We decided it would be unnecessary to post a video with this one, but if you are unfamiliar with Sasha Grey a quick search on your fav…I mean on any “adult” should yield some results. That aside, this track is well put together. Big lush synths and a vocal to match, not exactly deserving of its “house” classification as it has more of a trance vibe to it. There are some great moments in this one, and the vocal really carries the tune.
Taking on a classic like Kosheen’s “Hide U” is no easy feat, Nathan Scott rose to the challenge with this laid back house remix. Harnessing some progressive vibes and letting that soulful vocal ride out. Usually a vocal being used so heavily throughout the track would get stale, however it’s just so good and catchy that you’ll be singing along the whole time.
After exploding onto the scene with his remix of Route 94′s “My Love,” Bender is back at it again with his version of Dirty South’s latest hit, “Unbreakable.” Reaching new heights with his first official release, Bender still stays true to his signature deep house sound. He gives Dragon’s track a dream-like makeover by beautifully accentuating Sam Martin’s vocals with groovy percussive beats and exquisite synths. This free track is the perfect way to relax at the end of a long day, so check it out and look out for more from Bender!
Electronic music has been the talk of the town in the music industry for a few years now as the genre has exploded, and evolved faster than anyone expected. I was introduced to electronic music about 4 years ago, and as time has gone on, my tastes have changed and matured, but one constant that has yet to change is my disbelief in how Porter Robinson influences this industry.
I began writing a brief background of his earlier songs and the Worlds album, but then realized I could write a thesis on that. So I’ll stick to my interview and review of the “Worlds” tour for this one. I reached out to Porter’s team with low expectations as Porter has become one of the most talked about acts of 2014 and has been insanely busy on his tour. But, his delightful team responded immediately, allowing me to pick the producer’s brain in a phone interview.
At the time, Porter was in Montreal for his shows in Canada and had a little downtime before his next show. I then delved into the questions as I was curious how the tour had been going so far. I opened up asking him, “How had the tour been going in comparison to his expectations?” He responded that the tour had been awesome so far in terms of reactions from people. He had expected there to be some hesitation from fans but the reception had been almost completely positive. He noted that the biggest distinction for this tour was the transition to a live set up from DJing on just a MIDI controller. He felt as if performing live was natural to him and was what he was suppose to be doing.
So I asked Porter how he chose Lemaitre and Giraffage as his opening acts because all three groups of musicians had a diverse range of styles. Lemaitre, he told me, had been a long time favorite of his as he loved their indie and electronic fusion in a time where DJs dominated the market. He also “wanted to surprise people by having a band open [for him].” In terms of Giraffage, Porter instantly liked his “Japanese-inspired trap thing.” I responded by saying that I found the setup interesting – having a band followed by a DJ followed by a fusion of the two – Porter’s live show. It was like a math equation that no one had done before but made complete sense.
When I arrived at the show, I arrived about 10 minutes into Giraffage’s set and man was he shredding. Brisk transitions in tandem with psychedelic dolphin visuals topped with an energetic presence on stage, Giraffage knew how to direct the crowd. He quickly moved and manipulated his MIDI controller and launchpad playing them both like a keyboard. The pinnacle of his set was a future bass/melodic trap rendition of “Party in the USA” that had everyone singing along.
As the stage was set up, everyone stood antsy waiting for the main event. When the lights dimmed, the crowd erupted in cheers and the 22-year-old producer took his position behind multiple keyboards, virtual drum set, laptop and other midi controllers. His intro was a custom VIP edit of Sea of Voices that led into his famous intro of Sad Machine.
Now, I would give a play-by-play of every detail of the show with a complete tracklist, but the review would be as long as the Human Genome Project so I’ll save your eyes from drying out and hit my favorite moments complemented by my interview.
After asking about the opening acts, I turned to his personal performances. I questioned him about his favorite song to perform and he immediately responded “Sad Machine.” He loved being able to play the piano keyboards while simultaneously incorporating his own vocals. When the intro melody to “Sad Machine” came on, the crowd erupted. Between Porter’s vocals, the stunning visuals, and on-the-fly playing of the song, I knew this concert was going to be special. Porter trickled the keys in a custom arrangement of his favorite song that just sent the feels to the entire crowd. When the pause before the second drop came, Porter jumped up and simultaneously as he fell back to earth steam shot out over the crowd. Unbelievable.
