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Yahtzel – Someone Else ft. Savoi (StéLouse Remix)

StéLouse is a name that I’ve had my eye on for quite some time in the electronic scene. He’s a super versatile producer that always releases material that hits me on a level beyond surface level enjoyment. His new remix of Yahtzel’s “Someone Else” is no different. Savoi’s gorgeous vocals still remain but he accelerates the track into exciting new territory that’s a visceral thrill. The build-up is intense and ends with an amazing pay-off as waves of synths wash over the production, not to mention a phenomenal second drop that dives into gloriously glitchy chiptune territory.

I’d absolutely love to hear this remix bumping through a serious speaker system. It’d be one of those larger-than-life moments that makes you reflect on your life and all the positive trappings that come with it. That makes me think back to a moment in Times Square – it was the dead of night in the middle of a blizzard and I stared up into the entrancing electronic billboards and my perspective on life changed. I never had felt as part of something so immense up until then and I’ll never forget that feeling – it’s a sensation I’ve chased since then. I’d love to visit New York again and revisit that experience soon.


PLVTINUM – hung up on u

PLVTINUM’s new single is a visceral, r&b flavored take on late-night hookups that provides enough mental imagery for a short film. The opening line, “Cracks in your phone screen, touch yourself while you text me,” gives the song an unmistakable sense of place within the 21st century – this isn’t just a general hookup, it’s happening now. PLVTINUM’s cadence brings a pure, unadulterated swagger to the storytelling as he hits all the right pockets of the production with ease. He sounds so effortlessly cool that it makes you want to live out a similar story, even when he hits the natural conclusion of many hook-ups: “you’re catching feelings so I’m hanging up on you.”

Can we also talk about the single artwork for “hung up on u”? It’s gloriously seedy imagery that looks like it was ripped out the back of a local alternative mag in the ’90s. It also reminds me of the neon-lit strip club signs that overwhelm the senses while driving down Sunset – the flashing lights are impossible to look away from as they run through a cycle that’s likely been on a loop for decades. Strip clubs, late-night hookups, they’re all timeless institutions that have weathered the storms of change. “hung up on u” might be a product of the 21st century, but it has roots that could establish it as timeless too.


Restless Modern – To Come Undone

I’ve been following Restless Modern’s releases closely over the past few months, so it’s exciting to see his work culminate in the release of a debut EP. Led by two singles that existed on polar ends of the indie-electro spectrum in “Chasing” and “Haunted”, he fleshes out that diversity in sounds even further. There’s gorgeous, introspective meditations (“Underwater” and “She Needed Love”), anthemic cuts buzzing with energy (“Just Breathe” and “I’m Okay”), and tracks that sit somewhere in between. My personal favorite out of the bunch is “I’m Okay”, a selection that extends Restless Modern’s indie-electro groundwork into pure electronic bliss, but there’s a genuine argument for each song’s leader-of-the-pack status. He genuinely proves himself to be a jack of all trades across the record’s seven songs.

Thinking about the EP’s title, what does it mean to come undone? It used to mean falling apart at the seams and seeping into a pit of despair for weeks and months at a time; once the depression kicked in, there was no stopping its ever-expanding toll. These days, coming undone is a bit different – it occurs for hours or a couple days at most, but I’m now able to contend with it head on. I allow myself to feel the emotions as long as I need to, evaluate the root cause of the issue, and use my resources (whether it’s a mantra, meditation, or reaching out to a friend) to treat the source. I’m not even close to perfecting this system yet, but the improvements are there and for that I’m grateful.


The Prodigy – Omen (Vicetone Remix)

It’s absolutely fucking ballsy to remix legends like The Prodigy, but Vicetone have conjured up an “Omen” reinterpretation that does well to justify ifs creation. Grounded in the upbeat ethos of the original track, it uses the original’s war-cry of a synth to build maximum tension before allowing the sweet release of a drop primed and ready for festival action. It’s an infectious, anthemic peak that emanates images of a sea of fans waving their totem poles and nation’s flags in unison.

Vicetone’s remix strikes a nostalgic chord for me in multiple ways. I used to bump “Omen” at some point in my teenage years, but I can’t figure out when or where exactly – either way it makes me feel connected to my past which is always a plus. That being said, I do know that its drop reminds me of when I’d watch Ultra Miami livestreams from my couch in Georgia and long for the day I could be there. Those were simpler times when I didn’t realize I’d one day be right in the middle of the industry I idolized.


Surprise Party! – Surprise Party! EP

For a brand new duo, Surprise Party! have a killer EP on their hands. It’s an unmistakable product of the internet age where influences across time and space are compiled into a compelling framework. Take the lead single “I Know U Know”, for instance; it’s built around a deep groove topped with house-leaning percussive flair, funky guitar-work, and indie-dance vocals, all wonderfully synthesized into an ear-worm of a song. That diversity in sounds extends across tracks as the duo experiments with everything from effect-laden r&b to outright indie-pop as well.

The brainchild of two childhood friends, there’s also a personal quality to this project that’s hard to quantify in quick descriptors. The lyrics lend themselves to nostalgic musings with lines like “on winter break, me and my best friends, starting up something” – they’re broad strokes, sure, but the sense of genuine reflection is there. That notion even extends to the single artwork as a filtered polaroid picture immediately conjures up a sense of longing for what was.

