[Electronic] MOONZz x Restless Modern – Navigator

MOONZ_NAV w title
MOONZz x Restless Modern
Navigator

One of our favorite vocalists is MOONZz. When we first heard she was coming out with a new single we were quite excited and after listening to it for the first time, we were even more excited than before. The collaboration with Restless Modern on “Navigator” is amazing to say the least.

MOONZz has big things ahead, but with each step forward she manages to surpass every expectation that fans and industry figures alike have for her. The blending of pop with electronic is not something new or even unique, but MOONZz keeps in her own lane with regard to the two styles, showing off why she is someone to be respected and adored. With “Navigator” we get a whole lot of emotion, something that is never lacking in her work. She isn’t just an artist, she is a storyteller. If you didn’t know that already, you will after listening to “Navigator.” Love it like we do? Get your copy on iTunes.

Related items:

[Electronic] Dooqu – How Long (feat. Trove)

HR080-Album-Artwork-2000
Dooqu
How Long (ft. Trove)

Denmark’s Dooqu teamed up with the Australian vocalist Trove to create “How Long.” The light-hearted, but lively single was just released through the Heroic Recordings imprint. It’s just the type of track you’d expect from the label, but even at that Dooqu did something especially notable with this song.

Future bass is an easy genre to water down. “How Long” doesn’t even come close to being a cheesy re-up on a style that is and has been hype for quite some time. What we get here is something funky and fresh. It’s familiar, but different all at the same time. Trove’s performance on this is a highlight; he makes sure to standout instead of simply standing by and that’s the mark of a special singer. We’d love to hear more from these two, both together or separately, as they each bring something unique to the table. Check out the song, as well as a quote below from the producer and then head over to the song’s landing page for a free download!

I want people to feel they are a part of the different levels of energy in the song. The smooth and relaxing vocal of Trove taking the song in his hand and pushing it to its maximum. It surprises you when the drop hits, but somehow it feels so expected anyway.
– Dooqu

Related items:

[Electronic] Manic Focus – Putting All Of My People On Feat. ProbCause

Manic Focus Probcause
Manic Focus
Putting All Of My People On Feat. ProbCause

As we inch closer to the release of a new album from Manic Focus, we get another single from the Chicago producer. “Putting All Of My People On” has the beatsmith going a bit more hip-hop focused alongside ProbCause for a saucy trapped out single.

Hip-hop has always been an influence in works by Manic Focus, but here he really narrows in on the style, bringing in a dynamic, yet thuggish instrumental that shows a veteran understanding of rap beats. It’s more than a simple beat, it’s an entire song in itself, but to sweeten the pot we get some ingenious lyrics on top. Blending these genres together has been done before, but Manic Focus manages to show why he deserves your ears over other talents. We can’t wait to see just what the album has in store, but for now you can purchase “Putting All Of My People On” through iTunes today.

Related items:

[Hip-Hop] Exmag – Touch feat. Jubee

exmag
Exmag
Touch ft. Jubee

Exmag is back. That should be enough to get you excited. “Touch” is their new single off Majestic Casual that features the emcee Jubee. This funky, hip-hop infused original is just what both the electronic and rap worlds need to hear at the moment. Fresh, fun and fevered, this is one hot single.

The three members of Exmag and Jubee work incredibly well together. Jubee is familiar with the funky future style that Exmag brings to the table so it is not surprising that his performance on this record sounds so fluid and perfect. What makes “Touch” so palpable is it’s organic sound, one that could easily be reproduced in a live setting. From start to finish all we encounter is pure fire, from every tone of the beat to every syllable of the lyrics. “Touch” is currently available, so head over to iTunes if you would like a copy for yourself.

Related items:

[It’s Almost Summer] NoMBe – Freak Like Me

nombe
NoMBe
Freak Like Me

For this moment–this one right here–I’m going to pretend that global warming isn’t happening at an alarming pace, instead, choosing to soak in the sunny rays of Denver’s unprecedented 80 degree weather. My soundtrack for this near-summer day? NoMBe’s “Freak Like Me.”

I can see it all now: pool parties, BBQs, rowdy rides to festivals, and epic nights out on the city. Those warm-weather visions are currently being brought to life with this catchy-as-hell arrangement of playful, funky guitar work, emphatic kick drums and spiraling toms, and cooler-than-the-other-side-of-the-pillow vocals.

