DJs Are Lining Up To Help T-Pain After The Rapper Asked for A Future Bass Producer
One of essentially the most iconic voices of our time is seeking to faucet into the longer term bass market. Of course, we’re speaking about T-Pain.
In a latest tweet, the hip hop star calls on the digital music group, “Man. I want some future bass on this new album. Who do I must holler at?” Naturally, practically each future bass producer below the solar — even those that simply dabble — are hollering again at T-Pain for a possible collab.
While some are elevating their fingers, different Twitter customers are nominating the producers they really feel can be a finest match for a monitor (or probably extra) with T-Pain – personally, we nominate Lido. Shaun Frank, TroyBoi, Moksi, Quix, SMLE and extra are all thrown into the combo.
“Let me Buy U a drank and we are able to speak about it,” Whethan says for the win.
T-Pain is identified for his distinct autotune sound, though he sounds nice with out it. He’s absolutely a expertise that may take his manufacturing any which method and adapt accordingly — subsequent cease, future bass. We can’t wait to listen to the place this goes.
DROELOE Prove Themselves One of EDM's Top Duos with Impressive 7-Song EP
The Choices We Face is only DROELOE’s second EP, but it already shows a concrete direction and mature sound for the duo that is miles beyond what other producers are putting out. The 7-track EP flits between pop, downtempo, electronic, and other styles, but always settles back into a core sound and theme.
“The choice of following your dreams is tough to hold onto sometimes because there are so many distractions, influences and thoughts in your own head that will lead you astray from it. This EP is about trying to find the balance of having the urge to impact the world around you vs letting it have an impact on you.” – DROELOE
The new EP out now bitbird is an whimsical journey into the minds of these Dutch future bass phenoms, and will almost certainly require more than one listen to properly absorb everything that’s going on both on and beneath the surface.
“A year ago it felt like we were just fresh out of school but now everything has become more serious than it was, and also way more complex. We travel so much but are never in one place for a really long time anymore. So it’s like trying to balance work with how you feel personally and also be happy and creative because those things go together… If you’re not in a good spot or a creative mindset it’s hard to get something done and make it authentic and true.”
Listen to The Choices We Face below.
Afterfab – Harder (feat Ismael)
Historically, dance music hasn’t really been a type of music that has told stories. With vocalists and more intricate production in the past decade, the trend has certainly become more common, but too often a track will just use a vocal sample and then a bass drop. For Afterfab on “Harder,” it’s almost as if the production followed the story.
With the help of Ismael, Afterfab tells a clear story of love and longing, and the emotions that come along with it. The production is imperfect but seemingly intentionally so, in keeping with the theme of the song. On the other hand, the vocals, conveying the bulk of the story, are crisp and beautiful.
Check out “Harder” by Afterfab below.
DROELOE – Looking Back
It’s been awhile since we’ve heard new music from our favourite Dutch duo DROELOE but they’ve finally made a comeback and they’re even pulling out all the stops for us. “Looking Back” is the lead single off of DROELOE’s forthcoming EP The Choices We Face which is said to be dropping ‘very soon.’
First things first, for the first time ever Vincent from DROELOE is singing on one of his own productions which is definitely new ground being broken from the talented musician. But besides that, the track is quintessentially ‘classic’ DROELOE – warm and catchy melodies combined with cutting edge sound design and a generally forward-thinking pop arrangement.
RL Grime Drops Career-Defining Album 'NOVA,' One Of This Year's Best [MUST LISTEN]
The wait for RL Grime’s second album NOVA began as soon as his first album, VOID, dropped. The widely recognized king of trap has always been about more than just his namesake, as he’s explored dubstep, future bass, and even drum & bass in many of his productions. But NOVA is truly peak RL, as the 27-year-old producer ventures into new sounds and personal expressions, many of which we’ve never heard from him before.
To say that VOID and NOVA are like night and day, respectively, isn’t an exaggeration. VOID carried with it an exceedingly dark undertone, exemplified in some of its bigger tracks like “Core” and “Scylla.” In contrast, NOVA is a brighter, purer expression of happiness if we’ve ever seen one.
There are also pretty clear-cut divisions within NOVA that are worth mentioning now before we start: “Feel Free” and “Shrine” are both incredibly powerful and bright tracks that delve into some of RL Grime’s more technical productions. This then transitions into a series of features, many from rappers, with Miguel & Julia Michaels, Jeremih & Tony Lanez, Ty Dolla $ign & TK Kravitz, and Joji & Chief Keef. From here, we move into one of the best four-track sections of any album I’ve heard before or since: “Shoulda,” “Reims,” “Pressure,” and “Era.” These are all pure production, and pure show-off status for RL. Following a brief interlude, we make our way into the final resolution of the album. These final four tracks are generally on the poppier side, especially with the Daya collaboration “I Wanna Know” and “UCLA” with 24hrs, which will undoubtedly become an anthem at the school.
