I don’t know if you’re gonna like the chorus, I didn’t, but listening to the full thing through gives a good story to picture. Steven A. Clark has some smooth southern draw to his R&B, which ranges into some sort of indie.
Better question – not that there was a question before – who the hell is the gal? I really don’t understand why musicians don’t give proper credit to their features… [ frustrating ] She does only make a small appearance a minute in and one other on repeat, but somewhere on SoundCloud is not asking much.
Like so many other artists in our list to serve up, Duke Dumont should have been out months ago, but we’re trying to have alotta alone time with the music before pushing it to you. It’s just as important what we don’t put up on Silence as what we do. So excuse our tardiness sometimes, especially with acts as well known as Duke.
Duke Dumont like Disclosure has taken the electronic sound we love to the mainstream. A good handful have done it before, but these two acts are doing it now and turning EDM into a positive acronym. They not only create a sound in their own right that’s becoming a standard in electronic, but switch it up just enough to keep it fresh every time.
Check out a few from Duke Dumont Hope he starts collaborating as much as Disclosure does, or with Disclosure.
I like what these house producers are doing with that cheesy 90’s R&B. Mainline Mussy pitches the vocals high on Avant’s original ‘Separated’ and throws in some Caribbean styled house for a fresh update. Or at least it will be until it’s as cliche as the original is now. Give it another 20 years.
One thing I’d cut out are the two interludes that split up the vocals. I’m here for the vocals, as always. The beats just here for fun steppin’.
I try to think of my father listening to music like this and I’m sure he wouldn’t really get it. I actually remember showing him some ghetto funk and as much as he tried to get where I’m at, it seemed like it sounded broken to him, it does to me sometimes (ghetto funk specifically).
Even electro funk like this can sound like it’s a little too rich at times, Toxo’s ‘Need Your Love’ especially needs a little tightening up, but garish electro like this is the future of dance music. Although I have a feeling it’ll break off in two with a not so electro style… basically not so lazery.
I didn’t quite listen to the lyrics on Phonat’s ‘Never’ at first, it’s all about the sound at the start, but they’re my favorite thing about it now. The sound however is something to talk about, especially in Icarus’s version. We’re trying to lay off the remixes right now and save ‘em for a collection, but Icarus speeds up the tempo and lays in some disco-house synths to livin’ this one up to where it’s needed.
The SF MusicTech Summit is exactly what it sounds like. A gathering of people in the music industry that focus on tech, or vice versa. What I’ve learned from going for the past few years is the more boring a panel sounds the more interesting they usually turn out to be, and vice versa.
It’s all on the moderators and how well they can steer the conversation to the crucial topics of the moment. Equally as important is if the panelists make up an equal representation of the different viewpoints and how well they can express their side through stories and experiences (in a timely manner). And there just happens to be one panel that especially did that.
Sitting here listening to NTEIBINT’s ‘Never Without You,’ trying to think up anything to write on so we can get Stella’s voice out there, gets me thinking about how music has gotten me through so much. We can’t pick our lives or even our minds, but at least we’ve got music to help us cope with this shit show.
As much as NTEIBINT has supported Stella with a fairly fresh beat, the girl gets most our praise. Stella’s got a country blues tone that reminds me of Stevie Nicks. Though Stella leans more city proper than Stevie’s country swang.
[I’m really just comparing the two so I can show off this clip of Stevie practicing ‘Wild Heart’ – but listen to Stella first!]
Figgy always gets me in a mood, a relaxed one at that. His music is meant for the tropics and it’s the closest thing I got right now. ‘Do It Like Us’ not only has the sound, but keeps the vocals fresh — which is where most producers fall off.
We’d love to cover all good beats like ‘This Means War,’ but usually don’t. This song gives off a good sound, but lacks the variance and strong vocal presence we look for in most songs worth remembering. However, dat bass is something to talk about.
This is the best intro with a bass I’ve ever heard. It may not be the best track for the peak of the night, but it’s good one to start it off right. This song is set for any occasion worth an introduction. Definitely playing it for my first kid’s birth, though I don’t think I’ll have much say in the matter.
Zhu’s Nightday is the first album to come out in 2014 that I’ve even liked. Most music I like these days are released as singles, which honestly work best for many artists, but it’s nice to get a hold of stuff like this when I can. Great albums are far more rare than great songs.
I’ve already featured Zhu’s Superfriends track off of Nightday and in it I hoped dearly he was a she (there was alotta mystery going around at the time). But now we’re pretty 100% he’s a man, especially while finding something interesting in our inbox.
While going through our email to find some info a PR guy sent out about Zhu – oh, and how do you people find my email? ******! – I found a gentleman named Steven Zhu hit me up about a few of his remixes almost three years back. Now most likely they’re not connected and I’m just becoming my own little gossip blog, but they do both claim to live in Los Angeles …Steven Zhu has taken down his YouTube & SoundCloud links and…
Never mind. Just found proof. Zhu’s first name is Steven. Hello, Steven :P
… except Zhu does his own production.