Category: EDM

New Video: JOVM Mainstay El Dusty Returns with a Swaggering, Genre Mashing, Club Banger

Born Horacio Olivera, El Dusty is a  Corpus Christi, TX-based JOVM mainstay producer, DJ and electronic music artist, who has seen attention across the blogosphere as a pioneer of a sub-genre he’s dubbed “nu-cumbia,” which features elements of hip-hop, drum ‘n’ bass and house music and samples of classic and beloved cumbia songs — with the end result being a swaggering, club-banging take on Latin music that as you may recall resulted in a Latin Grammy nomination. Adding to a growing profile, the Corpus Christi, TX-based producer, DJ and electronic music artist has bee named one of Rolling Stone’s 10 New Artists You Need to Know, Billboard’s New Latin Act and to Watch and was placed on Pandora’s Latin Artists to Watch. He’s also played at EDC Las Vegas, EDC Mexico, Ciudad Sonido Festival, Fiesta De La Flor, Universal Records’ Latin Grammy Showcase, Brisk Bodega Tour, the Mad Decent Block Party, Austin City Limits, SXSW, and others.

Olivera’s highly-anticipated full-length debut Cumbia City is slated for a May 11, 2018 release through AfterCluv Records, and while the album will further his reputation as one of electronic Latin music’s highly-sought after producers and collaborators, the album also finds Olivera pushing his signature sound in new directions as the album’s material crosses genres, trends and cultures while redefining what both Latin music and electronic music should and could sound like. “This album is cool as hell and funky!” Olivera says in press notes. “This takes the old with the new and it becomes a new style, a new song, a new genre – it is more than Cumbia, it’s electronic styles with live drums and modern beats.” El Dusty adds “I approach the whole album with live recordings in mind. Every sample was re-recorded live to create a mashed up turntable-like production meets a song-like format.” Unsurprisingly, El Dusty’s full-length debut, is deeply influenced by his musical upbringing which included Tejano anthems, Chicano soul music, classic rock, boom bap hip hop, house music, drum ‘n’ bass, turntablism, but mashed up and re-imagined for a new generation of bass-heavy and soundsystem music.

Album title track “Cumbia City” is a swaggering track around tweeter and woofer rocking boom bap beats, trap snares, an iconic sample from San Jacinto,  Colombia-born cumbia star Andres Landero and Boogat spitting fire in Spanish — and while mischievously bending and playing with genre boundaries, it’s an anthemic and crowd pleasing banger.

Set on the streets of Corpus Christi, the brightly colored video for “La Cumbia” is a cinematically shot video that features dancers of all ages and from a variety of the city’s cultural traditions — from the ancient and contemporary — to the song’s thumping beats.

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Rachel K. Collier is a Swansea, Wales, UK-born, London-based singer/songwriter, producer and electronic music artist, who achieved both commercial and critical success across the UK relatively early in her career; in fact, Collier is credited as a co-writer or producer or several chart-topping, smash hits including Ray Foxx‘s “Boom Boom (Heartbeat),” which peaked at number 12 on the UK Singles chart back in 2013; Mat Zo‘s Grammy-nominated album Damage Control, which peaked at number 1 on the iTunes Dance Album charts; and on pioneering garage producer Wookie‘s comeback single “2 Us.” As a solo artist, she recorded a cover of Jimmy Cliff’s Hard Road to Travel,” which landed at number 79 on the UK Singles chart, and her debut original single “Predictions” was named Sarah Jane Crawford’s “Smash of the Week” on the radio personality’s BBC Radio 1Xtra show. Collier has also received airplay and praise from the likes of Annie NightingaleCapitol XtraTiësto and Oliver Heldens, which has added to the growing buzz surrounding her in electronic music circles.

Building upon a growing national profile, Collier released her self-produced, debut EP Words You Never Heard through Love and Other Records in late 2015 and followed that up with “Ships,” a single she released during the last few months of 2016. Now, as you may recall, last year I wrote about Collier’s “Paper Tiger,” a slick yet un-fussy club banger, which she followed up with extensive touring playing sets at clubs and festivals across the European Union and unsurprisingly, with the release of her latest single “Darkshade,” her experiences touring throughout 2017 have influenced her creative process and her sound, as the new single finds Collier pairing what arguably may be the most emotionally direct lyrics she’s written with a sound that manages to be simultaneously radio and club friendly — all while further cementing her reputation for crafting rousingly anthemic hook.