But let’s break it down even further…
The album starts off with “Feel Free,” which feels to us like a statement from RL translating to, “Yeah, I still make heavy trap. But look at this other shit I can do.” It begins with an anthemic vocal loop and melody that quickly transitions into a mind-melting trap drop that immediately reminds us why we love him.
NOVA quickly switches gears from the bass-heavy trap of “Feel Free” into the brilliantly beautiful “Shrine” with Freya Ridings. As someone who first discovered dance music in drum & bass, I can confidently say that this is one of the finer DnB tunes that I’ve heard so far in 2018. RL Grime isn’t afraid to break boundaries in a genre that is so often territorial and rigid because he’s never been strictly in that community – he’s just making what he loves. “Shrine” is incredible in its inherent emotionality and Ridings is easily one of the more impressive vocalists we’ve heard, despite having never featured on a dance music track before.
At this point, RL brings in a host of featured vocalists to truly give the album some story content. Fans have already heard “Light Me Up” with Julia Michaels and Miguel earlier this week, a subdued and relatively simple track that focuses mostly on Michaels’ and Miguel’s vocals. “Undo” comes in with Jeremih and Tory Lanez, a half R&B/half subtle trap tune that has a wonderful melody tying it all together. This is easily one of the more radio-friendly singles from the album, but still readily accessible for the trappiest of heads.
RL Grime seriously flexes his sound design and arrangement on “Take It Away” with Ty Dolla $ign and TK Kravitz, bringing in wildly discordant synths and melodies for an other-worldly effect. The drop is more of an anthemic trap than we’ve heard on the rest of the album so far, which not only keeps things fresh but also demonstrates RL’s willingness to experiment. And then we get “OMG” with Joji and Chief Keef, which is exactly what it sounds like. Each rapper brings their own flavor, all rolled up into a nice, neat package by RL’s production. It’s exactly as it should be.
Now we get to my favorite part of the album: “Shoulda,” “Reims,” “Pressure,” and “Era.” This is when RL Grime takes it back to pure production and flexes hard. “Shoulda” is, completely out of left field, a liquid breaks tune, something we’ve never heard from him before. It’s mellow and melodic and flows magically right into “Reims,” one of RL Grime’s most anthemic future bass tracks ever. The intro is positively stunning with the oscillating synths and subtle synths in the background, bringing in the chimes and pumping up the suspense. Even though we’ve been able to listen to “Reims” for months now, it just sounds different in the context of the album.
After “Reims” comes “Pressure,” easily the hardest and most bass-heavy track of the album. Going from something as beautiful as “Reims” to something as devilish as “Pressure” is really something only RL Grime could make work, but it works so. damn. well. And it helps that it was co-produced by Boys Noize. Now, I’ve both car tested and studio tested this song and the one thing you need is a powerful sub – a standard car sub just won’t cut it. The amount of distortion in the bass will make it sound pretty rough in a car; the clearer and deeper you can get the bass, the better, because this song really deserves your full attention.
The final song in this quartet of madness is “Era,” which is probably the second hardest song on the album. This is another song that RL fans have been able to listen to for months, but it holds up just fine here. And with the drum & bass second drop, it really shows how much influence DnB has had on RL Grime on this record, with both “Shrine” and “Shoulda” embodying elements of the genre.
The interlude “Run For Your Life” is perfectly placed in my opinion, between four of the hardest, most complex tracks on the album, and some of the more poppy material. It’s a beautifully written song in its own right, one of the few on the album that was written and produced solely by RL.
This is followed up by the poppiest track on the album, and the beginning of NOVA‘s resolution, “I Wanna Know” with Daya. This track was widely panned by fans and critics alike when it first came out, including Your EDM, but RL Grime’s ability to tell a cohesive story is compelling. In the context of NOVA, “I Wanna Know” sounds just as at home as either “Era” or “OMG.”
“UCLA” with 24hrs is one of the more interesting tracks on the album contextually. The vibe behind it doesn’t quite mesh with the rest of NOVA, but it will inevitably become an anthem for the Southern California school at house parties – we’d put a hefty bet on that.
The album gets back into a groove on “Rainer,” which presents itself as a sort of rave/trap hybrid with a fast, pounding rhythm and rising synths that never seem to want to come down. It’s almost an interlude on its own if it weren’t for the length. And it all leads to…
“Atoms,” with Jeremy Zucker. A better ending song for such a prolific album we could not imagine. It’s serene and quaint, a calm endcap to a passionate album that has become this writer’s #1 album of 2018 (so far).
And before I do anything else, I feel it’s necessary to highlight all of the other producers who made this album possible. In order of tracks on the album: ADP, Diplo, Skrillex, Boombox Cartel, King Henry, Noah Breakfast, Yung Berg, Cardiak, Abaz, Xplosive, Graves, Boaz van de Beatz, Jim-E Stack, Boys Noize, Nonsens, MYRNE, Dan Nigro, Noah Gersh, Charlie Handsome, Rex Kudo, Cass Lowe.
