With the release of their new sophomore EP Thundercolor, Coyote Kisses have proven to be one of the more creative production duos around. Having won both the Mad Decent remix contest for “Titan” as well as the popular vote in the Beatport remix competition for Seven Lions’ ”Days to Come,“ their appeal is quite evident. The new EP consists of four originals of varying genre and tempo, all pervaded by live instrumentation and a friendly, noninvasive overtone. Rather than try to mold their sound to well-established stereotypes, Coyote Kisses have crafted their own brand of intriguing, instrumental bass music. Click past the break to stream the entire EP.
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Since undertaking their colossal Knife Party side project, Gareth McGrillen and Rob Swire have outdone nearly every other producer in the business with their massive, riot-inducing productions. From 100% No Modern Talking to Rage Valley, each four track EP they’ve put out has been nothing short of momentous. After months of anticipation and countless delays, their third EP has finally been released. Click past the break for a track by track review.
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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.
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Jeff Montalvo, or Seven Lions as his stage name goes, has proved to be one of OWSLA’s most promising new talents. The Santa Barbara DJ/producer took over Sacramento last week with the help of Tritonal and Topher Jones for Midnite Events’ annual Give Back show, throwing down a 75 minute set of riveting dubstep, house and trance offerings. Dancing Astronaut had the chance to catch up with Montalvo for an interview after his performance, providing us insight into his set and production. Click past the break for a full set review with commentary from Seven Lions. (more…)
Kill Paris has made remarkable progress in the last year. It was just ten months ago that he delivered promising tracks like “Do You Need Someone” and “I Do Love You” to a growing fan base. It was four months ago that he revamped his production with “Baby Come Back” and “Tender Love.” He then made an appearance alongside Dillon Francis on a remix of Monsta, before accompanying Skrillex’s burgeoning imprint on the OWSLA Tour. Today marks his biggest accomplishment yet, as Corey Baker makes his official OWSLA debut with To a New Earth, a nine-track EP consisting of three originals and six remixes from the likes of Griz, K Theory, Candyland, Robert Delong, and Gramatik.
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If French electro enigma Kavinsky’s bombastic backstory is to be believed, then fans should probably keep their distance. After all, a reincarnated zombie in an Italian sports car may be more interested in eating brains than expanding them. But if the eccentric producer’s first artist album Outrun is any indication, his steady stream of exceptional output is going to make staying away a near impossibility.
Since bursting into the collective consciousness with “Nightcall,” the brooding single produced by Daft Punk’s Guy-Manuel de Homem-Christo and featured in 2011 blockbuster Drive‘s opening scene, Kavinsky (AKA Vincent Belorgey) has built both his musical resume and alternate undead persona with gusto. The culmination of these efforts, Kavinsky’s inaugural album is a 13-track odyssey that showcases the versatility and virtuosity of his menacing brand of electro-disco. Featuring the production talents of fellow French luminary SebastiAn, this sprawling LP represents a singular bar-setting achievement in a genre that has been too-often diluted in the post-Daft Punk dance music paradigm.
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Following up an Essential Mix from the legendary Eric Prydz is no easy task, but if there’s anyone to do it, it’s 23-year-old Matan Zohar, better known as Mat Zo. Having made a name for himself in both the house and trance worlds with gorgeous productions such as “Easy” and “The Sky,” it’s easy to forget Zohar’s drum ‘n’ bass alter ego MRSA. With both aliases in mind, it was impossible to predict what Mat Zo had in store for his 70-track BBC Radio 1 debut.
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Though he made a name for himself with creative dubstep remixes of popular songs, in the past few months, Butch Clancy has invested his energies almost exclusively in the flourishing, hip-hop-inspired genre of trap. For the past nine weeks or so, Clancy has gifted a plethora of free originals as part of his Trap Tuesdays series. Concluding the series, Clancy has organized the nine trap singles into a bulky LP entitled A Beautiful Mind. Click past the break to hear our thoughts on the LP and snag the free download from Butch Clancy’s Facebook.
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In the last year, Zeds Dead have exalted their status to the highest tier of dubstep producers. From their rugged Living Dead EP to their more reserved Victor EP, Zeds Dead have shown a knack for both mischief and musicality. If their live shows have proved anything, it’s that DC and Hooks are never content with stagnation. With tastes ranging from trap, to breaks, to electro house and more, it’s about time Zeds Dead have integrated their more creative interests into productions.
Hot Sauce EP is not your standard Zeds Dead release. Boasting only one traditional dubstep song and no Omar Linx, Hot Sauce showcases some of Zeds Dead’s more obscure musical affinities. With midtempo, deep/garage, tribal, and breaks represented, Hot Sauce is an experimental release geared towards reconstructing the Zeds Dead sound to a more liberal definition. Check out all five originals below the break.
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Dubstep icon Flux Pavilion has released Blow the Roof, his first EP since 2010′s Lines in Wax. It’s an eight track EP featuring an inspiring mix of divergent bass music, with complimentary vocals from Sway, P Money, Childish Gambino, and Steele himself. While Flux teased a generous selection of originals off Blow the Roof prior to the EP’s release, it was difficult to formulate an opinion on each track without seeing them in their broader context. Upon reviewing Blow the Roof, however, it is quite evident that this not just another slew of disparate ‘bangers’ — rather, Blow the Roof has the type of cohesion and format typically reserved for an LP.
Blow the Roof isn’t perfect by any means, but it’s damn impressive. From Flux’s surprisingly enticing singing voice, to his experimentation with trap and breaks, Blow the Roof is the mark of a producer with more than a few tricks up his sleeve. Click past the break for a track by track review of Flux Pavilion’s brand new Blow the Roof EP.
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