I just might have to go do some digging into old pictures and journals to bring back some distant memories myself.


Cazzette – Run The World (PLS&TY Remix)

Oh hey!  It’s been a while since I have written.  Just like the title of this track I am out here trying to “run the world”, so to speak, it’s a full time job and life has taken me in many different directions.  I guess you could say I am trying to juggle it all and figure out how to give myself more arms and legs in order to get it all done.  I am very much into the vibe of this track and the “caffeine” boost it gives me for the weekend, it is Friday right?  See what I mean, I am losing track of the time and days with everything I have going on, some exciting stuff that I can’t share quite yet…

PLS&TY is quickly becoming one of the most distinguished stars of the Future Bass world today. Remixing classic RnB and hip-hop tunes to sublime effect, rising forward-thinking producer PLS&TY has already amassed tens of millions of plays on Soundcloud alone and hit the #1 spot on the HypeMachine charts an unprecedented thirteen times – and all this in the space of just one year. 

With influential tastemaker blogs profiling his work on a regular basis, releases for distinguished labels like OWSLA, Dim Mak, Disruptor Records/Sony Music Entertainment, Island Records, Wind-Up/Concord Music Group and more, his chilled, wavy electronic production has won him fans right the way around the world. “

Hope you are excited for the weekend and if you aren’t yet in weekend mode this track should do the trick. xx

 


Culpriit – Closer Still

I’m way too excited about the single artwork for Culpriit – it looks straight out of Blade Runner: 2049, otherwise known as one of my favorite films of all time. There’s a sense of an ode to the future where technology and romance intersect while a sprawling metropolis functions as a fitting backdrop. “Closer Still” reflects that fusion with an organic, heartfelt indie pop sound draped in modern electronic flair. It’s an inherently human construction that leans on programmed sounds to extend its emotional range.

Over the weekend I drove to the top of Mulholland Drive, parked my car on the side of the road, and looked over Los Angeles. Taking in the immense urban sprawl while at the topic of a silent, nature-laden hill is an experience like no other. The lit-up blimp floating over the city for the NBA’s All Star weekend and the neon-colored Korea Air building felt like the beginnings of the world fully realized in films like Blade Runner and Her – we’re in an exciting time where human constraints are slowly but surely being transcended. I shed a few tears and then drove back home.


deelanZ – Snake In The Grass

I generally wouldn’t associate Salt Like City with forward thinking rock music, but the beauty of the internet age and its democratization of music makes it possible for artists like deelanZ to transcend their regional constraints. Thus we have “Snake In The Grass”, a raucous blend of urgent synth sounds (at least I think that’s what they are!) with apocalyptically groovy guitars – they’re super smooth but they feel like the eye of the storm which is pretty fitting considering what this song is apparently about. deelanZ’s vocals continue that trend with an effortlessly cool factor to them that makes being left by his lover after emerging from a coma sound like a fucked up incident he takes in total stride. What’s cooler than being cool? Ice cold.

The coolness of this song also provides a pretty nice framework for how to deal with resentments. Rather than enveloping yourself in anger until it breaks you, you can feel those emotions healthily and then pragmatically channel them into a productive outlet. And hell, what’s a more productive outlet than killer music? Make your point, make it sound awesome, and then move on. That’s a formula I can get behind.


ZEKE BEATS – Devastate EP

I have a longstanding appreciation for heavy electronic music. Those roots in my music taste are easy to trace; I came up on metalcore and deathcore with bands like Float Face Down, Lorna Shore, and the like. I’ve always been a sucker for breakdowns in particular – there’s no experience like feeling the bass from a moshpit initiator buzzing through your body from head to toe (there’s also nothing quite like being punched in the face and blacking out during said moshpit).

The title track on ZEKE Beats’ Devastate EP gives me that same visceral thrill. It’s a thunderous piece of work that’s better suited for headbangers and hardcore dancers than it is for a dancefloor. That notion runs through the entirety of the record as piercing synths and apocalyptic wobbles seep from its every pore. Go ahead and turn up the low-end on your speakers and rock Devastate on repeat.


WNTALN – Way Out

Have you ever heard a record that absolutely defies classification? I’m pretty damn good at filing songs into sub-genres with almost a decade of reviewing music under my belt, but WNTALN has gone and made me feel utterly clueless. Their new single “WAY OUT” has a trap influenced beat with a thunderous low-end, ska horns that would sound right at home on a Streetlight Manifesto cut, guitar-work that would fit on a Santana track, and vocals that alternate between casually sung and intensely rapped.

It’s an utterly unique track that offers an exciting proposition – in my 22 years of living, I’ve literally never encountered a song like “WAY OUT” before. That means music still has the ability to totally stop me in my tracks – I’ve heard harsh noise, I’ve heard 20 minutes of reverberating bass guitars, I’ve heard ear-piercing black metal, and yet WNTALN was able to surprise me beyond belief. My work requires me to understand trends, so much so that I’m sometimes forget about all the experimenting musicians are doing at the fringes of the scene. I can only hope that “WAY OUT” brings WNTALN from the fringes to the forefront.