Listen to NOVA below.
Your EDM Premiere: HU$H – All I Have
Also known as FUTR3, 8Barz, Les Boyz, Science of the Subconscious, and Sick System, Aaron Rich breaks into his latest musical endeavour HU$H. With the track “All I Have,” HU$H ventures into the electronic trap world, as he molds his grunge and hard rock influences into the modern, beat-heavy track.
One of the beautiful features of “All I Have” is the variety of sounds featured in the mix, from more instrumental pieces like the subtle strings, to the more synthetic elements found in the bass and lead synth. All of the elements together produce something between a banger and a ballad, a space that HU$H seems to occupy with ease.
Recorded completely independent in his garage, “All I Have” is part of a series of singles to be released in the next few months. Ranging from topics such as self-serving addiction to money, power and the dangerous fixation of feeling unstoppable, Hu$H tells a story you’ll want to hear the end of.
“All I Have” was co-produced with WHALES (fka Sex Whales) and you’ll be seeing more of this pairing in the near future, as well. For now, check out “All I Have” below.
PLS&TY Drops New Single "Down For Me" on PRMD Music
It’s been a few months since we’ve last heard from PLS&TY on Your EDM, but he’s been keeping busy on a spring tour and making new music. This past Friday, PLS&TY released his newest track “Down For Me” with PRMD Music.
“Down For Me” is one of those rare tracks that is effortless to listen to. Each note and synth and hit of the snare comes with a degree of ease and simplicity that it almost seems like it exists in whatever world you find yourself.
If that doesn’t make sense, listen to “Down For Me” on repeat a few times and notice how it simply fades into your background and becomes a sense of consciousness.
Check it out below.
ZAXX Drops New Brilliant Single "Together" via Proximity
It’s pretty easy to see how even four years later, Porter Robinson’s Worlds is still influencing producers. Japanese vocal samples and that all-too-familiar chord progression have flourished in this future bass climate, though many producers tend to lean on that sound just a little too hard.
It’s tough to find that line between being a Porter clone and taking inspiration from him, but ZAXX has achieved the latter with beautiful precision. His new song “Together,” out today Proximity, is, in many ways, eligible of being a Worlds B-side. High pitched, modulated vocals, whimsical synths, and yes, Japanese vocal samples, can all be found within.
Perhaps what sets “Together” apart is the reason behind its production.
“‘Together’ was influenced by my desire to make something beautiful, dynamic, yet simple,” explains ZAXX. “It was one of the first songs I made that really took me out of my comfort zone while exploring this new musical direction. Music brings people together and that definitely is a message I’m trying to push forward with this song and my music in general.”
Whether you see “Together” as a Worlds clone or not, it’s hard to deny that it’s a beautiful piece of music that deserves recognition. Check it out now below.
Marshmello Returns To EDM with Addictive New Single from Upcoming Album
Marshmello’s Joytime album was released in 2016 as a compilation of all the songs he’d already released. It was a way to have all of his first, amazing tracks all in one place and it’s still a favorite among most of the OG mello fans.
In the time since, Marshmello has gone on to collaborate with a mind-boggling number of high-profile artists, including Khalid, Migos, Logic, Selena Gomez, Lil Peep, Noah Cyrus, Wrabel, and more. During that time, fans also felt that he was moving too far from his original sound, especially in the cases of his more hip hop heavy productions, which more often than not weren’t the least bit indicative of his sound.
Now, as Marshmello prepares to drop the sequel to Joytime, Joytime II, he’s releasing “Tell Me” which is a clear throw back to the sound that made him so popular in the first place. All the sweet, saccharine synths are still there with a more mature sounding backbone, making this one of our favorite tracks in quite some time from the masked treat.
Check out “Tell Me” below, and start getting hype for Joytime II.
Marshmello – Tell Me
Skrillex Goes Full-On Future Bass with Highly Anticipated New Pendulum Remix
Since even before Pendulum’s remix album The Reworks was announced, fans have been excited for this remix of “The Island” by Skrillex. It was dropped by Ekali in Los Angeles during his tour last year (the video has been deleted), and ever since, hype around the remix has been at full tilt. After all, it’s new Skrillex…
Still, as we mentioned with his teaser yesterday, dubstep fans will be disappointed. This remix is definitely some great euphoric future bass, but it’s not heavy, nor is it really even headbang-worthy. What we get instead is a brilliantly composed remix that makes excellent use of the source material while adding some new flavor to the mix.
That instantly recognizable brass line is still front and center, giving the track a backbone upon which to stand. Rob’s vocals are also still there, though it seems that Skrillex might have added some of his own pitched up vocal chops to the mix to really add his own signature sound to it all. In addition to the vocal chops, the rhythm and percussion are also both stereotypically Skrillex.
Skrillex’s remix comes as the fourth single off The Reworks, following remixes by Noisia, Icarus, and Knife Party. The Reworks drops in full on June 29.