If you’re not hip to this Angelino just yet, now’s the time to get acquainted. He has a healthy stable of tunes ready for you to dive into, so get to it already!

Related items:

DAUNT – Unbearable Light [TMN PREMIERE]

17408190_10208905678979896_962178254_o
DAUNT
Unbearable Light

“Unbearable Light” gave me such a blissful, encompassing experience. In only a matter of seconds, the deep, brooding synths, simplistic percussion pattern, and light, spattering of piano keys had me well inside my own psyche, enjoying the depths I was receding into. And that was all before I dug into the lyrics and vocal cadence.

Drawing on comparisons of Bob Moses and Ben Gibbard (Death Cab for Cutie/Postal Service)–whom I consider the one of the best songwriters of our time–this up-and-coming Londoner has my attention piqued. His previous releases elude to the fact that the quality is steadfast, far from a one-hit flash-in-the-pan. Each provide a gorgeous simplicity, tapping us on the shoulder to relish the beauty of a well-crafted song.

With a bevy of influences from hip-shaking hip-hop beats, timeless, soulful rhythms and iconic disco bass lines, as well as the genre-bending artists like Beck and Glass Animals, it’s safe to say we’ll continue to see Daunt pushing the boundaries.

If you find yourself in London on April 26th, make sure to head out and catch the his EP launch show at The Waiting Room.

Related items:

Delving Into The Mind Behind JNTHN STEIN’s “Changes” EP [TMN Interview]

DSC_0308-v3 (1)
JNTHN STEIN
Changes EP

Ableton Push spokesperson and Team Supreme co-founder JNTHN STEIN recently released his latest EP Changes, also remixed by fellow Team Supreme artists Mr. Carmack, Djemba Djemba, and Penthouse Penthouse, featuring a melding symphony of electric guitar, bass riffs, innovative production, synths, delicate jazz piano and vocals. His abilities created a layering masterpiece that exposes the intimate workings behind a mind capable of exposing sounds and textures that we didn’t even know existed. We got the chance to talk to Stein more about the EP and the beginnings of his musical career, check out his detailed insight below and be sure to stream or download here.

TMN: You attended the Manhattan School of Music which is awesome, so many great producers have come out of that school, before this though when did you pick up your first instrument and which one was it?

JNTHN STEIN: My first instrument was actually clarinet, and I started playing it when I was 12 so as to meet my middle school band requirement at the time. However, the first instrument that began my obsessive and passionate relationship with music was the electric bass, which I started at age 14.

TMN: Were you self taught or given lessons when you first started?

JS: I taught myself as much as I could for about a year before taking instruction. I enjoyed learning my favorite rock basslines at the time by listening to records and just being patient. I’m incredibly grateful for all my time spent with great teachers however, they kept me focused on the most universal and versatile applications of music through the respective instrument, and on the path of taking care of my body most importantly. Musical instruments can be very physical, and the most valuable thing I’ve taken from them was playing with as little labor and ergonomic stress as possible, so that I can keep playing them for the rest of my life with comfort and happiness.

TMN: How do you think MSM shaped you into the producer you are today?

JS: My studies and experiences at MSM gave me a broad vantage point on the history and trajectory of music over the span of 1000 years, and helped me understand that, not only is change and evolution incredibly important to the development of art and the society it reflects, but simply inevitable. Everything that has been, from when man first struck a rock with a stick and called it a drum to the hyper-eclectic world of digital/electronic recorded music of today, has been one linear trajectory, and it will keep changing drastically for all of our time. No matter how much tradition and pretense you study and observe, the end result always points to a path of perpetual and sometimes chaotically arbitrary forward progress and constant cultural imaginative innovation, based on understanding the established rules, and then breaking all of them.

TMN: At what point in your studies did you think to start branching out from classical music?

JS: I had always been pretty all over the place aesthetically since I started making music, from growing up in the hiphop/funk-rich city of Oakland to my parents taking me to see the living jazz greats play live whenever possible. However, while at MSM I was taking the seemingly tried-and-true path of the orchestral musician, despite me knowing that it would be at the expense of my creativity and spiritual freedom deep in my heart. By my third year in school, I had reached a personal unprecedented cynicism on the musician’s life and morbidity of life altogether. I felt that, despite all my efforts and passion, my voice was so small and would never be heard from this small bubble inside the big picture of music, let alone would I ever get to say what I truly wished to express. So, I started to casually make beats on Garage Band for the sake of escapism, and then Ableton upon getting my first cracked copy. It didn’t take long after for me to see the limitless creative possibilities with this medium, and connect the dots to its already established and blooming accessibility. That summer I realized that this would change everything, for myself and my music making, and for music as a whole.