Next came one of my favorite parts of the show. After a crazy 5 minutes or so of “Sad Machine,” there was a brief silence until it was broken by the distinguished vocal hook emanated to all corners of the venue, “Cuz loving you is easy, I’m so in love in every way.” I was sincerely surprised that he had some older material worked into the live show. “Easy” was an adventure. Again, Porter graced the crowd with a custom arrangement of the collaboration with Mat Zo and it was beautiful. What really was spectacular, though, were the visuals. I felt like I was going through a wormhole or teleportation tunnel to a new world. The visuals transported the crowd into a time travel that mesmerized everyone for the entirety of the song.
He then went on to play “Years of War,” “Fresh Static Snow,” “Flicker,” and some new material that really changed the pace of the whole show. Again, the mastermind behind the show astonished the crowd with a section of the show that evoked some nostalgia for the diehard Porter fans. He grabbed for two drum sticks and began banging on the electronic drum set as he played the percussion to a distorted, twisted, hard-core, almost heavy metal-inspired, electro banger that threw us for a loop. It added a great change of pace for the show that allowed the long-time fans of Porter to go hard in the paint.
Personal anecdote: the crowd was an eclectic group of people that you would think you would normally see at a rock concert instead of a group of liberal ravers. I did, however, come across fellow PLUR ravers that were dressed in silver tutus, kandi, furry bear hats and everything in between. It was honestly satisfying to me to see an eclectic group at this concert because that is what this show represents: the merging of rave culture and live music culture.
To end the show, Porter played a beautiful, sentimental rendition of his orchestral song “Fellow Feeling” followed by, my personal favorite, “Lionhearted” to end everything. To say the “Worlds” tour is a once in a lifetime experience is an understatement. Porter has officially changed the game with this show as he fuses the popularity of electronic music with the age-old experience of a live show to create something that everyone should experience.
Now, for my last two interview questions, I asked Porter first, “Who do you think are the other artists changing up the stigma that is EDM?” He responded with an answer that I was not totally expecting. He went on to tell me about how people have it all wrong with the “Worlds” show if they think that it is his goal to change EDM. He’s not interested in changing what EDM is. “Party music is necessary. I don’t hate the genre. I feel that there is a place for party music and a place for live shows. I used to play party music but now I have changed to focusing my attention on a live experience,” Porter says. In terms of artists changing the game, he thinks Flume, Odesza, and Kygo were three artists that were crafting new paths for EDM to branch off to.
To end the interview, I had to go with a fun question and knowing how absorbed in Japanese culture Porter is I asked him what his favorite sushi was. “I really like the inside out rolls with the rice on the inside and seaweed on the outside. I like nigiri as well, the ones with the ball of rice and fish just sitting on top. If you ever go to Japan, you have to get it there. The fish is so fresh. It’s like nothing I’ve ever had before.”
Well, I guess my next vacation will have to be to Japan.
Written by Austin Evenson
Matt DiMona made his debut appearance into my iTunes with his remix of the 2007 Fergie hit, “Glamourous” about a month ago. The LA-based producer calls his sound “feel good house” as he injects glittering synth patterns that create a tropical yet soulful melodies. He turns to the next pop princess, Katy Perry, and gives her catchy original “California Gurls” a west coast revamp. At first, I cringed a little at the vocal manipulation that Matt used as he drops the tone of Katy Perry’s voice to an almost-baritone pitch. But, after circulating the song through my earbuds a couple times, I could feel the warmth of the west coast surge through me as the cold creeps in on the east coast, and now it’s at the top my beach playlist. Matt DiMona’s ability to fuse tropical house sounds with deep, sultry definitely earns him a spot in the wave of tropical rookies to keep an eye on.
Le DJ/producteur français Anaxander prend les commandes de l’épisode 36 de notre série de mixtapes avec une sélection de premier cru.
Avec des releases chez Tasteful Nudes (Chicago), Local Talk et plus récemment sur le monumental label Poker Flat Recordings, le discret Anaxander semble bien décidé à imposer son style raw-House venu tout droit de Chicago, qui n’hésite pas à aller piocher dans différents styles, de l’Acid-House à la Deep-House poussiéreuse et feutrée, au fil de ses EPs et de ses différentes productions.
C’est le pendant musical Deep du projet qu’il a décidé d’exploiter et de mettre en avant sur sa mixtape pour Electrocorp avec une sélection qui fait se jouxter Marcellus Pittman, DJ Gilb’R, Mike Huckaby ou encore Funkinevil qui vient encadrer ce mix avec deux titres « After Dusk » et « Dusk » sortis chez Wild Oats. Il en ressort une heure de ballade House, Jazzy et Soulful à souhait, à déguster sans modération ! Découvrez en plus sur Anaxander en consultant ses productions sur Beatport et Juno Records / Decks. Enjoy!