“I’ve been heavily inspired from playing live at clubs and festivals throughout 2017 -playing my synths on stage at full volume is so satisfying and fulfilling that I’ve been incorporating synth solos and counter melodies way more into my actual production rather than just doing it on stage for fun!” Collier explains in press notes. “Darkshade feels like a song I needed to get off my chest — many of us will go through life hiding, disguising or playing down a physical/emotional element that we have but we don’t like. This song is about that and how I deal with it.”

This year may be a breakthrough year for the Swansea-born, London-based singer/songwriter, producer and electronic music artist as her full-length debut is slated for a September release.

 

 

New Audio: Black Summer’s Subtle Yet Moody Remix of Australian-born Viral Sensation Xavier Dunn

Xavier Dunn is an up-and-coming, Sydney, Australia-born and-based singer/songwriter, producer and electronic artist, who first came to international prominence with a series of acoustic covers that included 3 Hype Machine #1s, a Spotify Global Viral Charts #2, a Spotify US Viral Charts #1, a Spotify Australia Viral Chart #1 and over 22 million Spotify streams to date. Last month, Dunn released the critically applauded “Isic Tutor,” an ethereal bit of neo soul that features Dunn’s tender and aching falsetto paired with a ambient production consisting of thumping, tweeter and woofer rocking beats and gently swirling synths and electronics within a song that immediately brought to mind Beacon’s For Now EP and The Ways We Separate — but centered around the ebbs and flows of a rather tumultuous relationship and in part the strange wisdom of Isic, an AI character from the video game Battleborn.

Recently, one of Australia’s most exciting up-and-coming producers — and perhaps one of their youngest to reach national attention, Black Summer, a 14 year old EDM producer, who was first discovered by Triple J when he was 11, remixed Dunn’s ambient “Isic Tutor,” and while retaining the aching and tender falsetto vocals of the original and some of the ethereal and ambient electronics of the original, adds skittering drum programming and a live drum sample, which manages to gently speed up the tempo while remaining unhurried and moody. 

New Video: Benin City Returns with a Thumping, House Music-Inspired, Club Banger

Comprised of Joshua Idehen (vocals, spoken word), Shanaz Dorsett (vocals) and multi-instrumentalist Tom Leaper, the London-based trio Benin City have received both national and international attention for a sound that meshes Afro-pop, hip-hop, spoken word and electronica in a seamless, club banging fashion. The trio’s forthcoming sophomore effort Last Night is slated for a April 6, 2018 release through Moshi Moshi Records, and the album reportedly is an ode to London’s nightlife and club scenes with the trio commenting on what their hometown’s nightlife scene has meant to them while expressing anger, frustration and weariness over a rapidly disappearing scene.

For countless people across the world, especially those in a city like New York, the disappearance of beloved clubs, bars and music venues create much larger, universal questions: What does it mean for your town and its culture? What does it mean socioeconomically? With nightlife being both an escape from the soulsucking horrors of the daily grind and a way for weird kids passionate about dance, music, art and fashion to find a supportive loving alternate family, where do these kids go to find that kind of support and love? What happens to them if they never find the support and love they needed? Where do they find a sense of belonging and purpose? And if they have found all of that in a beloved club or bar, what happens when that spot closes?

Interestingly, each individual member of Benin City has spent the past decade in London’s nightlife scene in a variety of roles including artists, ravers, bartenders, bouncers, bar backs, scenesters, drinkers, partiers and weekend warriors, and as a result the album’s material emphasizes a deep, inconsolable sense of loss. As the trio’s Joshua Idehen explains, “London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.”

Towards the end of last year, I wrote about album single “All Smoke, No Fire” a track that featured a minimalist yet propulsive and club rocking production consisting of stuttering beats, an eerily repetitive and chiming synth line and an enormous yet sinuous hook over which Idehen and Dorsett rhyme about prototypical club situations — while noting that those who engage in and love nightlife culture need it to survive with their dignity and sanity intact, even if the bouncer is a no-neck having asshole or if someone spilled their drink over that dope new outfit you brought just for that one night of freedom; but underneath it all is a subtle and undeniable sense of loss and unease over your personal headquarters disappearing — forever.

