This year, every day more and more producers are experimenting with house-influenced styles, and to be honest, when I heard the four-on-the-floor kicks at the beginning of this new Ricky Eat Acid track, I was a little disappointed (especially considering I’ve been getting really into his more ambient work as heroin party lately). Fortunately, by the end of the track I was completely won over. ”In my dreams we’re almost touching” has all of the high energy of house music, without compromising the textures and repurposed noises that make Ricky Eat Acid’s music unique and awesome. As I’ve been saying for a while, Sam Ray is the type of incredibly talented artist who deserves recognition, and with his band Julia Brown recently getting noticed by Pitchfork, as well as upcoming releases from both Ricky Eat Acid and Julia Brown, it looks like Ray is poised to have an awesome year, so be on the lookout.
Over the past year C.Z. (of M|O|D)’s sound has gone in a number of different directions. He started buzzing with a sound that could be pretty easily classified as trap with songs like “Doin’ What I Do” and over the past few months has moved towards a heavy UK Garage influence with songs like “wana do”. Now, with bathtub, C.Z, is releasing his first solo EP in a while and is finding a way to make all of these sounds work together. On this EP he weaves influences from a huge number of genres of electronic music together into a cohesive project, maintaining a consistent well-produced but quirky sound throughout. This is a weird time for a lot of artists who have been labeled as “trap” in the past despite creating lots of different types of music, but it looks like C.Z. is doing a really good job of keeping things interesting. Stream my favorite track from the EP below and the whole thing after the jump.
L.A.-based record label/artist collective thing The Melt just put out this compilation completely stacked with amazing artists. Alongside the five resident producers at The Melt including Djemba Djemba and Gossamer, the compilation also has tracks from 14 other producers including Color Plus, C.Z., and RAJA among others. If you’re looking for new producers who are leading the way in pushing electronic music to new exciting places and will probably have taken over the scene in a year or two, this is where to look. Sub-genres on this compilation range from ambient to footwork to U.K. Garage without ever sounding out of place. You can stream two of my favorite tracks off of it below, and stream and download the whole compilation after the jump.
So, it appears that Deep House is on the rise within the indie community, which kind of makes perfect sense, because it is mostly based around taking the most over-produced and over-emphasized elements that can make other types of house kind of hard to get into out. There are a lot of artists doing this in an awesome way lately, and although Disclosure has kind of taken a less-than-honorable turn as of late, it looks like the genre might maintain its integrity yet. One person doing Deep House right is mysterious producer WINK. ”STRUT 89″ has all of the hypnotic repetitiveness of other types of house with gorgeously produced synths. On Soundcloud “STRUT 89″ is tagged as “SPACEHOUSE” which although I’ve never heard of it, should definitely be a genre. Its rare that a producer suddenly pops up on Soundcloud with an already extremely polished sound like this, so WINK is definitely worth keeping up with in the future.
Aside from putting out a few remixes and guest mixes, house princess Avalon Emerson has made us wait quite a few months for some new material. While her earlier material found Avalon Emerson working with more experimental and less danceable sides of house, “Caroline” is a groove heavy track that was made to be danced to. Aside from the vocal sample commanding “people, come on and groove!”, Avalon Emerson constructs a shaker laced, bass thumping instrumental that manages to sound appropriate for any dance environment while also staying true to her more experimental roots. If you hadn’t heard, TRAP is the next big thing so it looks like house really is going to be the next next big thing.
Unless you wear a fedora and listen to The Lumineers all day, you’ve probably noticed that the popularity of house is on the rise following the bro-zation of trap. Luckily there is no shortage of awesome electronic musicians these days and Dutch producer Appelscal (same dude behind Yoshiba 87) is prepping to release his anticipated Dreaming in Key in February. ”Spring and Life” is the latest single to drop from that album and it finds 25 year old Pascal Terstappen working with a dark and murky club sound. After building for over a minute, “Spring and Life” transforms into the poorly-lit warehouse rave soundtrack I was hoping for. This past weekend I attended an EDM concert to see if their was any hope left for Baauer and while I came away incredibly disappointed (and with sore ears from all the airhorns), it’s great knowing hipsters will still find soundtracks to dance to in 2013.
And so arrives the bittersweet ending to M|O|D’s PENG series. Fortunately, I think PENG 003 is the best of the trilogy. On the first and second installments of the series, we saw each of the five producers begin to pick up new styles after moving beyond their trap roots, and on the third, we see them begin to perfect them. Arnold’s new melodic club-influenced style is bigger and brighter than ever, Rewrote’s ridiculously fresh and eclectic new distortion-heavy sound is more impressive than ever, Yung Satan cleans up his early ’70s rock influenced sound, LiL’ TExAS crafts what is maybe the first futuristic strip club anthem, and C.Z. continues to come into his own as a U.K. garage producer. For anyone who thought M|O|D would never successfully be able to escape the bastardized trap label, this should change your mind pretty quickly. Stream my favorite tracks below, and the whole thing after the jump.