Luca Lush has been blowing up as of late with his unique take on future bass. This 3 track EP might be surprising to some, though, as Luca goes 4 to the floor with his beats. He brings the funk and soul with all three tracks, injecting that future bass feel over some house beats. I highly recommend checking it out and grabbing this EP over on Bandcamp. You can name your price, but remember Luca’s gotta pay his rent, too!
The Bingo’s got some big balls. Chris Bushnell, L.A. producer by way of Florida whose Travi$ Scott and Gent & Jawns remixes we covered earlier this year, is out for blood and it shows on his latest release on Dim Mak. The track, simply titled “Need,” is a banger that traces the fine line between big room and big house much like the more recent tracks we’ve been seeing from DJs like Chris Lake or EDX. And while Bushnell chooses to infuse his sound with a little more grime than we’re typically treated to on the pop-deep house or neo-house charts, it’s not the kind of garbage one would expect to hear at a fratty warehouse rave.
Instead, “Need” derives its flair from Chris Bushnell’s apparent love of UK garage and 2-step which, over the course of the past year or so, has been becoming increasingly present in his work as he begins to step away from his humble beginnings of a big room DJ and producer. This explains the deepened urge for complexity with each subsequent production of his; “Need,” in particular, has a wobbly bassline and kick-snare pattern that would make Hannah Wants and Chris Lorenzo go weak at the knees. Bushnell is the kind of producer that shows more and more of himself, his inspirations, and drive to mature with each new release and “Need” is no exception. You need this track.
The popular dance music producer Bit Funk is a beast. Having approached everything from pop to trance to nudisco, the Brooklyn based musician is currently making the rounds with more original material to complement the steady stream of banging remixes that he’s been putting out in recent months.
His first original since the fabulous Soul Satisfaction EP release, “Off the Ground” is a radio ready, poppy four-on-the-floor heater by way of Oliver Heldens. The future house aesthetic is strong in this release as it guns for Tchami territory without sounding amateurish or run of the mill: the bassline is like a Ten Walls’ style horn that has been given performance enhancing drugs; the percussion snaps without sounding canned; and the vocals are catchy, but not cloying for earworm status. In a lot of ways, “Off the Ground” is the kind of track producers have been trying relentlessly to make since “Gecko” came out, but have fallen just short of accomplishing as it sounds far from sterile despite its cookie cutter structure. This is helped by Shae Jacobs’ spirited croon which adds warmth to the track as his falsetto asks to be lifted from his current plight; he goes from sounding like R&B hotshot The Weeknd to the enchanting AlunaGeorge in one fell swoop elevating the track with a tour de force level of dynamism.
You can stream Bit Funk’s “Off the Ground” on SoundCloud and pick it up when it hits digital outlets on October 9.
Enough has been said about Duke Dumont‘s rise to DJ stardom over the duration of 2014 and 2015. At this point, he’s become as synonymous with mainstream dance music as artists like Skrillex, Daft Punk, or Calvin Harris and he does what he does well; as far as repackaging your inspirations into easily digestible house treats, Duke Dumont doesn’t normally stray away from his tried and true neo-house structure. Pop, after all, is what pays the bills and what keeps the ADD-riddled generation of 20-somethings interested in your brand.
In this sense, his latest EP Blasé Boys Club Pt. I is more of the same from the English producer: a series of tracks that draw from a colorful palette of influences ranging from 90′s vocal house like Robin S to the downtempo 2-step patterns utilized by Duke Dumont’s peers Disclosure. This gives the tracks on his new EP an odd feeling of patchwork. It is as if he stitched his favorite pieces from the past 25 years of dance music into a quilt that’s supposed to pay homage to his heroes. He succeeds, but at the cost of leaving us suspecting like we’ve been here before.
For starters, “Won’t Look Back,” is not just an older track, but one that was previously released on Duke Dumont’s EP 1 less than a year ago making its inclusion welcome, but redundant. As for new material, “Robert Owens Talking,” while it shines in its ability to repurpose the the pure energy of the warehouse circa 1980′s Chicago, ultimately feels too much like Daft Punk’s “Giorgio by Moroder” on 2013′s Random Access Memories as Owens discusses Chicago with the same glimmer that Moroder had when he discussed disco. As far as structure goes, the focus of disco and funk as the backbone for classic house makes for an entertaining affair when the Duke is in charge. It shows a fun side to Duke Dumont that is often seen in his sets, but rarely put on display as a producer. Ultimately, however, it’s a case of too similar, too soon given Daft Punk’s “Moroder” is barely 2 years old.
“Melt,” the other track making its debut on this EP release, is on a whole new wavelength altogether. Starting off with a shuffling 2-step rhythm reminiscent of the loungier side of Disclosure’s Settle - the track “Second Chance” comes to mind – “Melt” subsides into a sultry plea for intimacy as the vocals beg for closeness and kisses in an eargasmic pool of lush soundscapes. This is the Duke Dumont that breaches past pop music formula to create something approachable for the masses while maintaining the elegance and deep feels that got him here to begin with; just look at “The Giver” for reference. This is also a major feature on “Ocean Drive,” a track that asks us to reevaluate our rapport with 80′s synthpop for the first time since Kavinsky’s “Nightcall” over 4 years ago. These two tracks are the crown jewels of the EP: shining examples of how to pay tribute to your peers and your guilty pleasures without feeling cheap or evil.
Despite it’s unevenness, Duke Dumont’s Blasé Boys Club premiere is an enjoyable romp and hopefully a glimpse as to where he wants to take his career – as long as his trajectory doesn’t stray too far into novelty, kitsch, or unnecessary detours into waters already traveled.
Blasé Boys Club, Pt. I is now available on all digital marketplaces.
This duo out of London has been putting in work, with releases on labels such as CUFF, Simma Black, House of Hustle, and many more. This time though they have one they released independently for free! “This Far” has a snappy, raw bass line with some percussion that almost gives it a bit of a breaks feel. Make sure you grab it from the link on their Soundcloud, and check out their page for a ton more freebies.