This week we have an odd selection of tracks as we revisit two classic tracks that have been revamped for 2019, a “new” Dirty Dutch track from Afrojack, and checking in to see what’s going on in the world of EDM Pop. 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 post your suggestions in the comments

Afrojack – Bass is Kickin’

One thing we frequently have to deal with is the balance between nostalgia and innovation when it comes to EDM. 2018-2019 is certainly an important year when it comes to big room as it struggles to capture the streams it once did or compete with rival genres for attention. Afrojack, one of the kings of Dirty Dutch music, has continued to release a decent amount of tracks in that genre, but has also diversified to other types of bass music such as trap and pop alongside mainstream vocalists. There’s of course nothing wrong with going in a new direction, but whenever you return to what you’re most known for, it should be something memorable. “Bass is Kickin’” is the bare minimum of what any track should be. It’s exactly two minutes long with only percussive drops and a generic Dirty Dutch drop, filled with a lead, percussion, and kick we’ve heard plenty of times before. Even recently with Quintino and Hardwell’s collaboration, but at least they injected some old Hardwell sound in there to make it a bit more modern. “Bass is Kickin’” is just a lazy excuse for a track, lacks any form of substance, and should have been a free release.

34/100

Julian Jordan – To The Wire (SIKS Remix)

As Steff prepares for a new release tomorrow, this time stealing the sound from Foxa, I wanted to quickly talk about Siks. Siks is largely believed to be the source of Steff Da Campo’s signature sound and has now just released his own sample pack featuring those same samples for any other producer to purchase. We’ve already seen others pick up on the style and implement it in their own songs. Surprising names like Dirty Ducks, Tom & Jame, and We AM. Here with this official remix, Siks seems to be laying claim once again to his sound and he does so with notable flair. If you weren’t a fan of the style, this remix is not much different. It seems to call back to “The Sky,” which came out in May of 2018 as they share the same key and a similar melody. He adds a bit of white noise which gives the track a bit more power and elevates it above Steff’s usual fare. In the end, if you like the style, this is one of the best iterations of it, but if you’re tired of it by now, it’ll just sound like more of the same.

72/100

Tujamo – Hell Yeah

For the past seven years, Tujamo has used this particular sound in many tracks since. How many is probably going to be the subject of a future solo article. Regardless, this is the third release by him on Smash the House and it’s about what you expect. A somewhat catchy vocal paired with that brass hit we’ve heard for years. There’s certainly room for evolution but if it ain’t broke… Hopefully the market will start pressuring these producers to evolve their sound and innovate.

50/100

Osrin – 20 and Lost (feat. Elvira)

Watching Osrin grow as an artist and shift genres from big room with SaberZ to future house track and now settling into pop has been quite the trip. I also admire him for keeping up all of his old tracks on Soundcloud for new fans to track his progress over the past four years. Now with his steady home at STMPD, he’s settled into a solid groove. This latest track with Elvira has lyrics with some nuance and depth to them which makes them resonate with a particular audience. Osrin does a great job with conveying his own voice through the production to make it a duet between him and the singer. It’s quite a feat and a welcome addition to the diverse STMPD discography.

84/100

Joe Ghost – Say It Ain’t So

The first producers I ever started following in EDM was The Glitch Mob after “Fortune Days” came up on my Pandora station all those years ago. In other interviews, they said that they’re one of the rare groups who actually generate the majority of their revenue from album sales rather than touring. Part of the reason is that their custom setup is so intricate and expensive that they end up breaking even over the course of their tour. Anyway, their music is truly in a league of its own and exists within its own bubble. Not often do we see major releases influenced by their music, but that seems to be the case here with this surprising gem from Joe Ghost. The last time I noticed that name was with his unique collaboration with MOTi back in 2016. He recently teamed up again with MOTi for a disappointingly lackluster generic release. Now with “Say It Ain’t So,” an official cover for the Weezer song of the same name, he’s really gone above and beyond with his production. Switching over to female vocals works really well for the track. They’re credited to Michaela Renee, who appears to be well on her way through the industry. Back to the instrumentals, the main lead in the drop reminded me of “Enter Formless” with its pitch bending and strength. It pairs with the vocals in a similar way as well. It’s very modern and very powerful. Props to Joe Ghost for taking this fifteen-year-old song and bringing it into 2019 with a fresh spin.

87/100

Nikademis – Our Season

Over the past year, Glow Records has been releasing a diverse lineup of tracks from progressive to big room and midtempo to future bass. Nikademis has returned for his second release on the label and it’s quite refreshing. “Our Season” features original vocals from a singer who wished to remain anonymous. They’re lovely and airy, a perfect compliment to the west coast instrumentals. The drop features the type of Don Diablo/Sagan pop style we’ve been seeing more of over the past year. Together, it makes for an enjoyable, road-trip-esque track that’s perfect for streaming. It’s refreshing to see these newer labels rise up and really put the effort into properly promoting their tracks in this new streaming climate. Glow Records has found its footing and proved itself a competent player in this market.

83/100

Raiden – The Only (feat. IRENE of Red Velvet)

Another trend that is worth noting is the increasing fusion between EDM and KPOP. Most notably, we’ve seen Steve Aoki putting his name alongside some of the biggest idols and introducing them to the EDM audience. Seeing his remix of “Mic Drop” was actually the moment when I personally realized just how powerful this KPOP movement really was. Since then, we’ve seen Folded Dragons’ collaboration with SoRi making all sorts of global charts and how we have this new one from Raiden with IRENE of Red Velvet released on none other than Protocol Recordings. Raiden is a familiar face for the label and it’s great to see him supporting his home country with his music in a very direct way. I wouldn’t consider myself a KPOP fan, per se, but I also have nothing against it. The vocals are soothing albeit a bit generic to my ear. The drops are notable for their woodwind-like synth and tastefully bright elements. Overall, it’s a fascinating direction for both Raiden and Protocol.

76/100

Martin Garrix – Summer Days [feat. Macklemore & Patrick Stump] (Ragunde Remix)

Seeing the influx of remixes for Summer Days is certainly expected from any song with Garrix’s name on it. We saw Tiesto’s “Big Room,” which is always a laughable label. You think someone as seasoned as him would know which genre his own music is. Anyway, the best remix I’ve seen by far is this one from Ragunde. It’s a typical festival remix but its breakdown is so beautifully done as the hardstyle synth marries the vocals. The drop is a big generic but well-produced.

82/100

Nero – Promises (Teminite & The Arcturians Cover)

It takes a lot of guts to remix a verified classic like Promises. The original song is held up by nostalgia and honestly hasn’t aged too well otherwise. To have such promising talent like Teminite and The Arcturians remix this track couldn’t have been a better fit. Teminite says he “was heavily inspired by Flux Pavilion for the first drop, and his squeaky bedroom door for the second.” However, the first thing that should be mentioned are the cover vocals from The Arcturians. They transposed the key of the track over to C minor from A minor and it just makes the vocals sound off. It’s the same melody, but after hearing the original for just short of a decade, it just doesn’t feel right. Vocals aside, the instrumentals probably could have stood along as a perfectly decent track. He’s right to say the second drop sounds like a squeaky door. I enjoyed the rock elements but the new bass elements feel out of place and unnecessarily offensive. That seems to be the theme of this remake. Everything just like it was put together in an odd sort of manner, taking the song two steps forward and one step back.

71/100

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! 

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This recap was provided by The QR Network which is a site for interviews with producers and DJs. Check out their interviews with We AM, Dirty Ducks, Pessto, Cat Dealers, and Jon Casey.

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