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12 Downloads You Won’t Regret

by ANDREW BRANDT


[Other Downloads You Won't Regret]

Ab-Soul – “Tree of Life”

Top Dawg Entertainment’s Ab-Soul is slated to release a new record this year, and “Tree of Life” builds upon that anticipation, regardless of whether it’s going to be a part of his forthcoming album or not.

CVHRCHES – “We Sink (The Range Remix)”

CHVRCHES are set to embark on a few tour dates with The Range. To celebrate, the producer has re-worked the trio’s upbeat “We Sink” into a futuristic re-vamp of the Postal Service’s most cinematic work.

Disclosure – “Latch (Lido Remix)”

Over the last few years, Disclosure has lent their touch to a lot of tracks, and has had their originals furiously re-worked as well; what producer Lido does with their standout “Latch” is something completely compelling and unique.

Ed Schrader’s Music Beat – “Pantomime Jack”

Ed Schrader’s Music Beat has been touring the states with Future Islands, and, as an opener, their ear-grinding set has proved to be nearly as captivating the headliners’. “Pantomime Jack” is the first ferocious taste of the duo’s next album, which is set to drop this spring.

EVY JANE – “Closer”

EVY JANE is a beat-making duo from Vancouver that returns after two years of silence with “Closer” and oozy, dripping jam perfect for a downcast day.

Hannah Diamond – “Attachment”

“Attachment” brims with both child-like vocals and extra-intriguing beats, which makes for a rewarding—and exciting—listen.

Joey Bada$$ – “Mr. Wonderful”

“Mr. Wonderful is a gun-blazing ode to UFC fighter Phil Davis that will accompany the scrapper as he heads into the ring.

La Sera – “Running Wild”

“Running Wild” is a true-to-form rocker wherein Katy Goodman exams getting out of town over a rocking electric guitar and an unceasing set of sticks.

Miguel – “How Many Drinks (Rick Ross Remix)”

Rick Ross drops a verse on the already-Kendrick-Lamar’d remix of Miguel’s “How Many Drinks,” and honestly, we can’t complain.

Ought – “Habit”

“Habit” is a noisy slow-burner fueled by unrest and Tim Beeler’s sing speak narrative.

Twin Shadow – “To the Top”

Twin Shadow returns with the triumphant reset-button that is “To The Top,” his first original material since 2012’s motorcycle-ridden Confess.

Young Thug – “OMG ft. Iamsu!”

Atlanta rapper Young Thug re-worked the previously released “OMG” into a laid-back number featuring Bay Area’s Iamsu!

gif by mr div


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4 Biggest “Raver” Myths Busted Part 1: Ravers Are All “Feral”.

defcon australia

By: Cassi Catsaros

Q-Base, Scantraxx, Defqon 1, B2S, Reverse bass and Nike. Knockout, Timeout, Masif Saturdays and Dirty Workz. Who could forget about Fusion, WE R, The Qontinent, Q-Dance, Theracords and XXlerator. Hard with Style, The Spell of Sin, Extreme Audio and the beloved “screech”. Audiofreq, Brennan Heart, Frequencerz, Zany and Outlander. Sacrifice, Bass Control, Decibel, Unleashed: once again and pre-parties. A2, “raw or melodic?”, Thunderdome, Qlimax and KICKS.

To the average deep house or even punk rock listening civilian of this modern day and age, the previous string of words above more than likely mean absolutely NOTHING. I could have well of been writing an erotic fantasy in Arabic which would have been better understood than that last paragraph.

This 24 hours a day, 7 days a week, 365 days per year non-stop energy, dedication and hard beats is part of my life and many “ravers” all over the world can also sermonise my very statement. Cutting this all down to size, this hard thumping, beautifully crafted and ever so creative style of music is responsible for 90% of my social media posting, 100% of what I actively blast through my car speakers whilst stuck in peak hour traffic and 50% of the basis of my choice in companionship. (Boys who are intolerable to my love for hardstyle, sorry but I will be intolerable of your dick. NO NEGOTIATIONS).

So you’re all sitting here scratching your heads wandering, “BUT WHY IS EVERYTHING SPELT WITH A GOD DAMN Q” and “WHY ARE THERE FUCKING Z’S AT THE END OF EVERYTHING.” I could simply answer your questions with a simple “I do not know,” but being the great philosopher that I am, I decided to investigate and bust all of the generalisation myths about hardstyle and the community, the community that myself and many other likeminded individuals find themselves caught up amongst.

