” almost seven months after the original release. Quintino’s take, which was first previewed shortly after the original, features progressive leads that drop into melodic synths and pumping kick drums. His Dutch compatriots, the Bassjackers, offer a different take, swapping traditional progressive house stylings for grinding electro stabs and bleeps, reminiscent of Afrojack’s sound. Give both remixes a listen and head over to Beatport to pick up your favorite.
Eric Prydz’s latest single “Every Day” is out today on the Swedish legend’s Pryda Friends label. Pete Tong originally premiered this track back in May and Prydz has been playing this in sets all summer, but as we heard on a more recent show, Prydz asked him to stop playing it for about three months because there was a “dodgy note” somewhere.
“Every Day” is classic Prydz: larger than life synths, sparkling melodies, impressive production, and delicate vocals from John Ciafone to bring it all together. The Fehrplay remix is released today exclusively on Beatport but you will have to wait until the full EP drops on November 15th for the release of Andy C’s drum and bass rework. If you don’t think you can hold out for that long, head over to Rolling Stone to hear their exclusive premiere of Andy C’s remix.
Theo Keating, aka Fake Blood, has really outdone himself with his latest remix. His rework of T.E.E.D.’s “Your Love” is a wonderfully unique production that really shows off Theo’s considerable production talent. If you’re looking for something that is different to 90% of the music out there, then this is for you. We’ve been long time supporters of Fake Blood and are excited to see what he puts out in the near future.
Purchase: TBA (October 29)Posted by
We never thought we’d say this, but this is a Justin Bieber track that you really need to hear. Louis La Roche completely reworks Bieber’s mega hit “As Long As You Love Me” into something completely unrecognizable from the original. La Roche demonstrates his serious production skills as he chops up and warps vocal samples and layers them over an incredibly infectious deep house groove. Whether you are a Bieber fan or the furthest possible thing from it, you should take a minute to listen to this. Oh, and also the album artwork is pretty hilarious.
It’s been a few months since we’ve heard from Russ Chimes, but his remix of Bastille’s “Flaws” was worth the wait. Following in the same vein as his “Back 2 You” release, Chimes takes the original’s infectious and emotive vocal samples and adds classic house stylings. The finished product of pulsing grooves and subtle synth play marks another formidable notch to Russ Chimes’ already acclaimed production clout. Give it a listen after the break and hold tight for the October 21st release.
Afrojack’s “Can’t Stop Me” has been one of the more popular big room tracks for nearly a year and has already seen its remix package. The remixes from Tiesto, R3hab, and Dyro took the tune to a new level while amplifying it in the same vain as the original. More recently, a rendition from Tom Staar and Kryder has been floating around sets and has gone viral due to its juxtaposing elements. Breathing new life into “Can’t Stop Me,” Kryder and Staar’s deeper twist has finally seen its worldwide release, bringing the track and its history full circle. Experience Afrojack’s monster production in a new light and head to Beatport to claim it for your own.
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After previewing Dyro’s massive remix last week, we now have a snippet of Tony Romera’s take on Nicky Romero and Calvin Harris’ “Iron.” Diverting from his recent grinding electro productions including “MAD” and his remix of Chuckie and Promise Land’s “Breaking Up,” the French producer offers a unique take on the Beatport chart-topper. Romera maintains the lead synth progression of the original but swaps Nicky and Calvin’s wobbly electro drop for stuttering drum rolls. Check out the preview after the break and stay tuned for the October 8th release on Protocol Recordings.
Those of you out there who have been waiting for a nü-disco/Daft Punk blend need wait no longer. Solidisco impress us again as they deliver yet another fresh serving of nü-disco with their rework of Daft Punk’s classic “Superheroes.” All the elements of the original remain intact yet are spiced up with Solidisco’s 80′s stylings. We really hope that the rumors of a new Daft Punk album are true, but until then we’ll be enjoying remixes like this and F.O.O.L.’s electrifying take on “Technologic.” Grab the free download below.