TMN: You play each instrument yourself in your EP – Which ones can listeners find if they listen closely? Any hidden ones?

JS: It’s no secret that I use a lot of organ and rhodes in my music. I suppose the catch is, both of these are instruments I designed in Ableton, and perform on Push, along with the rest of the EP’s synth and drum work. I also use a lot of guitar, and the fun fact there is that all of these parts are played on the higher strings of my 7 string bass.

TMN: What was your introduction to the electronic side of music?

JS: Sophomore year at MSM, my ears started to wander to the nuances of programmed drum loops, particularly J Dilla. There was a soothing constance and cyclic rigidity, yet the feel was still so dangly and reclined while simultaneously being snappy and forward-pushing, it was an awesome combination to me that created a bounce that swung your body back and forth like a gelatinous stick figure. From here I grew to appreciate the production of popular music such as Timbaland and Pharrell through their simple yet sultry, smooth and seductive use of harmony, and soon after the brilliant timbral range of synthesizers through artists like Kaskade and Skrillex, and the raw boundless textural atmospheric possibilities through Flying Lotus and Toro Y Moi.

TMN: You worked closely with Ableton Push as a spokesperson, which resulted in your Berlin EP – how did that collaboration come about and what was the best part about it?

JS: I was first introduced to Push the summer of 2013, and immediately connected with it because of its guitar/bass-inspired keyboard layout. I took the risk of using it in a show with Team Supreme in LA, and there happened to be an Ableton artist rep in the audience whom I’ve become great friends with and was nice enough to offer me a Push in exchange for feedback. The next year and a half was spent getting to know Push as closely as possible through my music production. Finally after this period of study, I had the pleasure of meeting the creator of Push itself, and had the chance to show him how I used it. Our afternoon together ended with him inviting me to film a video of me making music with Push for Ableton. The video was filmed in Berlin some time later, for which we did three takes of me making a song from scratch for two hours each. The third take became the video they published, but additionally I thought it would be fun to release all three of the songs created as an EP and simply name it after where it was made, a city that I loved for its raw outspoken stand on social and artistic freedom, good coffee and food.

TMN: Do you think producers that have classical training or are able to play an instrument have an advantage over producers who don’t? Why or why not?

JS: The most wild imaginative sounds I’ve heard have come from some of my friends who’ve never touched a physical instrument before. The new instrument is the laptop and the DAW, and it already has its own virtuosos. But, while you can be an incredible beatmaker with this instrument and knowledge alone, to truly tap into the whole cultural amalgam that has been built from day one and led to the musical idioms we have today and project the ones to come and use this to try and make the songs that might change the world for the better, I like to think it helps to have experienced how music was made before the computer. While timbre is very much at the front of recorded music today, it functions on top of the foundation of rhythm, melody, harmony, and the iconic nostalgia-inducing sounds of strings, horns, drums, guitars, keyboards and piano of older times, that will never ever fade and become irrelevant because of how acoustically unique and imprinting they are. Nothing excludes anything else, I’d like to see how far we can go with computers, instruments, and of course humans working together endlessly.

TMN: As a member of the Team Supreme collective, how does it feel to have such amazing artists that you know personally remixing your EP?

There’s truly nothing better than your best friends being awesome musicians that inspire and awe you with their diversity and unique imagination in the downtime of you goonin and just being perpetual kids with them.

TMN: Where did your inspiration and ideas for your Changes EP come from? Are you someone that comes up with melodies in your head before you lay them down? Do they come from sounds you hear, or certain influences etc…?

JS: I consider myself an empty jar when the music process begins, the moment I form preconceptions I become anxious and feel restricted. I like to push record, turn Push on or put my bass in my lap, and just follow wherever my fingers take me in real time, and then edit it all into cohesiveness afterwards. I suppose the sounds of my muscle memory and subconscious come from everything I’ve ever heard, jumbled into a tasty music stew in my brain.

TMN: Lastly, what can we expect from you in the future, maybe an album or a tour?

JS: You can absolutely expect more EP’s as well as an album, a North-American tour starting in mid April, more music to come for a long long time, and most importantly, you can expect me to always go through ‘Changes’ 😉

Related items: