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If you haven’t heard of Chet Porter, now is the time. The Toronto-based producer has spent most of the summer making dope tunes and refining his sound. His newest track is this remix of Hitmane‘s “Over U”, which perfectly exhibits Chet’s skill set as a producer. The chill trap beat brings out the exuberant melodies, and the crafty samples taking the catchy drops to a whole other level. Chet incorporates his signature harp-like synth in the breakdown, resulting in intricate melodies that will leave you vibing.
We are thoroughly impressed by the genre-bending approach to Chet Porter’s music, which takes different elements from a song and pieces them together with such delicate maneuvers. Make sure to be on the lookout for more dope tracks coming your way from Chet.
After hearing Kenton Slash Demon‘s “Harpe,” the first single from their upcoming Harpe/Syko EP, the Danish production tandem immediately became one of our top acts to look out for this year. A couple days ago they let loose “Syko,” presumably the second half of their upcoming Future Classic release, which solidifies the textured, blissful sound that they’ve established with their catalogue thus far.
Carrying on the deep, instrumental style, “Syko” sees KSD taking a groovier approach all the while maintaining the unmatched mind-altering relaxation established on “Harpe.” Once again, it displays how a well-crafted instrumental composition can evoke unmatched emotional power. There’s a certain depth that takes the listener on a magnificent mental excursion that’s easily worth repeated listens.
Harpe/Syko drops on 12″ vinyl via Future Classic on September 11th and can be pre-ordered here. It will be available a week later, on September 18th, digitally as well. Just in case a Ninja co-sign isn’t enough, it’s also worth noting that Flume reposted this on Soundcloud earlier today–it certainly seems like the perfect track for him to remix or at least fit into one of the more atmospheric portions of his live sets.
L.A. based alt-pop songstress Nite Jewel and modern-funk musician, vocalist and producer Dâm-Funk have teamed up more than a few times over the trajectory of their respective careers; even securing a smidgen of virality with their single “I Know You’re the One”, and have once again combined forces as NITE-FUNK for brand new single “Can U Read Me”. Once upon a time, the sometimes duo was even close to releasing an entire EP’s worth of music, but as their arcs have swirled in different direction since then, we’ll have to settle for their one-off singles. Which, as long as we’re still getting tunes from the unlikely pairing, we don’t entirely mind. “Can U Read Me” pulls from both Nite Jewel and Dâm-Funk’s sonic psyche, ambling out of the gates with washed out pads and some Nite Jewel appropriated bass before unveiling its percussive core as a funk-tipping two-step progression before giving into the pair’s hooking vocals. “Can U Read Me” is a lovely piece of Neo-Soul, modern funk and avant-pop that we’ve not stopped grooving to this morning. Let’s get into the weekend spirit with some NITE-FUNK above.
For years now, and largely on the low, Chicago native Gilligan Moss has been producing left-field house music and elegantly off-kilter electronic pop. Much to our chagrin, this is unfortunately our first post covering the now New York based producer, but in reality Moss’ latest EP, Ceremonial, is his official debut. The vibrantly technicolor extended-play, which dropped just a few weeks back on the independently-minded London imprint AMF Records, touches its wings down on a number of aural aesthetics, but it was the EP’s closing tune, “Stasis” which came across as the perfect Hump Day prescription.
Hopping out of the gates with a rolling arpeggiated synth, clicky percussion and a light dose of grand piano, “Stasis” chases down a synth-pop prognosis and smashes it to bits with hints of a sensible psych influence and club-first house foundation. Gilligan Moss treats his vocal just as craftily as well, cutting and looping effortlessly through hazy and delicate incantations that sound somewhere between Sean Ryder‘s most indulgent bellows and the Macintosh computer SimpleText application used on OK Computer’s “Fitter Happier”. Just beautiful stuff to our Ninja ears really. For a real taste of Moss’ range, don’t skip on the rest of Ceremonial either, to get a much clearer grasp as to why mainstream source’s like NME nabbed the burgeoning producer in an August edition of “Radar New Act Of The Week”. Let’s start unwinding our Wednesday with a little Gilligan Moss.
More often than not, house music is not a tangible concept. From its earliest incarnations, being warped and pushed through 909 & 808 machines, to its most current iterations which mostly come to fruition through the utilization of programs like Ableton, Logic or Reason; dance sounds tend to carry with them a distinction of being “computer” or “machine” music. Save for a selective smattering of live acts like Disclosure, KiNK, Hot Natured, Bob Moses and more; most sectors of club music are generally produced under the same formula. So whenever we’re tipped to a new live house music act we tend to perk up and take notice.
The latest apple to our eyes err… ears comes to us from the London Borough of Hackney, and they’ve got us entranced like few other live electronic staples ever have. Dubbed Bassically, the five piece ensemble are a live house music collective led by award winning, multi platinum producer and Fossil Studios founder Raz Olsher and craft sophisticated techno and compulsive house music through purely live and analog instrumentation. From a purely musical standpoint, Bassically takes their aural cues from the early electronic sounds of Chicago House & Detroit Techno with the contemporary touch of Berlin and London. If we didn’t see it ourselves, we’d think they were just another producer with how seamlessly and clean their sound plays, but Basically is so much more than that. To put you on our level, we’ve got the exclusive first play of Basically’s latest music video for their single “Know This Land”, which offers a unique look at the five-piece’s utterly unique and wholly captivating live aesthetic.
Check out the entire video below, and keep your ears to the streets for all things Bassically, as we have a feeling they might just be at the tip of every dance writer’s tongue to round out 2015.
Getting out of bed on a Wednesday morning isn’t always the most pleasant feat but today we’ve got a premiere that should alleviate some of your mid-week stresses. “Let it Go” is the debut single from Swedish four-piece, Jolympix, and serves as the perfect introduction to their minimal, yet emotional, electro-pop sound. Backed by a peaceful piano progression, textured percussion and sprinkled psychedelic elements, vocals from Jolympix’s Johanna Nordström shine from the very start possessing a Jonsi-esque tranquility. Around the 1:40 mark, though, the instrumentation subtly erupts with glimmering synths complementing the stripped-down beauty at the song’s core. That understated contrast results in a captivating, immersive listening experience.
Less can often be more with music, and fans often don’t realize the painstaking process it requires to successfully achieve minimalistic bliss. Jolympix have been fine-tuning their craft for quite some time now in their hometown of Gothenburg and it truly shows on this cut. Their debut, self-titled EP is due out near the end of this year but, in the meantime, let your problems melt away with this soothing tune above.
It feels like every week Odeszahave exciting new material to set the interwebs ablaze–whether it be enormous remixes, releases through their Foreign Family Collective or even fan videos of yet-to-be-released songs from their acclaimed live sets. This week proves no different as the Seattle production duo announce the upcoming release of a deluxe edition of their 2014 album In Return. Along with that announcement, they let loose a brand new original track featuring the Swedish electro-pop geniuses of Little Dragon.
The unconventional, yet enticing, crooning of Little Dragon’s Yukimi Nagano feels like a natural pairing with the shimmering instrumentation of Odesza. “Light” slightly tones down the intense percussion we’re used to from the duo, though, rather gliding beautifully and relying more on the radiant elements of their sound. Even with a more stripped down approach, the chorus proves irresistible as Odesza inject just enough of the enormity we’ve come to expect from them. It’s a truly mesmerizing collaboration that we hope results in more new music between the two pioneering acts.
The deluxe edition of In Return is out on September 18th via Counter Records and can be pre-ordered here.