Last Night’s latest single “Final Form” is a thumping and sinuous house track production featuring arpeggiated synths, tweeter and woofer rocking beats, chiming percussion paired with a rousing and anthemic hook — and in some way,  the song strikes me as a swaggering and modern synthesis of Snap!’s “Rhythm is a Dancer,” and Stardust’s club classic “Music Sounds Better With You” but with an ecstatic yet deeply personal bent. As the British act’s Joshua Idehen explains, the song was inspired by a night at Zoo Bar, “I once went to Zoo Bar in the West End with a poet I really fancied. It was a Saturday night, and neither of us drank but we felt like dancing. They were playing soulful house (this was back in the noughties). Spurring and daring each other on, we started with the running man and ended up at last orders, dripping in the worst sweat, making up entirely new dance moves, downing large glasses of tap water. She, a Dragonball Z fan, kept saying ‘nah, you haven’t seen my Final Form. Next song I will be over 9000.’ Obviously, that stuck with me.”

As for the video treatment, Idehen explains, “Our last video for “All Smoke, No Fire” was in memory of all the clubs that have shut in the last five years, so we wanted our next video to celebrate the mainstream and alternative scenes still thriving in London. Working with George Bushaway, we crafted a narrative of two clubbers working up the courage to lose themselves in three very different dancefloors: Lindy hopping with Swing Patrol in Holborn, Jungle/Garage raving in Fire down [in] Vauxhall, and a soca night at Ruby Blue, Leicester Square.” The video focuses on these two lonely men, feeling self-conscious, awkward and as though they couldn’t possible belong — that is until they figure out a way to let go, and embrace the moment, absorbing the joy, ecstasy and community of the room they’re in, while being authentic to themselves.

 

Eric Sharp is a Los Angeles, CA-based electronic music producer, artist, DJ and promoter, who has developed a reputation for being one of the most accomplished tastemakers on the West Coast. As a DJ/producer and electronic music artist, he has a reputation for crafting intelligent, sophisticated house music that could comfortably fit at an intimate private party, at the club and at massive festivals simultaneously. And with material that ranges from deep and nuanced to the driving and syncopated, the Los Angeles, CA-based producer and artist has had his music licensed by Major League Soccer, SonyCSI: Miami, Hitachi, and others.

2010 saw the launch of Sharp’s label Rock It Science Laboratories, a label and platform for like-minded producers and artists, many of whom played at the warehouse parties he tirelessly promoted. Eventually, Sharp retooled his focus from underground warehouse parties to major club residencies and appearances on the festival circuit — including Coachella, Outside Lands, Amsterdam Dance Event, Decibel Festival, SXSW, Symbiosis Gathering, Miami Music Week and others. Interestingly, a growing profile in the electronic music scene coincided with a relocation from San Francisco to Los Angeles, and as a result he found himself collaborating with a number of his new hometown’s up-and-coming artists including Anna Lunoe, Daisy O’Dell, Siouxsie Black and George Cochrane on his 2013 EP Sharp Cuts.  Additionally he has remixed the material of Melanie Martinez, Jars of Clay and others, which have expanded his profile.

Last year, Sharp ramped up his output of original music significantly, releasing collaborations with Capital Cities’ Spencer Ludwig and up-and-coming artist Gavin Turek and others and it has continued well into 2017 with a number of Hype Machine chart topping songs.  Building upon the release of Hype Machine #1 track “Take This Time,” feat. Zhao, Sharp’s latest single “Night Turns To Day” is a shimmering and mid-tempo house track featuring arpeggiated synths, thumping and stuttering drum programming and a sinuous hook paired with Somme‘s sultry vocals — and much like Octo Octa‘s Between Two Selves Sharp’s latest single possesses an bracing iciness while managing to walk the tightrope between chill out session and club banger.

 

New Video: The Presets Return with an Anthemic Festival Banger Paired with Wild, Psychedelic Imagery

Comprised of Julian Hamilton and Kim Moyes, the Sydney, Australia-based electronic music production and artist duo The Presets can trace their origins to when the duo met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crating a sound that electronic dance music with an arena rock energy and vibe — and as a result, the duo signed with renowned Australian dance music label Modular Recordings, who released their first two EPs and their 2005 debut, Beams.

2008 saw the release of the duo’s critically and commercially applauded sophomore effort Apocalypso, an effort that went Triple Platinum in their native Australia and featured four smash hits, including “My People,” one of their biggest songs. And adding to a breakthrough year, Hamilton and Moyes won 5 ARIA Awards — including Album of the Year, 2 ARIA Artisan Awards, the J Award, the FBI SMAC Award for Album of the Year, and they shared the Songwriter of the Year at 2009’s APRA Awards. 