By the end of this 5 part journey, my aim is to have at least 75% of you thinking more positively towards the ravers in our society, 40% doing some musical research and opening your mind and for 90% to be a little more tolerable of this beautiful kind of music (after all, we do tolerate elevator music for society so maybe it is time we got a little bit of recognition). Most importantly, I hope to gain some more dedicated members and friends into the hardstyle community. We are all about peace, love and everything melodic here and although our “gabber” is mean, most of us aren’t.

Let me begin my investigation with busting the first myth about the hardstyle scene:

MYTH #1: RAVERS ARE ALL “FERAL”.

Ok so for those of you how do not know me or have never seen me, you probably have already formed a vivid image of what exactly I may look and act like based on the stereotypical raver image.

It would go something like this:

  • Mildly overweight or underweight. Listening to hardstyle as an “escape because I am fat and unhappy” or underweight because I eat 10 pills every weekend at raves and go on crazy methamphetamine benders.
  • Unhealthy (refer to above bullet point)
  • Disgustingly aggressive and breaking out in a random “hakken” in suburban streets and shopping centres.
  • Bad acne (probably from the accumulated methamphetamines in my system)
  • One to be spotted out in public wearing a striped nautical polo, fluffy boots and “khandi” bracelets overtaking all of my limbs.
  • Spitting everywhere, even whilst smoking a cigarette or necking a beer.
  • Really bad regrowth because I spend all of my money on raves, drugs and iTunes.
  • Owning way too many record label merchandise for my own good.
  • Wearing Nike tns everywhere I go and never taking my dry fit off (unless I am washing my hair, which I do not do very often because I am always at raves or smoking crack).
  • Wearing tiny little sports shorts and a crop top out clubbing.
  • Wearing only Nike, Nautica, New Balance and Adidas. “I just wanna be comfy when I’m running away from cops so they don’t bust me with 100 pills and 10 grams of meth.”
  • Always wearing a colourful backpack with drugs, inhalants, more drugs and glowsticks inside.
  • Owning a meth lab/ knowing somebody who does; somewhere out in the Western Suburbs of Sydney.

All I have to say is, ENOUGH WITH THE GENERALISATIONS!

To bust this myth, I asked 32 strangers to rate my aesthetic appearance out of 10 and to my pleasure (and a celebratory glass of wine) I scored a mean score of 7.86 (just for your information, the median score was 8.0 for all of you statistics nerds). So, let us clear one thing up; the stigma of being a “raver” in modern day and particularly Australian society does not immediately classify you as being “feral”, a methamphetamine addict and having terrible regrowth. And even the stupidity of me having to go out and ask strangers to place my appearance on a scale of 1-10, the way somebody looks shouldn’t have to dictate their personality and ability to function in society, however, sadly, in this day and age – looks matter… apparently…

Secondly, just in case my “considerable” looks are not enough proof, I may as well just throw in a fun activity for all of you non-hardstyle listeners. If you happen to have some spare time, maybe jump on Google images and do some visual research on the actual producers of this genre of music. You will be extremely surprised to see how incredibly sexy some of them are, sexy enough to probably update your iPod and start attending hard dance festivals. If you would actually like to take up this little activity of mine, I suggest that you type the following names into your search engine: Coone, D Block & S-te-Fan, Rebourne, Radical Redemption, Adaro, Outlander, Code Black, Frontliner (hottest bald guy I have ever seen in my life) Bass Modulators, E-Force, Geck-o, Adrenalize, Chris One and just putting it out there my Mother kind of has a crush on Bas from Noisecontrollers. And it doesn’t stop there either, for all of you guys, you are lucky enough to be blessed with the eye candy of: Anime, Korsakoff, Miss K8, Dj Stephanie, Kamikaze and Lady Faith for some solid proof that there is some quality female action out there in the hard dance scene.

Thirdly, I could easily say: go buy a ticket to The Netherlands (Hardstyle’s country of origin), attend Defqon 1 and a few other raves while you’re at it and keep score of all of the good looking people that you see. I can assure you, you’ll stop counting at approximately 529 and say “Well, that chick who wrote that article knew what she was talking about.” If you’re broke or do not want to go to The Netherlands, go rock up at Bass Control in Sydney or even at Masif on a Saturday night and conduct the same experiment; you will be shocked to actually find that there are fashionable ravers, very good looking ravers and for all of you guys, fuck you will LOVE the abundance of chicks in short shorts.

