As we’ve settled into 2019 and labels have begun regularly releasing tracks again, we’re greeted by a surprising shift by Doorn Records, a lackluster Generation Hex EP with one exception, and another solid release from DIFFERENT Records. As always, we’ll be partnering with The QR Network to compile a short recap of notable tracks that we didn’t have time to cover during the previous week. We hope you enjoy our selection and if you have any tracks you’d like to see here, please feel free to use our contact form or post your suggestions in the comments.
Sander Van Doorn & Frontliner – One Love (feat. KOCH)
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“One Love” is definitely a shock to see for the longtime fans of Sander Van Doorn and his label. While he’s collaborated with hardstyle artists before, this one with Frontliner marks the first venture into psy-trance. There is a bit of Sander Van Doorn’s trance days, but this appears to be something straight out of left field. The second break features a full-on hardstyle section which took me by surprise and elevated the track to the next level. Then the second drop hit and didn’t build on that energy or momentum at all, settling for a generic psy drop with some hardstyle melodies lightly infused. Had the second drop lived up to expectations, this could have been a promising start to the next chapter of Doorn. As Spinnin’ currently has no designated labels for the ever-growing genre of psy-trance, we’ll be waiting for the label’s next release with bated breath.
78/100
High ‘n’ Rich – No Limits
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Coming off a strong finish to 2018 with releases on Revealed Recordings, the United Charity album, and Future House Cloud, High ‘n’ Rich has scored his first Spinnin’ Records release under Don Diablo’s imprint, Hexagon Records. Hands-down the most unique track of the Generation Hex EP, “No Limits” is a tour de force of High ‘n’ Rich’s fantastic melodies and impeccable sound design. The first breakdown is hypnotic and wonderfully futuristic feeling. There’s a real sense of momentum and progression leading into the first drop. The build stunts that growth for a few second before the fantastic drop arrives. It appropriately carries on the triplets from the break and features all of High ‘n’ Rich’s best quirks and tricks. It does go on for one repeat too many in my opinion before the tempo change in the second breakdown which is a wonderful departure from the norm. Full of nostalgic disco percussion and pads while building on the melodies of the first break and drop, it would be a pleasant section to hear in any mix or show. The second drop is uncharacteristically similar to the first up until the first repeat which has an excellent variation on the main melody to close out the track. Hopefully this release opens up many doors for the aspiring artists and perhaps collaborations to blend his sound with other noteworthy producers.
86/100
Kenneth G & Sheezan – Bring the House
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Essentially two years without a release, if you don’t count the lightly edited ID released with MOti and Olly James, Kenneth G has come back to release… well a track that’s under two minutes long on his frequent collaborator MOti’s label, Zero Cool. It’s bass house with a similar vibe as his last true release on Heldeep. It revolves around a heavily used acapella and adds a few more samples which I suppose is yo make it count as a track at all. It’s an overwhelming disappointment and some of the laziest production and arrangement I’ve seen in a major release this year. Hopefully we’ll be seeing more of the once-beloved producer but with a track that is truer to form.
47/100
OUTRAGE & TBR – Here Tomorrow
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Premiered by W&W almost three months ago, the long-awaited collaboration between OUTRAGE & TBR is finally here. I’ve been humming this song ever since I heard it for the first time on the radio show. The vocals from Kele Le Roc are extraordinary and expertly managed. The hardstyle-influenced breaks carry on the melody from the vocals and create the perfect harmony and nail home that melody to ensure that you too will be humming it for days to come. The drop is tight and utilizes some more hardstyle motifs and has a surprising amount of bass for a song made in the difficult key of C. The second breakdown puts a different spin on the first with percussion and brings things home for the second drop. There is also a VIP version of the track that has a different drop which would have been ideal to use instead of having a slightly elevated version of the first. Regardless, Quartzo scored a real gem with this track.
88/100
Matroda – They Call Me
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After clearing his Instagram page of old posts and unfollowing everyone, Matroda has released his first track of this self-proclaimed “Next chapter.” However, while there are subtle differences in kick choice and handling of the bass, “They Call Me” distinctly feels like a Matroda track without adding anything particularly notable. While this isn’t a bad thing by any means as he has one of the most recognizable and enjoyable sounds in the genre, it just makes you wonder what all the hype was for. “Lambo” was a much bigger departure for the artist and could have signified a much larger shift for his sound. In the end, “They Call Me” is another great addition to the Matroda discography but should have been marketed as another track rather than the next chapter.