The duo’s third, full-length effort, 2012’s award-nominated Pacifica featured Rolling Stone Australia’s Song of the Year, “Ghosts,” and was nominated for an ARIA Award, shortlisted for the AMP Award, the J Award and was named the Herald Sun’s Album of the Year, the Daily Telegraph’s Album of the Year and the Sydney Morning Herald’s Electronic Album of the Year. And although, it’s been some time since I’ve personally written about the acclaimed, Aussie electro pop duo, the duo have been busy collaborating with a variety of artists —Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced the DMA’s latest album, remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.

“Do What You Want” is the first single from the duo in over four years, and it’s also the first single off the duo’s highly-anticipated fourth, full-length album slated for release sometime in 2018  — and unsurprisingly, the new single will further cement the duo’s reputation for crafting festival bangers with enormous, crowd rousing hooks and thumping beats; but interestingly enough, the new single features a looped, glitchy sample reminiscent of Boys Noize’s “ICH R U,” while also nodding at Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers. 

Directed by Kris Moyes, the recently released video is a wild, psychedelic homage to doing whatever the fuck you want, as long as it floats your boat, doesn’t harm anyone and is relentless and ridiculous fun. 

New Video: Omar Souleyman’s Club Banging and Swooning Love Letter to Istanbul

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, who can trace the origins of his music career back to 1994, when he was a part-time wedding singer, whose sound has been largely influenced from the incredibly diverse milieu of Northeastern Syria — and a result, Souleyman and a rotating cast of musicians and producers, he has worked with since his early days, draws from and meshes the Kurdish, the Ashuris, the Turks, the Iraqis and Arabic sounds and themes in a way that’s both familiar and absolutely novel; in fact, Souleyman is largely considered the region’s pioneer of dance music/wedding music as his sound is primarily based around, keys and enormous beats. 

Amazingly around 500 studio and live albums have been released under his name with about 80% of those releases being made at weddings,  presented to the newlywed couple, and then copied and sold at local kiosks. Within the last few years, Souleyman has received international attention, performing at some of the world’s biggest stages and festivals including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. Adding to a growing international profile, Souleyman has collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Along with that, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’S Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and this year’s To Syria, with Love, all of which have brought the sounds and grooves of his region to the Western World. Interestingly, To Syria, with Love reportedly finds Souleyman and his collaborators adopting elements of Western techno and electronic production to his sound, as well as much more intricate keyboard work. 

“Es-Samra,” To Syria, with Love’s latest single is a swooning love letter to his new hometown of Istanbul that features Souleyman’s coolly delivered vocals over a slick and swaggering production consisting of enormous, tweeter and woofer rocking beats, dense layers of arpeggiated keyboard chords, razor sharp and infectious hooks and handclaps to create one of most effortlessly straightforward club bangers I’ve heard in several months. 

While furthering his reputation for paring his sounds with DIY-like visuals, the recently released video for “Es-Samra” captures and evokes daily life in and around his adopted hometown’s waterways but with a trippy, mind melting visual effect. And as New Yorker, there’s something warmly familiar in seeing fisherman near a pier, of commuters rushing back and forth by ferry, car, bus and truck; but more important, it shows Istanbul as one of the world’s most glorious sights. 

Comprised of  founding duo Albert Kawmi and Calum Muir, along with four other collaborators, the Glasgow, Scotland, UK-based electro pop act Sun Rose, which specializes in what the act has dubbed “maximalist, melodramatic, funk-pop” can trace their origins back to about 2008 when they formed under the name Nevada Base. And during the period of roughly 2008 – 2013, the band, along with Gus Wemyss had been extremely active in Glasgow’s music scene, until the act’s founding duo got sidetracked with serious life issues — jobs and raising families.

As the story goes, the duo had begun recording an album in 2014 and the recordings had sat dormant for over year, until the act’s former member Wemyss returned to Glasgow and began to finalized many of the album’s arrangements and flesh out the material. When the act’s founding duo heard the completed album, they were so impressed that it needed to be released. As the band explained in an email to me, the completed album re-focused the members of the band to start over with a new name — Sun Rose. But despite the change in name, the band’s latest album, The Essential Luxury Album will further cement their reputation for crafting slickly produced, dance floor friendly synth pop; in fact, the album’s first single “Smirk,” will remind some listeners of mid 80s New Order, Cut Copy and No Zu, as a propulsive and sinuous bass line, shimmering synths and call and response vocals are paired with layers of percussion and enormous hooks. And while also subtly leaning at house music, the song manages to be arguably one of the most dance floor friendly songs I’ve come across this year.