Personally, I do not like making generalisations about people – stereotypes that form through different musical genres is ridiculous and these stereotypes are usually formed by those who are not even involved the genre themselves. So I say, regardless of whether you would be classed as a 2 out of 10 or a 10 out of 10, your musical choices are yours and don’t let your aesthetics (or lack of) determine who you want to be. Hardstyle welcomes everybody, whether you dress yourself in bacon or Prada…

Seeing as my escapade to bust the first common misconception about “ravers” and the “hardstyle scene” ran smoothly, I have decided to give you more, YES, I am going to give you MORE. I suggest you stay tuned as the best is yet to come…

Review: SZA, Z

opinion by JEAN-LUC MARSH

With SZA, ambience is everything. Her soundscapes often skew towards the mellifluous and enticing, doused in layers of honey and inching forward with a leisurely sweetness. This polished exterior spans throughout Z, making for a smooth descent into SZA’s unhurried universe. It helps that her voice is the equivalent of a chloroform-soaked doily, capable of lulling even the stubborn insomniac into a drowsy daze.

Even the guest appearances are subdued, with Chance the Rapper’s lysergic hysteria tamed to a gravelly cadence on “Child’s Play,” and Kendrick Lamar’s usually unnerving voice blending particularly well with the backdrop on “Babylon.” However, it is Isaiah Rashad’s turn on EP highlight “Warm Winds,” that melts most seamlessly into the mild mixture. The prayer said in tandem at the song’s midpoint, and subsequent harmonization, are so smooth that it becomes easy to forget about Rashad’s presence. SZA takes the reigns gently, beckoning to venture deeper still while muttering something about flowers and space rides, over a rhythm evoking exactly what the song’s title lays claim to.

“Sweet November” sticks out among the rest of the material for less positive reasons. SZA’s take on jazz with an R&B twist strays from the tone of the remainder of the EP, which seems more focused on a foggy, hip-hop inflected goal. In addition, her strident outbursts commit the cardinal sin of disrupting the trance that the previous seven tracks constructed.

Throughout Z, SZA demonstrates that “glitter trap,” the self-coined moniker for her music, is most fitting. Her vox serves as a glowing lure leading to a languid world built on reverb. The main downfall of Z is a lack of strong lyricism. In the rare moments that the murk clears or the light becomes too bright, what lies behind is less graceful than what it seemed. The remedy is simple though. Some more thoughtful strokes of the pen and SZA won’t have to resort to glitter or traps. B-


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Review: The Afghan Whigs, Do To The Beast

opinion by MATTHEW M. F. MILLER

With the exception of Twinkies and maybe Hulk Hogan, step away from anything for 18 years and you’d expect it to deteriorate during that time. Especially in music, where the landscape changes daily and fan-ship is particularly fickle, which makes comebacks generally disappointing. Fans want the artist to remain frozen in time, to pick up where he/she/they left off upon departure, but the passage of time rarely does favors for anyone. Comebacks are a bitch on fans and performers alike, and after a beloved artist has returned we tend to walk away wishing and hoping for something that no longer exists, for something that can’t be recreated.

Pretty much every 90s indie lover has gotten himself worked up into a minor frenzy at the prospect of The Afghan Whigs’ reformation. If anyone can recapture the magic of the 90s, surely it’s a band that has never released a bad album. Surely the geographical challenges that caused the band to disband means there was never any ill-will they’d have to work through in order to make this train chug once. Lead singer Greg Dulli has been super active with his side projects, so it’s not like he’s rusty or anything. Maybe The Afghan Whigs will be more of a restart than a comeback. Maybe this time and this band would be different.

With that baggage unpacked, it brings nobody pleasure to announce that Do to the Beast, the new one from The Afghan Whigs, is indeed a comeback in every sense of the word.

The last time we heard from the Whigs proper was 1998’s stellar, very 90s sounding 1965. Like a phone call from a long lost relative you haven’t heard from in decades, their seventh album Do to the Beast sounds both familiar and confusing. It’s the aural equivalent of watching a retro sitcom (see: The Goldbergs) that perfectly hits all of the obvious notes, and misses out on the nuance completely. Do to the Beast fails to recapture a bygone era because it hinges on the elements the Whigs are best known for and not the little things that elevated them to another level.

Lead track “Parked Outside” has a sexy, 80s rock crunch and swagger, but Dulli’s voice seems to have lost the fragile edginess and raw emotion that powered the band’s best songs (“Gentlemen”, “66”). On too many of the mid-tempo rockers featured here (“Matamoros”, “Lost in the Woods”) the band ends up sounding more like a Kings of Leon cover band that also dabbles in The Afghan Whigs songbook, allowing their R&B indulgences to become unbalanced with their rock roots. And without founding guitarist Rick McCollum’s searing, melodic leadership, could-have-been great songs, such as “The Lottery” and “Royal Cream” start off with hoards of guitar-screeching, alt-revival promise, but they never find a hook or even a way to develop beyond their opening anthemic salvos.

