This song is a fresh release from the production prodigy Champagne Internet, and something about this release has really struck a chord in me. Using the already beautiful song by LANKS, he adds extraterrestrial instruments to the mix to amplify the ambient tones.
LANKS is the solo project of Will Cumming, a Melbourne, Australia based musician. Aurelia is off his second EP that came out in 2015 and is an absolutely beautiful song, especially when remixed by Champagne Internet. What makes LANKS stand out as an indie artist though, aside from the intoxicating downtempo production, is the extremely enigmatic lyrics. This song about a girl has a certain depth that makes you want to listen to the lyrics over and over until you’re able to get inside the writer’s head. This dream like quality is intensified by Cumming’s high-pitched crystal clear voice, and the simple melodies that are prominent in the chorus.
Champagne Internet did something interesting with this song, something different from all of his other material. A quick climbing synth and resounding bass picking provide a juxtaposition to the slowly unfolding beauty of the vocal melody, with a faster paced, more upbeat feeling. The real success of this remix is that it manages to do all of this without distracting from the slow and contemplative emotion that is so charming in the original song. Very strong release from two very strong artists, if you dig this be sure to check Champagne Internet out on Soundcloud.
G released his second studio album in December of last year, and although some fans were disappointed by the seemingly mainstream project, the majority of us basked in the Bay Area bred rapper’s anthems and applauded him on yet another successful release.
No Sleep is a talented young producer from Pittspurgh, PA. He’s released solely remixes to date, but his fan base has already grown to over 60,000 followers on Soundcloud and he’s currently wrapping up a short US tour. The guy is good at reworking tracks and turning them into club hits, so when I saw that he’d worked his magic on G-Eazy’s hottest single from 2015 “Me Myself & I”, I knew I’d be sharing this with y’all today.
The single itself is the highlight of G’s last album; Baby Rexha’s addictive melody has been stuck in my head since October of last year, and Gerald spits some insightful lyricism about the underlying emotions he’s feeling about his success, fame, and fortune. The remix is ambient at first, but slowly digresses into hip-hop centered house production. It’s a sick track, and in my opinion it earns No Sleep a follow on Twitter and Soundcloud.
In November of 2011, everything we thought we knew about the Toronto actor turned signer Drake changed when he debuted Take Care. YOLO was founded, Marvin’s Room was the breakup song of the decade, The Weeknd made his first major appearance on Crew Love, and the album went double platinum by 2013. So needless to say, the sample from Cameras/Good Ones Go that Andrew Luce chose to use for this track was a solid pick, but not something that hasn’t been touched before.
‘You Should Go’ is a perfectly concocted remix, and although Andrew Luce has been distancing himself from revamping hot 100 rap tracks for the last year, it’s intriguing to hear how his growth as an original artist affects the way he reworks billboard charting singles. Heavy airy synth reverberates underneath filtered Drake vocals and an elaborate percussion arrangement, giving the song a chilling tone as waves of sonic bliss build over the treble-heavy tracks.
As most of you may know, Andrew has been working with a group of electronic artists on a project titled Daruma. This is the fifth installment in the series, and you can cop the full project here. Enjoy, and follow Andrew Luce on Twitter and Soundcloud to show some support.
What amazes me most about Ben and Ashlyn’s collaboration is the originality amidst its simplicity. This down-tempo single is reminiscent of their first deep house release together, which charted on HypeMachine. Many producers nowadays seem to overcrowd the beat with lots of flashy melodies and synths, but Phipps tends to stick to a warm Rhodes piano, minimalist worldly percussion, and a plucked bass line that dances in and out of the kick’s steady rhythm.
Ben Phipps’s production style proves that quality of instrumentation supersedes the quantity of instruments or melodies. Additionally, minimalizing the beat lets the vocals cut through the mix effortlessly. Nashville singer ASHE’s chill airy voice carries the lead melody above the low-key beat, and unlike many deep house singles we hear these days, the lyrics are actually captivating. Her degree from Berklee College of Music is clearly paying off. Despite an entire ocean separating Sweden and America, these two seem to have found a notable chemistry working with each other – we look forward to hearing more of this ambient vibe they’ve settled in to. They’ve offered a free download, but support on iTunes or Spotify if you’re a true fan. Be sure to keep up with Ben Phipps on Soundcloud, and do the same for ASHE while you’re at it.
This is a quick little drop from Andrew on his alternate Soundcloud account — one that he only uses for experimental tracks and sidelined productions. Like most of his original material, this song doesn’t have any lyrics, but the vibes ring loud and clear. The somber key leads into intricate synths and Andrew’s notoriously elaborate percussion arrangements, setting the tone for the rest of the song.
