Singer – songwriter Lauta, recently released her first solo single Freefalling which is an epic infectious dance anthem, Some of you may recognise Lauta, she was part of popular girl group Hollywood FM, who saw great success with their track Уходи.
Raised in Ukraine, Lauta points to the rich musical heritage of her home country as a central catalyst for her passion for music. The single, Freefalling, which was released earlier this year, features drum n bass rhythms with EDM and pop hooks driven by Lauta‘s captivating vocals. The track is dope, expect to hear it in clubs up and down the country and will sit nicely on a KISS FM late night playlist!
The single was inspired by the singers relocation from Ukraine to Paris following the political turmoil in her homeland. The uproot forced Lauta to rebuild her life and continue to pursue her dream of becoming a solo artist. Lauta mentions:
“My latest tracks are about rebirth – an exciting new phase which gives the feeling of being in free fall! Sometimes, it’s actually a crisis that makes you who you are. I learned to create everything from scratch, and I feel like I’m living in flight. It’s all a story, building, building, building… and I know that there are no boundaries.”
The video for ‘Freefalling’ will be available to view from Friday 13th October on Vevo and is the first release from forthcoming debut EP of the same name, due for release later this year and we expect to hear it all across Ibiza if the release date is timed to perfection!
There is an art to the introductory sequence. To set a tone while promising there is more on the horizon and building to a climactic delivery knowing that it will be up to the audience whether or not the payoff is worth the wait, it’s no easy task. Kloyd keeps us in suspense wit Balearo, slowly building from almost sinister noises to a smooth dance track that is built from a remarkable variety of different timbres. Kloyd knows just how to implement different elements into a cohesive beat structured with rising and falling transitions that range from rough noise to ambient reversed sounds.
This is a track that needs no major climax, only the introduction and reintroduction of the beat. It keeps you moving from the first kick to the last and that’s how you know the payoff is worth every pang of anxious feeling during build-ups. In fact, it’s this pattern of suspenseful build and release that makes this song stand out even more so than it is the eclectic instrumental combinations. Kloyd plays with structure, tone and patch repertoire in ways that make this track a one of a kind dancing experience. This track will not fade into the rest of a DJ set. Balearo will get everyone’s attention from intro to outro.
Past Midnight is the perfect name for a band making such music. As the name suggests their music evokes the early hours of club culture, sitting neatly somewhere between the big, more obvious throwaway dance tunes and the chill-out to follow. It is the sound of dancing on the beach as dawn breaks, the end of the party when you don’t want to head home just yet and the drive back from a quality night out with friends.
This Netherlands pop duo have created a sound which combines accessibility with subtlety, it grooves when it wants to but uses changes of pace and shifting musical dynamics to create a strange and intricate musical journey. If the usual club sound is one of obvious bombast and simple, contagious beats and the chilled after show tune is more about soothing ambience and undefined washes of sound, Past Midnight is the bridge between the two, the vital step between the blast and the bliss and as such are probably the important musical glue which holds an evening together. But like most heroes, unless you draw attention to just how important such an act is, they can often go unnoticed but give it time, I’m sure a lot of people are about to notice them very soon.
Weightless is a twisting and turning meander through modern chilled dance music. Rather than running along to a constant beat, a set time signature or a conventional template it instead plays with some very progressive dance forms, wandering between punchy club land anthemics, slick and sleek chill-out minimalism, glitchy, futuristic vibes, dynamic builds, soulful grooves and powerful drops.
There is a wonderful exploratory heart beating at its core, and DR3WI seems not content to rest for too long in one place preferring to blur lines, merge genres and do nothing less than create a new form of dance music for a more broad minded, future audience. Why cater to the here and now, the current fashion and the usual set of audience expectations when you can offer people a glimpse of one possible musical tomorrow?