Filmed by James Vincent Gillespie and Brian Sweeney on location in Sweeney’s kitchen and in the homes of many of the Last Night from Glasgow crew, the video employs fittingly 80s-inspired graphics and animations in a creepily psychedelic fashion.

 

 

 

 

 

Damocles is a rather mysterious Leicester, UK-based electronic music artist and producer, who according to his Twitter page, “uses technology to create different genres of music but with a coherent running thread.” His latest single “Entertainment Business Control” is a dance floor-friendly, classic house and 80s New Wave-inspired track featuring thumping 808s, cascading synths, and a looped, soulful vocal sample paired with PSA-styled vocals warning people that dancing is now against the law. And while sonically, the Leicester-based electronic music artist and producer’s sound manages to nod at Big Audio Dynamite — in particular think of “C’mon Everybody Beatbox” — but with a dry, winking, British irony.

 

 

Initially begun as a solo recording project of its Toronto, ON-born creative mastermind, primary songwriter, multi-insrumentalist and producer Daniel Benjamin, Moon King may arguably be best known for the several year period that it was known as a duo featuring Maddy Wilde (vocals, guitar); but with Wilde’s departure last year, the project has managed to return to its roots. Coincidentally, Benjamin relocated to Detroit, MI around the same time as Wilde’s departure  — notably, the Detroit neighborhood of Hamtramck, where he spent the better part of a year.

Benjamin’s stint in Hamtramck inspired a new batch of material, Hamtramck 16, a mixtape that not only documents his arrival into a new, unfamiliar place, it also is a radical change in sonic direction and songwriting approach, as the material on the mixtape captures the Canadian producer, singer/songwriter and multi-instrumentalist’s growing obsession with electronic dance music.

Finally having some time to himself after years of relentless touring, Benjamin began collaborating with local artists and musicians, until he formed a new band — with the intention of crafting a sound that currently draws from disco, classic, Detroit house, synth pop — and even pop.  Mixtape single “In & Out” found Benjamin pairing his dreamy falsetto with a dance floor-friendly production that channels Nile Rodgers-era Madonna (i.e.,  “Lucky Star” and “Holiday“), Tom Tom Club (i.e., “Genius of Love“) and Larry Levan-era house as a driving groove is paired with fluttering, shimmering and cascading layers of synths, a sinuous bass line, four-on-the-floor-like beats and a razor sharp hook. And much like the sound and period, Benjamin is drawing from, the song manages to be incredibly accessible; in fact, if it wasn’t for the subtly modern production, the listener may have been tricked into believing that the song may have been released in 1983. The mixtape’s second and latest single “Ordinary Love” is a much more straightforward production, as arpeggio bursts of keys, tweeter and woofer rocking 808s and swirling electronics are paired with Benjamin’s falsetto vocals — and while seemingly influenced by Nu Shooz‘s “I Can’t Wait” and classic house, the song manages to reveal a subtly modern productions been that nods at Octo Octa‘s Between Two Selves and the 100% Silk Records roster.

The mixtape is slated for an August 4, 2017 release through Arbutus Records and Benjamin, along with his backing band will be on a mostly American tour throughout August and September to support the new effort, and it includes a September 8, 2017 stop at Silent Barn. Check out the rest of the tour dates below y’all.

 
TOUR DATES
08/11 – Baby G – TORONTO, ON 
08/12 – PN, MONTRÉAL, QC
08/18 – El Club, DETROIT, MI
09/02 – Schubas, CHICAGO, IL
09/03 – The Bishop, BLOOMINGTON, ID
09/04 – MOTR, CINCINNATI, OH
09/05 – Double Happiness, COLUMBUS, OH 
09/06 – Sound Hole, PHILADELPHIA, PA
09/07 – Charlies American Cafe, NORFOLK, VA
09/08 – Silent Barn, BROOKLYN, NY
09/11 – One Caroline, SARATOGA SPRINGS, NY 
09/12 – Bard College, ANNANDALE-ON-HUDSON, NY
09/13 – House Of Targ, OTTAWA, ON
09/14 – Le Cercle, QUEBEC, QC