‘I Hate When We Fight’ is a title that clearly hints towards a deeper meaning, and I’m sure that although this song isn’t on his mainstream account it still holds a lot of weight for the young musician. Regardless, it’s a relaxing song that inspires contemplative thought and emotional relevance. Check it out, and be sure to show Andrew Luce some love on Twitter and Soundcloud if you’re feeling it.
I want to start off first by saying that this EP is definitely one of a kind, being that this project was the final work of the Aussie dynamic duo Flume and Emoh of What So Not.
My interpretation of this piece is that it’s about two adolescents (boy and a girl) who want to experience the world head first, so they decide to run away from home. Throughout the project, the lyrics describe their journey through the obstacles of this “life” accompanied by sick beats and unique sound effects. From an easy slow riding come-up to the long awaited intense rhythms of the climax it all comes down to questioning if they indeed went too far away from home in Death Drive, “If I run too far pull me back, back to reality…”. In Oddity, when they come back from their exhausting journey, they experience an internal resolve as to how they perceive this reality differently now than from before.
The “banger” award of this EP definitely goes to Arrows ft. Dawn Golden, which starts off with a synthesizer and a basic 4/4 kick drum pattern, but when the drop comes it gets broken down by a very full bass progression with bells sneaking in through the background. Before the next drop the “boy” takes some time to confess to the “girl” that he is falling in love with her on their journey.
I recommend checking out this project for any electronic music fans, especially if you ever want to throw a glow in the dark dance party, or if you’re getting the snoozes at work and need a little pick me up to better your focus. No matter how you listen to this, the EP is filled with slow upbringings and hardcore breakdowns that are sure to fit somewhere into your daily routine. If you like what you hear be sure to throw What So Not a follow on Twitter and Soundcloud.
The whole reason I got into electronic music was because of poignant remixes like this; the chord progressions, the vocals, the build ups, the break downs, they’re all playing to evoke intense emotions. Thero‘s production is marvelous, and we’ve overlooked too much of his material in the past, but to end 2015 he hit us with something that couldn’t be missed.
Featuring original vocals and chilling tropical-house production, ‘I Was Wrong’ is by far the best release I’ve heard from this Palm Beach based producer to date. Although 99% of songs are about relationships in some way or another, ‘I Was Wrong’ is a rare breed of 21st century love song — one that features an apology rather than boasts independence. The waning synths and guitar chords create an ambient environment, but the hollow congas and various claps and cymbals make the otherwise melancholy serenade a lively optimistic anthem.
Personally, I’m stubborn as hell, so hearing this radiant song about acknowledging your own faults and flaws helped me see myself a little clearer. It made my morning, so hopefully you’ll be feeling this new release too. Be sure to throw Thero a follow on Twitter and Soundcloud.
So its been a while since I’ve posted a track in general, but even longer since I’ve posted anything with this kind of vibe. Andie Roy absolutely kills this song; it has an upbeat tempo, some awesome melodic beats, piano, guitar, and my personal favorite: the sax. Sophia Z blessed the track with her wonderful voice and it goes so well with this tropical mix. There are a lot of producers trying to create their own chill house sound, but noone does it quite like Andie.
With spring semester slowly creeping up on us all, I think its safe to say that this light-hearted feel-good track will help get our minds right for holding us own until spring break and summer. The track is a must have for a “chill” playlist because of how laid-back and relaxing it is, especially when you hear those oh so wonderful synthesizing brass sounds. Be sure to go show Andie Roy some love on Soundcloud and cop this free download so that you can bless your ears with some dope tunes. Bless up and spread the hype because it is key to a great new year.
We’ve posted some incredible remixes from Unknown in the past, but this is the first time I’ve had the pleasure of sharing an original track featuring fellow producer ELJAY. When we hear well established musicians transition from remixes to original content, the path is often cluttered with – for lack of a better descriptor – really shitty music. With that being said, my expectations weren’t very high when I tapped play on Unknown’s first entirely authentic release.
As you’ll soon find out, the outcome is surprisingly refined; an ambient keyboard progression, sturdy drum and bass arrangements, captivating synth pads and inaudible vocal samples compile to create a distinct big-room, trance-y house sound. The futuristic sound is balanced by the more recognizable sound of an ex-lover’s phone call over grand piano harmonies. It’s not a revolutionary style, but it’s better than a lot of the cookie cutter material we hear in this genre, so hit play and see if this new release is up your alley or not. If you like what you hear, you can show some support by throwing Unknown and ELJAY a follow on Soundcloud.