“The Hive” is an electronic dance track straight out of Kattacomb’s brand new album “10 Days On Titan” which has as a basis it’s very own fiction story providing context to the tracks. This track itself, heavily based on driving rhythms which emerge as sounds are juxtaposed in the building of a tight texture, is a lot more than one can expect from an electronic dance track. The sounds used are carefully chosen and interwoven in a crisp and intense combination which drives curiosity for what’s about to happen next, and in fact the music keeps evolving until the very end.
A few moments after the mid point of the song, Kattacomb carefully takes out all instrumentation and prepares us for the final development and climax. Apart from this instance the track is not short of builds and drops either, making for a well structured dance track that is sure to have everyone moving. As his music keeps climbing up the charts, this budding producer definitely surpasses expectations with his creative approach to electronic music production.
Tee Noah is a rare phenomenon in today’s musical climate. Someone who is able to blend accessible R’nB, dance, pop, even rap and hip-hop vibes together into songs which are both familiar yet fresh and on top of that create something which rises above mere commerciality. He has found or rather deftly created that magic combination of tracks that are infectious and accessible, and at the same time mature and exploratory. Not something you stumble across that often in a genre normally aiming for the quick buck.
But his debut ep, Out of My Mind is a brilliant showcase of how you can play to both ends of the market. The pop kids and club goers will certainly find a lot to love in its sultry grooves and vibrant moves but his ability to wander way outside the usual generic boundaries, throw in rock guitars and neo-classical harmonies will also appeal to those looking to see where popular music goes next.
Imagine if Frank Zappa had made experimental dance music instead of existential rock. Then imagine if he was also a multi-media artist working in the realms of dance and visuals. Now imagine if he spent his creative life on a permanent sugar induced rush. Oh, and there are two of him. Even that gives you just a glimpse of the world of the wonderfully named Damn The Witch Siren.
It’s always great when you come across artists who invent their own genre and become a musical religion of one. Bobbi Kitten and Z Wolf do just that blending hi-octane EDM with glitchy, staccato pop, Day-Glo club sounds and rave attitudes. It is brighter than the sun, hotter than hell, saccharine sweet and wonderfully demented.
With Holy Light Brandyn Kaine sits at the cross roads of many different influences. You can still hear some of the alternative hip-hop vibes that he has used as a core for previous songs but here he adds some intriguing additional sounds. Dreamy electro-pop and infectious dance grooves push the song in a much more obviously commercial direction but do so without abandoning the more urban soul sound that will keep him sweet with more underground tastes.
But that ability to cater to those who are more discerning in their musical choices and those who just want to hit the club floor and forget the world for a few hours is a neat trick if you can do it, few can. Brandyn Kaine certainly can.
Although an album called Ain’t That A Beach Party Vol. 2 is going to put all sorts of preconceptions in the mind of the potential listener, even before the first notes have been released into the summer air, A Fresh Delight, which can be found in this compilation, manages to rise way beyond any notions of throw away seasonal hits. Instead it revels in a sort of elegant jazz delivery put to a joyous house beat but even rises beyond that with a smoky and languid vocal sitting contrastingly over the vibrant beat below.
It means that there is something for everyone here depending on how you approach the song. Those looking for a party will find a groovesome track with a great vocal, perfect as part of the soundtrack to your summer fun but approach from a different angle and you will find a fantastically soulful jazz-pop vocal being driven towards more commercial waters one beat at a time.
If ever there was an argument for doing away with dance music labels, Peter Czak is probably it. It splices strong beats with chilled musical passages, a dance ethic with after party vibes and balances contemporary club culture with future possibilities.
Before The Rise is a straightforward and unfussy song; it does what it sets out to do with a minimum of fuss, that is, build a clean-limbed and eminently danceable track, one that meanders within pathways of its own choosing. But even with the simplest of lines, most easily recognisable of beats and very few extraneous details or musical embellishments it still manages to find somewhere new to take dance music. House, chilled techno, downtempo, Nu-Disco, ambient, trance? Don’t worry about it…just dance!