[Inserts some cool fact that includes the number 60]. Oh hey there, it seems we have arrived at another milestone for this series! While there’s not much else to say other than a massive thank you to everyone reading, there’s a trove of new records that definitely can’t be sidelined. Artists such as MORTEN, Ilan Bluestone, Magnificence, and more have made this list. Let’s dive into it!
M83 – Oceans Niagara
86/100
Bringing in a refreshing cocktail of dream pop, electro, and indie rock, the French band M83 is anything but predictable. “Oceans Niagara” is their opener for “Fantasy”, their forthcoming album.
Weaving between psychedelic soundscapes full of vibrant guitars and harmonic synths, the track experiments with a medley of hazy, spaced-out instruments over a steady drumbeat. These rhythms get together to give off a hypnotic wave of sound that remains subtly ever-changing, and even without definite vocals, the instrumental doesn’t feel scarce of life or movement.
Magnificence – Rebel Nation
63/100
Returning to STMPD, Magnificence brought the “Rebel Nation”, although there’s not much rebellious experimentation that one could expect.
The latest single from the Dutch act is well-produced technically, only to falter in terms of energy. In a linear bass house structure amply familiar in the label, faint traces of uniqueness can be heard in growling synth stabs and an undulating bassline, being more spare and minimal in its get-up. It doesn’t strike out as boldly odd as the previous records, rather plain and predictable.
MORTEN – The Drill
75/100
Overseeing the evolution of the Future Rave genre, MORTEN has taken a recent liking for modernizing dance classics. Last August it was “No Good”, originally from the British outfit The Prodigy. This time the Danish act turned his attention towards the titular classic from The Drill, an Electro House gem from the mid-2000s.
Taking the most distinguishable element from the record, Morten used the screechy lead (which resembles closely to a default synth preset) over toms-induced bassline and modulated saw synths, a format popular in his signature. Although this revamp will surely do a number in clubs, it somewhat lacks the ingenuity that the hit record tapped with its downright simple, yet greatly euphoric sound .
ay-mill, Földes, Jordan Grace – Could You Be The One
80/100
Initiating his year with a delightful serving of deep/future house, the Swedish moniker ay-mill formed an alliance with native alias Földes on “Could You Be The One”, which has an earnest performance from Jordan Grace.
Receiving support from the likes of Nicky Romero and Fedde Le Grand, the intro instantly hooks with a delicate and emotional breakdown, further credit to the heartfelt vocals. A minute later, the drop pounces in with metallic lead synths fashioned in a funky groove, not entirely leaning toward a particular style. A great pick from the A&R of Generation Smash!
The Chainsmokers x Cheyenne Giles – Make Me Feel
78/100
Being one of the key figures to transition from EDM to pop in the last decade, The Chainsmokers had a successful tenure so far in the commercial and radio-friendly zone. Yet, they seem to be heading back to their roots in their latest experimental track “Make Me Feel” with House genre specialist Cheyenne Giles.
Their return to Spinnin Records after years, this production is equipped with a pumping bassline and stylized with loud brasses, which mostly inclines towards Cheyenne’s signature with a faint touch of the renowned American duo here and there. Still, it seems the upcoming album from the “Roses” creator will be favoring EDM after all.
Cadence x Brooke Williams – Be What I Need
82/100
An impressive deep house record, “Be What I Need” is the latest creation from the Australian producer Cadence and features songstress Brooke Williams. Despite aligning to a simpler blueprint, the instrumental let the enticing vocals breathe life into the atmospheric synths and a delicate agreement of bassline and percussions. It is a featherweight and refreshing experience, not introducing any unneeded sounds that would take away from the airy chorus, while still containing dancefloor energy with its groove.
Ilan Bluestone x Gid Sedgwick – Paid For Love
82/100
Synergizing together with the esteemed alias Ilan Bluestone, British producer Gid Sedgwick came up with “Paid For Love”, a riveting piece of progressive trance and a dash of electro.
Although the opening is with a calm and dreamy ambiance, it is quickly shattered with a bombardment of electro basslines. It later picks up a melodic tone as the vocal enters the scene, giving away a lush breakdown that justifies the “Trance” label with a soft, opening pluck and other melodic synths. The ending presents a more mellow but equally energetic climax, as the vocals and bright saw synths get together for a hypnotic performance.
Perry Wayne – Enterprise
87/100
There’s no denying that Perry Wayne has the most hammering productions in the Dubstep scene. While I already discussed his prior releases, “Enterprise” is yet another proof of what the American producer is capable of.
Set in a dystopian mood, the mentioned single slowly ramps up towards a sinister set-up with a cliff-hanging aura, as an announcement breaks loose of any sanity the arrangements held. Here comes blaring and utterly distorted synths that screech relentlessly, as heavy snares bonk in the center. After this disposition is done, the track returns to that same eerie calmness as if nothing had happened. Simply put, this is a chaos that one needs to witness!
What do you think?
Show comments / Leave a comment