[Electronic Bliss] Kenton Slash Demon – Harpe

Kenton Slash Demon

The capacity for emotional power within an instrumental composition should never be underestimated–a sentiment interestingly, and perhaps ironically, shared equally between fans of electronic and classical music. In fact, it could be argued that undeciphered abstraction leaves more room for personal and spiritual connection to a song. This couldn’t be more evident on “Harpe,” the latest single from Danish production duo Kenton Slash Demon, which is also one of their first official releases as recent signees to Australian juggernaut Future Classic. The label’s roster already boasts one of the most diverse collections of pioneering artists (Flume, Chet Faker, George Maple, Ta-Ku, Hayden James, Jagwar Ma and the list goes on) and their latest addition proves no different.

“Harpe” spans nearly seven minutes utilizing a stuttering, psychedelically-altered vocal sample backed by atmospheric pads and a steady house tempo to completely engross the listener with a repetitiveness that, at least for me, evokes a feeling of unrelenting reincarnation. That groove hits an interlude of suspension before returning with even more intricate textures. It’s an absolute musical odyssey that simultaneously elicits euphoria and darkness in a way that’ll connect with you in ways few tracks can.

Looking back at Kenton Slash Demon’s Soundcloud page, it’s clear why Future Classic chose them as their next project. If you’re digging this, we’d also highly recommend giving their Skydancer EP a listen.

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[Electronic] Moon Boots – Utopia Feat. Janelle Kroll

Moon Boots
Moon Boots
Utopia feat. Janelle Kroll

Moon Boots goes a bit tropical with his new single “Utopia” featuring Janelle Kroll. The American act’s zero gravity style takes a melodic route down a soft, radio-friendly path. Moon Boots paints a minimal soundscape that Janelle’s voice takes over for a magnificent musical package. They’re a match made in heaven, which had to be the case given the name of the record. They truly build a musical utopia that listeners can bask in as long as they’d like, all for free too. Despite it’s tropical influences, it’s not some straight up Kygo stuff, Moon Boots creates his own niche sound that is a chill paradise. Moon Boots continues to impress, and look out for the producer to keep it up through the end of the year, and onto the next.

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[Electronic] Gallant – Weight In Gold (Louis Futon Remix)

Weight In Gold (Louis Futon Remix)

Gallant‘s “Weight in Gold,” and all his music thus far for that matter, has been hitting the Internet with waves of emotion in recent months inspiring top producers to take a stab at remixing his heart-wrenching sound. Philly-bred producer and TMN favorite Louis Futon is the latest to take on the instant classic but, rather than try to completely change the original’s vibe, he accentuates and elevates its most powerful moments taking it to new heights. Injecting his enormous sound, Louis Futon makes probably our favorite flip yet of the hit single. Try this one out for getting you over the mid-week hump.

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[Indie] J Motor – Jungle Daze

J Motor
J Motor
Jungle Daze

Sydney Australia’s intuitive songster J Motor came out with a new track recently called “Jungle Daze” that pins elephants and humans on the same plane. In honor of the #IvoryFree cause, J Motor created this hazy indie original and released it for free. The name of the the track perfectly describes its sonic qualities, and yes, you’ll get some jungle sounds in this composition. J Motor delivers an overly calm creation that paints a riveting, yet simple soundscape that is an abyss of beautiful tones. If you’re not already in support of #IvoryFree, you will be after hearing this amazing song. J Motor’s Soundcloud is fresh, with only a handful of tracks, so expect more from this guy in the near future. There’s incredible talent in his home country, but he is an artist to definitely keep both eyes and ears on from the land down under!

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[TMN Interview] How to be Hard Headed: GANZ on his Vision and Path to Success


The ever shifting musical landscape of today lends itself to short memories and drastic overstatements. Albums are placed in the upper echelons shortly after their debuts, and claims of dominance fly constantly, portraying musicians as the literal godfathers of their respective genres. Part of the blame is shouldered by writers; an over reactive bunch who tend to go a bit overboard in backing their favorite artists. “Godfather” might be a bit of an embellishment, but in the case of Dutch producer Jordy Saamena, it would not be entirely hyperbolic to claim that he spawned an entirely new production style two years ago – one that has sparked a new wave of artists emulating his early success.

Saamena, who has situated himself as a internationally known producer under his stage name GANZ (pronounced gans), took the attention of the electronic music world through the release of his unique remixes – coined as “flips” – dating back to February of last year. While at 1015 Folsom in San Francisco on the first of an 8-stop North American tour, Jordy and manager Dennis Saamena (his older brother) were gracious enough to take some time after his performance and give The Music Ninja a run down on what the past two years have been like, the release of his label, and what he sees for the future of GANZ.

Continue reading

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[Indie-Pop] Memoryy – Feeling Sinister [TMN Premiere]

Feeling Sinister

Last landing on our pages in February with effervescent synth-pop single “Eternal Sunshine”, Brooklyn based Memoryy has once again set his wings down behind another slice of indie-tinged alt-pop. “Feeling Sinister” is the latest from Memoryy, and just one listen to the 80’s dipped synth work, subdued horn section and fleeting hooks had us falling all over again. Memoryy effortlessly rolls on midtempo pop structures injected with a contemporary blast of tasteful shoegaze and dream-pop; which has us dialing up comparisons to artists as current as Tanlines & Twin Shadow to as far back as New Order and even Peter Gabriel’s art-housiest expressions. “Feeling Sinister” doesn’t end just instrumentally either, featuring a soaring refrain played off of subtle pop backing harmonies, acting as the glue drawing all of “Feeling Sinister” together as a single movement. With Summer temperatures rising stateside, Memoryy’s dropped a perfect addition to all of our roof, pool and beachside parties, and it’s be more than wise to follow suit.

