Panda’s new delight is a big house beat that brings one of the best builds of the year. So good the drop couldn’t keep up. Unlike their ‘Eighty Nine‘ track, which was done so damn different. Both tracks are recommended with headphones, as per usual, but more especially.
Love it when a good remix introduces me to a good original. Cherokee makes a smooth house mix with Darianna and FKJ tops it off subtly with an abstract, tuned up remix. Both are a pleasure to listen to simply because of Darianna’s voice. Once again I hope a vocalist like her keeps with the pace in pairing up with producers like these two.
Starting to think Method Records may be my new favorite label. With their most notable release of the year, ‘Together‘ sports some notable names including Nile Rodgers, Disclosure & Sam Smith. But before all that, they gave us Lxury’s ‘J.A.W.S.’, which I’m now coming to find was co-produced with Disclosure.
Disclosure is all over the place and that’s a key to creativity. They know the art of collaborate as their past pairings like Lxury can corroborate.
Well if I do say so myself Sam Smith almost sounds as pretty as Prince. And along with Disclosure’s unconventional electro wobbles, this makes for some progressive electro soul music. Not only that but Nile Rodgers features on the track and damn does his melody run through. ‘Together’ might come in a little short at just over two minutes, but a whole lotta different styles of soul are packed in.
Loving these house producers like Bluford Duck doin something deep on 90′s pop sensations like Brandy. So far we’ve had Whitney, Janet and now our second Brandy (first), plus I’m sure there are a few others lying around.
Same old song & dance on this ‘I Wanna Be Down’ remix, vocals pitched to unrecognizable levels with deep house sounds on the back end. Wonder how much longer I’ll be on this pitched vocals fad, love what direction it’s turning.
I’m not usually one to put out tracks with anything other than the music on it, but a Pete Tong essential is always a special case. For the last few years quite a few of my favorite musicians have been featured on Tong’s show. And never have I ever seen such a prominent music influence like him promote such acts so far away from the mainstream scene. Tong is just as relevant as he was back in the late 80′s at the crack of dawn in house music. I actually just caught him on the Pump Up the Volume documentary // Educate yourself!
In this not so recent Pete Tong essential, Ben Pearce is introduced with his ‘What I Might Do’ track just over a year ago. It may be dated when it comes to houses’ rapid growth, but it is just as relevant as any house on the market today. Still lovin’ those deep chords in house right now.
I think I’m starting to get the hang of this whole brass classification thing, alright maybe not fully yet. I know this isn’t the sax at least, or at least I’m pretty sure. I should have been a musician so I could have properly learned this musician mumbo jumbo, now I’m just in it purely for the sound.
Grifta’s ‘The Lost’ has got all the emotion I see with any brass infused track with a downtempo Nujabes like find. It’s still puzzling to me how much emotion brass instruments have over all others to me, something only vocals supersede. Can’t wait for Grifta’s next gift.
I can feel jazz creepin up on the electro scene this coming year. I thought it was going to be rap, but a lot more jazz brass has been popping up. And if I have to wait any longer for hip hop’s revival, I don’t mind so much if it’s with jazz.
Space Captain’s ‘Easier’ features vocals by Maralisa and I don’t know who compliments whom better. Space Captain puts on a fine jazzy beat, but these vocals really capture the feeling. I guess what will tell is who can reinterpret their own sound and make it something more beautiful next time. Could happen together again, but it’s much harder the second time.
Last year I heard Insomniac was taking its Wonderland festival and bringing it to The Bay. The thing I remember most when looking into Beyond was that Insomniac was trying to create a festival so visually & audibly stimulating there was no need to rely on ecstasy or LSD. As you can imagine, I was pretty eager to find out how well they pulled it off both personally as well as for other attendees. And as much as I can’t speak for them, though some of the pictures can, I will speak a little on my own account.
Visually, everything was pretty enchanting my two nights there, but during the day the drabness of the Shoreline Amphitheater seeped through. Much of the crowd was dressed in full fantasy and really made the scene more than anything. But where as the visuals were decent, the music faltered.
Some of the night acts, namely Zeds Dead & WhiteNoize, were a helluva time, but the music that played most of the day can best be described by one song, the dirty bit version of ‘Time’ by The Black Eyed Peas. In other words, once the beat dropped everything went to shit [...]
‘Control’ starts off like an MGMT tune with vocals blended in well shortly after. The highs do get pitched up a little too high, but I like ‘em in their quirky little way. The closer these vocals stay with this producer, the more likely both will succeed — keep up the collaboration, however it may have formed.