78/100
Jeff Retro – Isle of Man
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“Isle of Man” is the fusion that EDM needs more of. Celtic music is so inherently danceable so I don’t understand why more producers don’t sample the bagpipes or fiddle like Jeff Retro has in the aptly titled track. The breakdown is the true start of the show here as it as you hear the drone of the bagpipe meet the risers leading into the absolutely killer melody that follows. The percussions are appropriately empty leaving room for the pipes to shine before joining forces with the festival-ready melody that lead into the second drop. Unfortunately, the strong Melbourne bounce bass here comes across as a bit too loud in the mix and doesn’t allow the melody to shine. I also wish that the bagpipes had been brought back into the drop for a second round of fun, but alas we only get a typical outro here. The comparisons to Vinai’s old styles are certainly warranted here as they are the face of mainstream bounce music, however just the simple fact that Jeff Retro has incorporated historically successful Celtic music into a well-made, if not poorly structured, EDM track makes it stand out from the pack.
84/100
Tim Gordon & 9lives – Cyclop
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By far the most interesting release from Loca Recordings since its second revival, Tim Gordon and 9lives have released quite the dynamic big room track. The extended build to start of the track is better than most but of course we always prefer to see two proper breaks in a track. The base melody for the drop is fairly simple but the amount of effects and variations gives the track a leg up. There are some striking similarities to KEVU & Bad Nelson’s track, “Papooya” as they’re both in the same key and use similar melody and rhythm tactics. Back to “Cyclop,” the breakdown bears 9lives melodic touch from his traditionally progressive tracks. The second track is significantly different than the first which is always welcome and encouraged. The triplet section is particularly powerful. Overall, while it may be slightly derivative, this track certainly breathes new life into the resurging label.
81/100
Noisebreaker & D-Bunk – Living for the Night (Kroshwell Edit)
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DIFFERENT RECORDS is back with another noteworthy track, this time venturing into dark progressive territory. Starting with the flaws, the structure could have been rearranged in order to make the most of the original vocals from Jex Jordyn and melodic talent of all the names involved. Starting with a buildup and having the non-conventional outro threw me for a loop as a listener and DJ. Qualm aside, the second breakdown is certainly the highlight of the track as the melodic subtly plays underneath the vocals. The drop itself is fascinating combination of dark progressive and future bounce as there is a Brooks-esque bass underneath it all. Overall, “Living for the Night” has some truly incredible and unique elements to it that was marred by strange structural voices.
82/100
Kura – Nothing Else Matters
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In his first track of 2019, Kura has come out of the gates with we’ll be calling nouveau-house from here on out. The track starts off with a fairly barebones buildup and sample pack vocals leading to a full and clean club track. It’s groovy and has that inexplicable quality that just makes you want to dance. The breakdown has some tropical percussion melodies along with some lightly distorted pads to provide the chords. The vocals really nail home the namesake which could be euphoric in the right setting and positioning in a mix, but could be annoyingly repetitive if you weren’t already feeling the song. The second drop is the same as the first with a splash of white noise. Overall, it’s an interesting direction for Kura as he navigates the new streaming landscape.
76/100
Karasso – Scared to Lose You
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“Scared To Lose You” is a nice progressive release by Karasso with a bouncy drop that delighted me. Its dynamism and the harmonius vocal are two strong elements that makes it rather enjoyable. The melody doesn’t show its full personality in my opinion, but satisfies the listener enough for a good rating.
77/100
We hope you enjoyed our recap of selected songs from last week. If there is a song that you felt should have been on here, be sure to leave it in the comments below and we’ll do our best to give our take on it. Certain songs were not included because they will be covered in more detail in the following days so make sure you’re following our social media pages to see all of our latest posts!
Beyoncé – Halo (LeNERD & SAYVERE Remix)
DubVision feat. HANDED – Are You Listening
ReOrder ft. Emma Chatt – Alive Tonight
This recap was provided by The QR Network which is a site for interviews with producers and DJs. Check out our interviews with Syzz, Jex Jordyn, 9lives, Arlow, KAAZE, and Chad Kowal.
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