This is ‘The Spotlight.’ Many artists pass through D.C. on a weekly basis, but this column highlights one specific artist who happens to be playing in the district during the week. That way, you may join their journey in influencing the house music landscape.
Moombahton is partially responsible for the resurgent, diverse dance music community we see today in Washington, D.C. and no act can lay stake to that claim as much as Nadastrom. The duo, comprised of DJs Dave Nada and Matt Nordstrom, has been on the forefront of the scene since its inception: at a party in 2009, Nada made the career defining choice to blend house and club tracks with dancehall. And while he wasn’t the first artist to manipulate club music with Latin and reggaeton influences, it didn’t take long for the mash of genres to spread throughout the underground community in Washington. Fast forward to 2015, Nadastrom is easily one of the biggest electronic acts to arise out of D.C. having played all over the world including dates at Electric Daisy Carnival, Fabric, and Electric Zoo as well as featured spots by the reigning Queen of BBC Radio One, Annie Mac.
The group, along with frequent collaborator Sabo, is also a driving force behind the Moombahton Massive parties thrown regularly at D.C.’s crown jewel of the underground dance movement, U Street Music Hall. These parties, which have also lead to the group’s involvement in curating stages for HARD, are notable for bringing in some of the hottest talent from all over the world – such as Toddla T and Munchi – as well as consistently being on the cutting edge of the subgenre often employing unique visuals and killer audio to complement the freshest sounds in the movement. These parties continue to sell out venues worldwide as well further proving that Nadastrom’s imprint on tropical bass is becoming deeper as time rolls forward.
But while they’re presence moombahton is still incredibly strong, their 2015 self-titled release on Friends of Friends sang a very different tune as it featuring soundscapes and character from a wholly different sonic catalog; an album which saw the duo experiment with what was already considered, by them, as an act of experimentation. This shift in direction marked a breakthrough for the group, and moombahton, as it allowed for a new ebb and flow showcasing a welcome branching out that connected the subgenre to many of the other molds featured in the canon of house music. In regards to their self-titled LP, Nada described it as a project where he and Nordstrom wanted “people to get lost in the tunes.”
Nadastrom’s mentality and overall approach as a group towards music has always been one about inclusivity and allowing the positive energy in a room to grow to its furthest, and most instinctual, potential; they have always seemed to find that balance between going full-on rager and blissed out commune which is not only a testament to their talent as tastemakers, but also as individuals who understand music is an experience which requires feeling. And as they begin to tread new ground as their sound evolves alongside the very subgenre they helped christen, the only thing we have left to say is, “Rock on.”
This remix is out of this w o r l d. PLS&TY takes future bass to the extreme. This track has everything: grungy synth, killer percussion, a bright melody over an already undeniably great song. He accents André 3000 and Big Boi’s lyrics with dancey future bass and fills this throwback with the most stellar vibes. His Outcast remix is a follow up to his equally as brilliant Nelly Furtado and Baby Bash remixes and shows just what classic, but elevated taste the young 19 year-old has developed.
I first discovered Bruno Furlan through his release, “Blow Minutes”, on the Dirtybird 10 compilation. The Brazilian producer has a taste for creating tech house that is a bit out there, and he didn’t disappoint with “Moogye”. He incorporated some bongos to give it a sort of tribal vibe at times, followed by a high pitched falling synth that helps bring the weirdness of the track to light. This track just dropped on Maze Records the other day so head over to Beatport and pick it up!
Beshken doesn’t mess around. Positivity flows through his incomparable soundscapes like water comes out of a tap and while many of his indie/future bass peers strike a common path, the Santa Monica based producer goes out of his way to venture into the woods without a map. This mentality strikes a chord as each remix and original he’s released to date has had a magnetic quality based on the element of surprise; a trait often seen from his choices to suddenly drop into detours that sample from an eclectic array of sub genres.
His newest remix, a hang-gliding, carefree take on Marvin Gaye’s “Ain’t That Peculiar,” is a triumph that punctures and blips as much as the floating synths raise the track much like yeast rises in freshly baked bread. The remix is soft and pillowy allowing listeners to allow themselves to feel warm and cozy as the ambient pads envelop the interstitial space between dreams and reality. It’s as chill as summer vibes go, perfecting the fine balance between indie electronica and fratboy house, and it pairs well with a mojito. Surprising, lusty, and spirited, Beshken’s version of “Ain’t That Peculiar” goes above and beyond straight for the clouds.
You can stream the track below and visit Beshken’s SoundCloud page for a free download.
Trent Reznor is the man he is today by cutting the cloth of industrial rock and dyeing it in one of the darker, subversive basins of electronica often creating new periods for himself with each subsequent release. Similarly, Matt Lange, who is more well known for his efforts on Mau5trap Records and Anjunadeep, consistently goes against the grain of dance music and often delivers tracks that lay eggs within the further corners of the subconscious; his work is intellectual, refined, and instinctual.
Matt Lange’s recent remix of “Discipline” off Nine Inch Nails’ The Slip is more in touch with his animal side, delving deep into the subterranean, dimly lit catacombs of dub and electro producing a slow-burn that glitches and throbs with sheer ferocity. Cerebral in its execution and delivering on NIN’s industrial edge, Lange transforms from techno connoisseur/ambient tastemaker to an electronic God – playing with our inner impulse to lash out and destroy the shackles that keep us binded.
Stream Matt Lange’s remix of Nine Inch Nails’ “Discipline” below.