Lovin’ is nothing less than the sound of soul music moving with the times. Free Soul Effect, a duo from Indiana, are all about deconstructing the genre and rebuilding it from the ground up using electro beats, R’n’B groove, pop brassiness and they even find space to thread some rap through the centre. What they never lose sight of though is the inherent passion and euphoria upon which the genre has always relied.
Free Soul Effect sit a crossroads, one where a road which joins retro-soul with the future of EDM crosses one that connects R’n’B grooves with the commercial potential of the pop market. It is here that they currently build their tantalising sounds but from such a location they could head out in any new direction that they chose. Or just stay here and through a party on their own terms.
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.
For budding musicians, one of the most consistently overlooked elements of what makes music great is the lower frequency spectrum of a song, also known as the bass. Velour Fog & Angie C know how to put together a house-inspired track, but bring a bit extra in the bass department on Givin’ It Up. This track will get you dancing, assuring the whole club a good time, especially those who may be physically moved if too close to a speaker. Besides a great beat and low end, a strong vocal performance cements this song’s credibility as an EDM hit. But wait, there’s more…
Other than the solid foundations of this song, one of the most standout ingredients to this track would be featured artist Lambert McGaughy. The smooth and dreamy saxophone transitions on Givin’ It Up remind us exactly how nice it can be to see featured artist collaborations in a music scene saturated with people working on tracks together just for networking purposes. This is a clear example of a musician being placed right where something special is needed and seizing that opportunity with style and flare.
Danny Strikes is a talented EDM producer who knows a thing or two about creating memorable melodies and lush sounds. On his brand new release, “Forever”, he actually teamed up with Andreia Da Silva, a talented vocalist with a unique approach to melody. The song has all the punch you would expect from the best electronic dance music production, but it also has a melodic sensibility and an edgy appeal that’s typical of pop music.
Andreia Da Siva did a great job matching the song perfectly with some great tones, while Danny Strikes certainly added a special touch to this production. The mix is punchy, crisp and loud, yet incredibly clear and sophisticated.
This song is surely going to help people relax and unwind the rest of the summer – it could be a club banger, but also one of those tracks you could just enjoy while your out driving in the sun or simply chilling at home on a nice summer day.
With such great melodies and uplifting grooves, you simply can’t go wrong!
Fusing genres can feel like a culmination of different worlds expanding into each other and opening up possibilities that could never exist in isolation. From the first time Run DMC and Aerosmith smashed down the walls (literally) between hip hop and rock, artists have been striving to juxtapose the right combination of elements for more unprecedented alchemic reactions of music. These days, we’ve looked to artists like Flume to fuse the ever-growing technologies of electronic music with the ageless qualities of organic sound. From Bangalore, India comes Eashwar Subramanian with a track unlike anything you’ll hear on your alternative radio station. Electronic Gharana 2.0 has been unleashed and we’re going to have to wonder what to do with all of this new inspiration.
Electonic Gharana 2.0 blends fast and powerful jungle beats straight out of your favorite chillwave EDM with the organic nature of what many in the Western World can only lazily call “World Music.” It should make sense that whilst in search of inspiration, we turn to cultures themselves and the traditional music of peoples who have passed down their songs and styles for centuries. With such a rich foundation, the attention of a talented composer such as Eashwar Subramanian is all that’s needed to bring forth something that feels both familiar and entirely new, both synthetic and organic, both energetic and atmospheric. You needn’t have ever heard anything like this track to enjoy it wholeheartedly, but remember that when it comes to sampling an unfamiliar culture, be sure to take examples as singular bits of an unimaginably greater whole. This track could inspire entire movements if taken for its merit. Only time will tell.
If some videos are just a way of promoting a single to a more visually receptive audience and others little more than an afterthought, Yamasaki is a refreshing combination of sight and sound. Even without fully understanding the intricacies of the narrative found in this amazing anime sequence it merges with the music to become a hypnotic masterstroke.
As EDM beats and writhing synthetic hooks play out a futuristic and energetic dance score, the animated story line is the other half of this futuristic opera, one breathing extra life into the other to become an inseparable package of sensual delights. Instrumental dance music is often a very abstract concept, designed as a catalyst for energetic nights out and hi-octane dance floor antics, Jutty Fennix reminds us that its potential as a film score is an area which needs to be explored more. And this is the man to do it.
If a computer turned rogue, put aside its assigned functions and instead decided to write music, it might sound something like The Final Synthetic. Dexter Banks manages to capture the clinical beat, the hypnotic nature and the rising intensity of just such a scenario. The manic laughter also does little to convince you otherwise.
Where this music fits in to the musical canon is a joyous puzzle, dance floor filler for a futuristic club night, a video game score or film soundtrack, who knows, but then why does everything have to fit into perfect little boxes with their clearly marked labels? And for all its outsider nature the music is infectious, compelling and even a little bit frightening but then things need shaking up every once in a while.