Huge DMP this week. Almost 15 tracks covering ground from trap, UK Funky, house to electro – as well as a few more, this isn’t one you want to miss.
It follows the normal structure of going from (generally) more experimental production at the beginning and ending with the big-room party bangers. The readers of the DMP are a dedicated crew, and we definitely want to keep posting both sides of electronic music. However, does everyone like both sides that we’re publishing. Definitely don’t want to overuse the gallery function on the site unnecessarily, but would anyone want to see one slide for Experimental tracks and another for Party music? Or just keep it as is? Let us know in the comments or send any thoughts to me at firstname.lastname@example.org. Without further ado;
We first heard of Baauer months ago when Live For The Funk recruited him to record a guest mix for their site. His powerful blend of trap beats and bass music has seen a rise in popularity since, but that was one of the first times we got a taste of that brutally effective mix. Since then Baauer’s blown up, getting play from everyone from Rustie to Lunice & Hudson Mohawke as TNGHT. It’s come to a culmination on this Mad Decent release and Diplo co-sign, the Harlem Shake EP. However, with a guy this talented and exciting it feels way less like a culmination and more like a beginning.
Baauer – Harlem Shake EP
Bristolian producer Julio Bashmore has been consistently wowing us with his tracks, but as of late it’s been his extended influence that’s caught everyone’s eye. Catapulted by his massively popular and forward-thinking singles into the role of tastemaker, Bashmore has snagged bigger and bigger crowds and his very own flagship show on BBC Radio 1 – a huge deal. Yesterday, he only pushed his reputation further by announcing the creation of his own label, and you can hear a track off his first release (his own EP, of course), below.
Julio Bashmore – “Au Seve”
Sumsun seems determined to sonically replicate his moniker with this track. It’s a summery slice of house with warm synths that wouldn’t sound out of place on a nu-disco track. He counters, though, with an imbued fuzz. The obfuscation just adds texture to the mix here, making it the most relaxing, head-noddingly good track on here.
Sumsun – “Float/Dream”
Juke was a Chicago thing, but now it’s become worldwide. Take this debut release from DJ Earl, for example; he’s a Chicago producer, releasing his take on Chicago music on a Parisien label. It makes more sense when you listen to how he’s adapted the standard juke template – adding swirling synth pads and more depth and sensitivity to the normally aggressive and dancefloor-directed juke percussion. He’s taking cues from various house off-shoots to create something that doesn’t have a geographic boundary as defined as we first thought.
DJ Earl – “Teklife or Nolife”
Fantastic Mr. Fox has been quiet as of late. He came up in vaguely the same arena as James Blake – if there were a XXL Freshman class for subdued and cutting edge electronic producers they would have been in the same issue – but slowed his output outside of a few mixes and the like. He returns now with “Speak Nuh,” and there’s as much to unpack as his last go-around suggested. He hasn’t lost his touch.
Fantastic Mr. Fox – “Speak Nuh”
Blawan makes rough music. Sometimes best defined as UK Bass, on other releases it’s been Acid House – regardless of the genre nominations Blawan’s productions are always catchy in the grittiest of ways. This track was an absolute killer when he dropped at Boiler Room (where he was following up Grimes) and it has now surfaced on YouTube. Jackmaster called it “They Choose To Bury Here.” He’s in the right, but I think the name “Why Did They Hide Those Bodies In My Garage” is what’s going to stick. This one is brutally fun.
Blawan – “They Choose To Bury Here” (“Why Did They Hide Those Bodies Under My Garage”)
Bo Saris is walking the fine line between revivalist and throwback music, and the choice to recruit Maya Jane Coles on remix duties was a wise one. For me, someone with very little knowledge of house music before, like, 2007, she seems to have her basics and history down. That doesn’t stop her from making some very forward-looking house that everyone can enjoy.
Bo Saris – “She’s On Fire (Maya Jane Coles Remix)”
Legendary Grime label Butterz just released an enormous promo package of material for the summer. Download it. One of the label’s biggest assets is Royal T, grime producer and general badass. His tracks on the compilation were the ones I immediately shot to, and they did not disappoint. Check them out for some high energy riddims, then go download the whole 34-track pack from Butterz – it’s worth it.
Royal T – “Turn It Up”
Royal T – “1Up (BUTTERZSUPERSONICVIP)”
Wolfgang Gartner’s music is always danceable, catchy electro, but sometimes it just needs the extra push that No Body is happy to apply here on his remix of “Redline.” Straying away from the original track by focusing strongly on the synth lead during build ups, No Body deftly removes it from the first chorus and replaces it with a pounding bass line that elevates the track to that next level. Provided below is the instrumental version sans No Body’s added vocals of the Deluxe remix, so peep the Deluxe if you’re still feeling a need for a little extra cheese to top off this synth-whiz.
Wolfgang Gartner – “Redline (No Body Remix)”
Following along similar lines as No Body’s remix of “Redline” comes Dyro’s of “The Bottle Song.” R3hab has made a name for himself in the electronic music scene as a big name in Dutch House and the original of “The Bottle Song,” is a great example of why his name is what it is. Dyro looks at bottle singin’ and decides that it doesn’t go hard enough, so he takes what was a Dutch House hook and kicks it up another couple notches in the party scale to turn into pure, unadulterated electro rave goodness.
R3hab – “The Bottle Song (Dyro Remix)”
Avesta’s preview video of his track “Rollin'” is potentially one of the greatest things I’ve ever seen. To me, it perfectly encapsulates the feel of the track, and the way that progressive house is around to be fun. Avesta is making himself known in the electronicmusicsphere for his intense build ups and dirty breakdowns, all of which can be found below in the track.
Avesta – “Rollin'”
Okay, I can’t help but link another video from the label of these last two tracks: Mixmash. They’ve got it right, these heavy electro tracks, while at first can be intimidating and overwhelming, are at their root just mean to be danced to. 1234 combines some of the major players in the game to produce a track that has elements of all three: a heavy bass lead building up into a drop that maintains its aggressiveness without losing a poppy feel that makes it overall a blast to hear.
Laidback Luke ft. Chuckie & Martin Solveig – “1234”