Revenge and redemption are at the heart of many of these tunes, and at it’s best, as on the lovely, out-of-time “Aligers” and the haunting “It Kills” (“now you’re gone and you ain’t coming back”), Do to the Beast screeches with purpose, not just because it’s what Dulli does but because it helps the songs build from acoustic simmers to a boil without excess noise or forced emotion. It still sounds like The Afghan Whigs, but it sounds more like re-workings of b-sides that may have shined in the sun of another decade. C+


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Ridin’ Dirty: Ship Faced 2014

Ship Faced

There were a couple of ideas that were floating my boat prior to boarding the Ship Faced cruise on Friday. For one, I was a little bit excited to be able to purchase and skull a beer past the 10pm Good Friday cut-off (it’s secular on the high seas matey!), I was rather keen on the fact that I’d be doing this whilst cruising around the most beautiful harbour in the world – plus the fact that the soundtrack to both these activities would be the sounds of a handpicked group of Australia’s dance elite was not a bad thought either. With spirits high and ravers rummy – it was time to celebrate the 3rd birthday of the annual event – it was time to get shanty.

Alighting the monster double-decker glass boat – fairly $waggy, I must admit – my rave sister and I took to the sky deck to catch some local groove-masters. First up was Kiss Kiss – two young lads who were intent on busting out some deep and funky house/techno vibes.

Very similar to a Hannah Wants set and a nice departure from dance pop – the boys’ set was bass heavy and a highly impressive opener for the evening. Disappointingly most of the punters were still making their way onto the boat (don’t be fooled by it’s seaworthiness- the boat is security heavy) and Kiss Kiss may not have had the crowd they deserved. We still boogied guize!

The sky deck was an awesome place that night to showcase local up and comers – other artists including Eratik & Lemond, Parental Guidance, Blow Out DJs, Fiktion & Them Again and Unknown Associates did not disappoint. With a capacity of 200 people  - the deck was filled to the brim with bumping and grinding despite the harbour wind. Even so, it was darn chilly – scantily clad midriff ladies and muscle-tee enthusiastic dudes be warned – fripples ahoy!WP_20130307_23_52_46_Pro

Heading down to the main room, we arrived just in time to groove to Lewi McKirdy. Far from lunch – Lew still wanted to serve up a spread – the gent looked like he was having as much fun as anyone in the crowd and pumped some highly decent jams. It was a short intro however to German house legend Doctor Dru – who gave an absolutely mesmerising performance behind the decks. Turning the ship into a giant pulsing house machine – the response to the incredible sounds of the good Doctor were refreshing too. Pushing away the trashy banger-esque party boat conceptions – Sydney harbour became home to an awesome underground (luckily, not underwater) euro house den.

The highlight of the evening, however, was a complete draw between the last two acts.

Ok, I need to take a minute to talk about Touch Sensitive. Seriously, how fucking great is this guy? I managed to do the sneaky behind the deck and have a chat to the legend, who seemed a little nervous under that fantastic mo. Upon investigation – he was nervous about pulling out the plethora of instruments he had prepared in the gap after Dru. Backpack bound – out came the bass guitar, midi controllers, a whole host of sound creating goodies. We often talk about the questionability of live electronic performance (this video is a case in point) – but Touch puts those to bed. An artist who truly understands the computer/instrument divide (/balance?), the bass skills are absolutely out of control. Dropping favourite tracks Pizza Guy, Body Stop and new Slowments (available here for free download), Touch was slappin da bass the whole time and groovin’ his Converse off. It was nothing short of fucking awesome… and hot.

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Never ones to disappoint – it might be no surprise that we also frothed over the match made in heaven that is L D R U and Yahtzel. It’s good that we were on water because these guys were on FIRE. Dropping mainly other Aussie producers (nice to see a healthy dose of Indian Summer and others in there), whilst dropping homemade track ‘The Only One’ – which might have seen the crowd have a collective peak. Hectic flailing lad. It was a sweaty affair which literally saw the inside of the boat get one hell of a steamin’ (great for writing creepy love letters on the walls of the boat – noice). Love was definitely on board as Yahtzel and I exchanged world’s sweatiest hug and I was bestowed L D R U’s damp captain’s hat, hooray for germs!