01 Funkinevil – After Dusk – Wild Oats
02 Marcellus Pittman – 1044 Coplin (Give You Watcha Lookin 4) – Unirhythm
03 Spirit of The Black 808 – Two – Eargasmic Recordings
04 Harvey Sutherland – Rosebud – Voyage Recordings
05 Walt J – Love Petals – Unlearn
06 Patrice Scott – Cosmic Ritual – Still Music
07 Brian Harden – Chicago To Detroit – D3 Elements
08 Leigh Dickson – Sketch Form – For Those That Knoe
09 Deetroit – Deepssential – Unkown Deetroit
10 NWS – Next To Real – Courtesy Of Balance Recordings
11 Dana Ruh – Go To Work – Underground Quality
12 Annie Errez – Xox Tools 1 – Strobewax
13 DJ Gilb’r & Dj Sotofett – Foliage (808 Sax Mix) – Versatile Records
14 Mike Huckaby – Fantasy – S Y N T H
15 Funkinevil – Dusk – Wild Oats
It’s no mystery that Calvin Harris created another hit in his radio single “Blame”, but Chicago-based Good Life have taken the chart-topper and given it the deeper transformation it needed. The pop vocals of John Newman get covered into a down-tempo Tropical house vibe, leaving the track stripped of its big room energy and into a dark and sexier tone. Spreading their “Good Life” mantra, they offer it for FREE DOWNLOAD, and here’s what they had to say:
“Sometimes you make decisions that feel so necessary and so right in that moment you don’t realize that you’re making a huge mistake. That’s what this song is about. It’s about being so caught up in the night and what you’re doing that you completely forget that your actions will linger when the sun comes up. And the only explanation you have is the fact that the night just simply took over.”
Good People + Good Vibes = Good Life
Vermont producer Sasquatch has worked with hip hop beats for a long time now but with the release of his “No Sweat EP” (drops November 11th on Youngbloods as their inaugural release) we hear the transformation into more melodic house.
Discobelle fam Heartbeat(s) remixes the track “When It Rains” into acid influenced house that floats around with a dreamlike soundscape.
NYC night walker, Jacques Renault releases his latest aural assault for the home team at Let’s Play House NYC. The ‘Out Of Sync EP’ features four original cuts that span the gamut of house from the acidic psychedelia of opener, ‘I Like It (Feat. The Emperor Machine), to the 10,000 leagues below deepness of ‘Akron’. B-Side, ‘Make Up,’ is retro in all the right ways while EP closer, ‘M.A.N.’ is the real winner for me here. The blissful pads and funky-worm mono-leads dance over a bed of sparse percussion and a bass line that just won’t quit.
Forthcoming on Let’s Play House NYC. Vinyl – Oct. 27th & Digital – Nov. 10th
We’ve previously featured the fantastic Chicago based producer/dj Kyle Woods here on Discobelle and now we once again get the chance to premiere one of his beautiful tracks.
“Let You In” starts off with a clicking, desolate sounding beat before the soulful and heartfelt vocals of Keiya kicks off along with an uplifting soundscape – albeit with a melancholic twist – that leaves us glowing.
Up and coming, UK house producer, Ben Gomori has been all over my radar this year with his fantastic series of free edits that found homes at sites such as House Of Disco, Let’s Play House NYC and right here at Discobelle.net!
Continuing the free vibes, Ben’s latest, gratis offering comes in the form of the appreciatively titled, ‘Thank You For Dancing’ and is a housed up rendition of some classic Mary J. Bubbly bass, stabby chords and chunky beats… one for the steppers, for sure!
As if this song could not get any better.
View Original Article @ Asian Dan
Nüba (Paris) // jeudi 23 octobre // 18h00-06h00 // Plus d’infos sur Facebook
The Arts Factory Magazine (TAFMAG) et les copaings de Dose Records s’invitent au Nüba ce jeudi 23 octobre ! Ils ont promis que le beau temps sera avec nous sur l’immense rooftop de la Cité de la Mode pour cette 4e soirée du webzine culturel TAFMAG. Le grand toit-terrasse accueillera musiciens, artistes et créateurs, de 18h à l’aube, sous le soleil de ses parasols chauffants électriques. Plus de détails sur facebook !
5×2 places à gagner : pour participer, il suffit d’envoyer un mail ayant pour objet « TAFMAG x DOSE » à electrokorporation (at) gmail.com. Les gagnants seront informés jeudi en début d’après-midi. Suerte, gringos !