There’s something soothing about repetition, and like Magic Touch & Sapphire Slows – ‘When I See You’, Jook10 has the funkyass drum patterns that sooth out with repetition, though the lows might need a little softening. Beat really hits the vocals well on this ‘Just 4 Me’ remix. – – As always, gotta wonder who these vocals came from.
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For those moments late at night when your trying to get as far away from life as possible, ‘Voyeur’ is for you. Bear//Face takes James Blake and deepens his voice into something that helps us all get away for awhile. Something all music is trying for, but few do better than just the point of “sounding good.”
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The Best Dancers & Up Until Now did a lil collab together and remixed one of each other’s tracks. Both remixes premiered on The Untz just a few weeks back and as much as I’m feeling Up Until Now’s remix, The Best Dancers’ blew me away.
The start of their ‘Hood Shining’ remix breathes a build up like no other, hear it to believe it. Just play the first 40 seconds a few times back. On good speakers. The rest of the song may not boast such intensity as the first build, but is still one funkyass ride of glitch & bass.
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Melodic dubstep may sound like an oxymoron at first, but it is for sure the best of its kind. It’s the kind of music that will take you out of your element, away from your own personal shit show – kinda like most music, but better. I would go as far to say it carries you to heights higher than our own beats to blaze to. So get out your best speakers, preferably headphones, and take a step away for a minute with some bass in mind.
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So I guess The Creator’s Project went up and got all the stems from Phoenix’s ‘Trying to Be Cool’ and bestowed it upon us all. I’ve went through a few of the big numbered remixes and found Breakbot’s disco delight, but also caught something a bit off the radar with Will Bloomfield’s entrancing electro.
I’ve had these lyrics stuck in my head all damn day and it really could’ve been from either of these two. What remix do you prefer over the other
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Coyote Kisses were right there when I got into the EDM, bass-driven scene just a few years back. They’ve always been there when my electro dance appeal’s been waning and bring the fresh electro charm to play. Compared to their last EP, I can tell the chomp has been lost in Thundercolor, but still brings the charm.
I didn’t appreciate Thundercolor the first time through simply because I didn’t expect it. Now that I’ve listened to it a few times through, it’s clear that the synth melody is still signed in, but doesn’t have the usual chomp Coyote Kisses mouth off. But no longer will I wear my bass-driven depends for these two. I’d much rather see them stretch their stylistic seams into beauty such as this than listen to the usual bullshit I love.
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I remember telling a friend of mine that Daft Punk’s SNL sample was better than most music. Unfortunately, it’s also better than the final version of ‘Get Lucky.’ It’s not that the final with Pharrell on vocals is all that bad, even though I hear far too many criticize it to be, it’s just the sample outweighs the master and far better represents Daft Punk’s mystique & image.
The biggest issue on ‘Get Lucky’ goes to Pharrell. As much as I love the catch in his chorus, his intro (and really everything but the chorus) is outright amateur sounding. I usually criticize a song for not getting to the good stuff fast enough, but this should’ve road the beat out a bit longer, it deserves the solo time. In fact, that Nile Rodgers’ guitar strum is the only thing that’ll be remembered in the long run. Take a look at a few examples of this amazing sample in use and wait for more things to come from this simple guitar strum.
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Minnesota’s ‘Bloom’ has finally convinced me to post my melodic dubstep mixtape and actually gave me the idea for a more appropriate name, melodic bass, although it’s all just words by now. So look out for that in the next coming weeks, but until then check out why Bloom has inspired me so much. Like I already hinted at, it’s got one catchy melody supported by a beautiful bass line.
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GRiZ has been reppin this Colorado-based style of electronic well recently. I talked earlier about Pretty Lights’ new track, ‘Around the Block,’ and it’s continuing the movement PL helped start, but GRiZ seems to be the man pushing it forward. With a much heavier style of bass, ‘Gettin Live’ is taking hip-hop samples and mixing that full sound electro in fresher than I’ve heard in sometime.
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Once again a remix saves the vocals. Brown & Gammon took a stereotypical dubstep track with powerful female vocals & uncontrollable bass tangents and turned it into a hit straight from the post-disco 80’s – updating it to for our electro ears, of course. Trust me, the bass in this is much better.
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