All together, Ship Faced was an amazing way to make some motion on the ocean. The amount of talent on one boat was unbelievable – from the excited local performers to the international headliner – the music was absolutely primo. This isn’t to mention the beautiful Sydney harbour which we cruised around. Ship Faced really brought the decks to the decks (aye!) and turned a Good Friday into a bloody great Friday!

Here are some of the more random things I spied/experienced whilst creepin’ around the cruise:

  • Some chick trying to catch smoke from the smoke machine in her mouth and breathe it out into her friends faces like a dragon. Hecccccctic fail lad.
  • Yahtzel catching some cheeky Z’s before his set. The legend was all tuckered out after a week of touring.
  • So many almost-overboards. Just one would’ve been funny, but safety was top notch.
  • A guy selling E-vapours humped me leg. Not keen.
  • Dr. Dru standing directly behind Touch during his set – havin’ a creepy admiring sesh. It was nice to know I wasn’t alone.
  • More floor condoms than I care to admit. I wasn’t aware I was on the love boat, shwing? 

WP_20130308_02_20_57_Pro(Photo: Doctor Dru creepin’ on Touch… whaaaaaaaaaat.)

(and my souvenir for the evening…)

Review: Kelis, Food

opinion by PETER TABAKIS

Earlier last month, Kelis Rogers opened her debut SXSW gig with a rendition of “Feeling Good.” Augmented with a bright horn section and a pair of background singers, her take was a stirring, if minor, facsimile of the classic. This is no slight to Kelis as a live performer, nor to her instrument, a deep and sultry mezzo. “Feeling Good” belongs to one artist, and since the 1965 album I Put a Spell on You, that artist has been Nina Simone. But as a programming choice, the song acted as an exhilarating salvo, brazenly self-conscious. It was a nod to the joy that follows a change in direction, in this case a striking shift in musical style. If any of this was lost on the Austin crowd, Kelis made her point clear by later adding snippets of “Feeling Good” to the material from Food, her sixth and finest LP.

Fans of Kelis’ previous idiosyncratic forays may be surprised to find little contemporary R&B on Food. Those partial to the futuristic electro-pop of 2010’s Flesh Tone, in particular, may even be disappointed. Her new album is, instead, a feast of sweaty funk grooves and impeccable soul melodies. With the help of producer Dave Sitek (of TV on the Radio), familiar sounds are frequently renewed and made dazzling. This classicist revamp is hardly a risky move in 2014. Food arrives on the heels of Daft Punk’s triumphant Grammy coup, which amounted to a victory lap for nostalgia on the pop charts. But Kelis’ ambitions are far less grandiose, placing the album somewhere in between recent works by Sharon Jones (on the formalist end) and Janelle Monáe (at the weirder extreme).

Review: Kelis, <i>Food</i>

Its misleading title notwithstanding, Food isn’t a gastronomic concept record. (Kelis rarely references edibles in her lyrics.) And despite some seemingly ridiculous names – such as “Jerk Ribs,” “Biscuits n’ Gravy,” “Friday Fish Fry,” and “Breakfast” – these songs don’t aim for laughs. In other words, we can brush aside comparisons to Cibo Matto’s Viva! La Woman. Kelis happens to be both a Le Cordon Bleu trained saucier and the host of a Cooking Channel show. She understands a meal provides more than sustenance for the body. It can be sensual and soulful, a portal to a specific time and place, a stimulant for the subconscious.

I’m reminded of a scene from Pixar’s culinary masterpiece Ratatouille, which fully dramatizes the power of taste-sensation. Late in the movie, a bite of the titular dish returns a miserable restaurant critic to his youth. He is instantly transported through time to the comfort of his mother’s kitchen. A forkful of expertly prepared vegetables changes him – taste humanizes and, ultimately, redeems him. When Kelis sings of jerk ribs, her subject isn’t Caribbean cuisine: she is recalling the wisdom handed down by her jazz-musician father (“He said to look for melody in everything”). Biscuits with gravy are dashed childhood ambitions (“I’m standing in the middle of some other person’s life”). Fried fish become a representation of the singer’s libido (“I need ice-cold water!”). The prospect of a meal is a prize waved in front of a lover, if she hasn’t yet kicked him from her bed (“Maybe we’ll make it to breakfast”).