About the tune, Memoryy shared with us: Feeling Sinister is a song that just reminds me of hot summer nights. It’s also the first Memoryy song to have a horn section on it – an inspiration I’m not ashamed to chalk up to one of my fave guilty pleasure pop songs, Go West’s ‘The King of Wishful Thinking’…. Although they used synth horns & co-producer Brothertiger got his trumpeter buddy Dave Levy from Bombrasstico to come into the studio…  Every time I hear the song now I’m transported back to the feeling of hearing that solo for the first time – breathless & magical.” It certainly is. Stream “Feeling Sinister” above ahead of an official August 14th digital release through iTunes (preorder link here) and before anyone else in the form of a shiny ‘TMN Premiere’.

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Cazzette Talk the EDM Movement, Finding Artistic Freedom and their Upcoming EP [TMN Exclusive Interview + BTS Video Premiere]

Together (Till The Morning) Feat. Newtimers

I can still remember vividly hearing my first Skrillex song in a hazy dorm room about five years ago–it was around the same time that “EDM,” to some people’s chagrin, became an unstoppable force in mainstream music. For the college kids of that generation, like myself, it was an exciting moment hearing a completely new genre of mind-altering compositions. While frantically looking for all the EDM I could find, I stumbled across a Swedish duo by the name of Cazzette, who created an enormous dubstep remix of one of my favorite songs at the time, “Monster” by Kanye West.

As Cazzette rose to popularity, they signed with legendary manager Ash Pournouri, who’s best known for helping launch Avicii‘s career, and ended up supporting Avicii on his world tour when “Levels” was making him a household name. Just as with every new wave of music, though, EDM eventually hit a pinnacle of commercialization that began taking away from the artistry and originality that once made it so enticing. In the last five years or so, the term has become tied to a negative stigma–some detracting rationales more valid than others. Meanwhile, a number of the popular artists at the time’s music started sounding the same, with only few emerging from the EDM bubble with a distinguishable style.

Cazzette have seen EDM from its inception to its current, somewhat stagnant, state working to push their music forward exploring various soundscapes along the way. EDM’s legacy resonates, at least to some degree, in almost all genres today and electronic music, in general, is in an absolutely fantastic place thanks to the path it paved. In recent years, Cazzette have shown a determination to break free from classification and their upcoming EP, Desserts, sees the two escaping the constraints of EDM, instead focusing on pure grooves across sub-genres of electronic music. Artists are often at their best when they abandon genre restrictions and that’s exactly the crossroads where Cazzette stand now.

We were lucky enough to chat with Alex and Seb of Cazzette and it’s a fascinating, candid retrospective on the EDM movement as well as a powerful story about the artistic freedom displayed on their EP. Enjoy the interview below as well as the premiere of a behind the scenes video about the making of the track “State of Bliss” from the forthcoming project, which drops on August 14th on Spotify and August 28th on iTunes.

TMN: Can you tell us a bit about your first experiences with music—whether it be your parents playing you a record or the first time you tried an instrument.

Alex:  So for me, I’ve always been around music. I never played anything–like I never went to school for piano or anything like that but I think one of my earliest memories of music was being in the car with my dad and I remember we arrived to where we were going and I had to stay in the car because I had to keep listening to that Michael Jackson song “They Don’t Really Care About Us.” I think that’s like, well that wasn’t necessarily electronic music but that’s like one of my first memories of feeling like, music is so amazing, you know?

And then for electronic music I think, I must have been in high school and I went to this super lame disco and some techno song was playing and there were lasers and stuff. I was just really, like, hypnotized by that and after that I started DJ’ing and producing.

Seb: Yeah I think Michael Jackson was for everybody–for many kids in our generation, that was the shit. So that’s my first memory, but then how I got into electronic music was through my dad who always played me house music, trance music, like psych-trance, all this kind of weird stuff. And I think that’s how I got my interest in electronic music. it’s pretty much the same story for me as Alex, my dad introduced me to everything when it came to electronic music. And my mom also had really good taste–she listened more to like Prince and stuff like that.

TMN: When you guys first linked up, it was online, right? What drew you to each other’s styles?

Alex: Yeah, I think we found interest in each other’s music pretty early. We just started talking and sending demos back and forth. We’re a lot alike in the way that we didn’t really think about “Oh I do this genre, you do this genre”–you know like 2 separate genres. And then we started being influenced by each other. But this was more casual, you know, we were both like let’s just make music.

TMN: Can you talk a bit bout the landscape of electronic music back then? Because it was so different with EDM not quite being a full-blown movement yet.

Alex:  Yeah, it was very different. I mean now it feels like you know, every third person you meet is a DJ, right. And it’s a little bit different–I mean I remember watching videos of Axwell and Ingrosso and those guys, they were playing these shows and there were maybe 600 people there or something. Everyone was just going nuts and it was a completely different atmosphere. I’m not saying that it’s worse now, not at all. I think it’s great that it’s available for all these people because I think music should be available for everyone. So it’s awesome. But it’s just different, it was just more underground in a way.

Seb: For me it was very different at that time. I think electronic music was really more interesting back then. Everything was very new, changing all the time, always evolving. Now I don’t think it is as interesting any more, but it’s still good.

Alex: You know what differs the most? I think the arrangement of the songs, actually. Continue reading

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