Food is consistently satisfying and often fabulous. Its lesser ingredients (“Cobbler,” “Floyd,” and “Dreamer”) may distract, but only mildly, from what is some of the best work of Kelis’ career. The album abounds with engrossing hooks and vivid instrumental arrangements. Case in point: the Technicolor brio of “Jerk Ribs” and “Breakfast,” Food’s opening duo. “Rumble” lopes atop a lithe piano lick and then dances alongside a fat chorus. A couple of mid-tempo ballads (“Runnin’” and “Bless the Telephone”) and a superb torch song (“Biscuits n’ Gravy”) sneak some very real emotional heft into the routinely upbeat Food. “Friday Fish Fry,” a euphoric rave-up that features a call-and-response breakdown, surges with carnal electricity. For my money, it’s Kelis’ sexiest and most indelible song since “Bossy.”

Though she’s no stranger to the Billboard charts, Kelis exists in fame’s outer reaches. And aside from her universally beloved single “Milkshake,” she has yet to receive a wholehearted embrace from critics. It took sixteen years for her, an artist with a solid best-of compilation already under her belt, to reach firm creative footing. Newfound commercial success may or may not follow. Either way, Kelis’ late arrival deserves celebration – and her Food, relish. B+


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13Tracks | Tunes to Tickle your Tastebuds Playlist | #thirteenisthenewten

 cassette

Craftily selected from the overflowing supply circling the web-o-sphere, I present to you: 13TRACKS – Tunes to Tickle your Tastebuds #thirteenisthenewten

1. Aston Shuffle – Tear it Down (GAMPER & DADONI Remix)
Gamper and Dadoni are two German Klangtherapeuten/Naxxos/Androma- like musicians. Between them, Stefan Biniak and Klangarussell I can only assume it’s something in the German water. Their crafty work turning commercial tracks into European trop vibes, is truly easy on the ears. I LOVE this remix of Aston Shuffle’s, Tear is Down, from their new albumPhotographs.

2. KILIAN&FINN – Free
Oh, two men from Germany again you say? Now it’s just getting pathetic. A super funky choon – 0.51 seconds is where it is at. Free, makes you want to donse donse donse.

3. Basenji – Dawn
Sydney based Basenji, recently performed on the Boiler Room so I saw it only fitting to include him. A wise Stoney Road-er once said, “The track sounds like a bunch of kindergarteners got hyped up on undiluted red cordial and went nuts on one of those big pianos that you play with your feet,” and I couldn’t have said it better myself!

4. Wildred Giroux – Stronger (Clancy Remix)
The original, which came out roughly two months ago, was different and much greater than anything I had heard in a while. It has so many layers, you spend most of your time working out how they work so well together. Clancy’s remix has only enhanced the track making it a tiny bit deeper, a tiny bit darker and a tiny bit better.

5. Chrome Sparks – Goddess
Brooklyn’s Chrome Sparks project, has returned with a new mesmerizing EP out April 28th. The mysterious orange-blue flower graphics complement the tunes spiraling sounds, and deep choral loops. Around 2.24 it gets even a bit trancy and A&B-esque, dare I say! The change of pace at 4.35 really throws you, but ties it back to the subtle beginning well.

6. ZHU – Paradise Awaits
The ZHU EP is super stylish, original and all things grand. I chose it over Faded because… well, I prefer it. (Just marginally).

7. Amine Edge & DANCE – Came Around
Just, great. Well described by Nick Tho as “the blend of vocals of early 90s hip-hop and the latest trends in deep-house to create what now known as “G-House.”

8. XO – What’s Luv
A def favourite at the mo’. Oh, and he’s eighteen years old.

9. Taches – Malindi
DeepNDreamy production; a perfect release to follow Don’t you Know and Turn of PhaseTaches and ZHU are perking up to be the leaders in the underground scene. Looking forward to producers jumping the remix bandwagon with this one!

10. Sam smith – Stay with me (Rainer + Grimm Remix)
This track has been countlessly remixed with the leading likes of Shy FX and Florian Paetzold, but this one overpowers them all.

11. MSMR – Think of You (Wet Remix)
Ever since Bones, MSMR can do no wrong. Wet, in the space of 4 months has undoubtedly become my most over played artist and with this, I don’t think much will change on my end.

12. Mapei – Dont wait (giraffage)
Original>=Remix. Here’s what James Ledger had to say.

13. Frame & Felix Lloyd – Pacifique
Yep! Not much gets me more excited that Indian vibes threaded through a tune.

Have a lick and a taste, and enjoy your week before the LONGGG weekend (round two)! That is… until you wake up… face planted in cushion, smudged mascara, a brooding list of missed calls and realise it’s Monday again. A coffee and this 13TrackMusicFix should help.