Once again showing signs of maturity is D.C.’s Julius Jetson: a young DJ/producer with a keen sense of what bangs, what heats, and what jacks. While each release under his belt has demonstrated the makings of a promising career in the underground, his most recent remix – a stampeding, jacking house edit of 50 Cent’s hit “Candy Shop” – is the final nail in the coffin. Julius Jetson is here to stay and he’s gonna slap some serious G-house steeze into your life.
Anchored by fervent use of winding crescendos and thick bass, Jetson’s signature, malevolent tone drips like napalm over Curtis Jackson’s sleazy vocals which percolate with more flavor than a French press. The percussiveness of the track gives an earthy undercurrent that instinctually pushes you to jack your body; it resonates deep and dwells like a pit within a Georgia peach. And similar to tracks like Watermät’s “Bullit” or the more recent “Bang That” by Disclosure, it’s not asking for anything artificial. It’s a build that drops and delivers a sweet release. This was made for peak hour performance and it owns it.
Listen to Julius Jetson’s remix of “Candy Shop” and pick it up while it’s a free download.
“Can’t Do Without You” is a slow burner of a track that mounts into a euphoric exploration of emotion, youth, and beauty. It’s a palatial soundscape which folds and flows endlessly to the very nerve endings in our toes, fingertips, and the hairs on the nape of our necks. Caribou, upon its release, redefined his career as an IDM staple with the track becoming one of the dark horses of the 2015 Ibiza and festival season (especially after the release of the Mano le Tough and Tale of Us remix). These are mighty large shoes to fill. Ones that require craftiness, an urge to experiment, and an apparent love of the source material.
With Manila Killa, the track becomes a spectral, plush, ghostly floatation device: constantly lifting, warming, and pushing beyond the stars into the night sky. If there was a genre called “stargaze house,” this would be it. Borrowing elements of future bass, specifically the combination of kicks and snares, it would be unfair to call this version of Caribou’s classic a straightforward remix; it’s a cover that features new vocals from French musician Kidswaste as well as an entirely new musical structure aside from the main chord progression. The real star of the show is the use of ambience built from the use of pads, warm piano, and a symphony of strings so ornate they border on sinful. The ethereal, enveloping textures tie the song together like a pair of loved, worn in sneakers. There’s something about the track that just feels like home.
This is what it’s like to kiss in the rain. This is what it’s like to fall in love. This is what it’s like to look back at fond memories. Manila Killa knows feels – and we expect you to have them when you listen to this rework.
This is your dose of Blisspop Daily News for today, Thursday, August 27, 2015.
1. Jamie xx scored a ballet and it’s coming Stateside. The ballet, Tree of Codes, was inspired by a Jonathan Safran Foer novel. Incidentally, Jonathan Safran Foer was born in DC and went to the same high school that Yung Lotion and I went to, Georgetown Day School.
“The finale in which we supposedly reach the solution to this deeply uninteresting aesthetic crisis is so phoney, so facile and so cortex-clobberingly stupid that it will inspire audiences everywhere to reach into the screen, pull the plug on sensitive Zac’s speakers and pour his Pellegrino over his head.”
3. The German electronic music pioneers Kraftwerk have a Blu-ray release of their 3D shows (the shows are done with surround sound + 3D imagery in synchronization with the music) in the works. Kraftwerk’s Ralf Hütter also said they are making progress on their ninth album.
4. DJ Snake’s new remix of Calvin Harris’ “How Deep is Your Love” is a flop. At least that how Miguel Tost at Your EDM feels. We’ll let you decide for yourself – skip to 43:30 to hear DJ Snake’s take on Calvin Harris’ hit:
5. SoundCloud’s user18081971, better known as Aphex Twin, uploaded nine new tracks to his page in the past 24 hours. Check out these modular gems here.
Proving that he has plenty of hidden feels up his very talented sleeves, EDX has been evolving and shifting his sound into something richer and with more warmth as of late. Following a string of impressive releases on Spinnin’ Deep and Enormous Tunes, the Zurich based DJ has been incredibly busy with a grueling tour schedule, his ‘No Xcuses’ brand, and plenty of studio time honing his new direction.
Known primarily for his work as a progressive house artist and his legacy that stretches back into the 90′s, EDX has been venturing into the land of deep house for some time now and his newest release, “Belong,” may very well be the track that officially launches him on his maiden voyage. With a vocal that is borderline audiosexual, “Belong” is a bass heavy, ambient melody with a lot of heart and overflowing, uptempo positivity. Adding in a subtle horn element, the track walks the fine line between tropical Ibiza coolness and main room foot-stomper and, thankfully, it never fully reaches the level of absurdity that’s required to be considered full-blown tropical #EDM (a trend that’s been more and more prominent on Spinnin’ Deep recently).
This is the type of track that demonstrates what time in a game like house music can add up to and, seeing as EDX has the advantage of having a lot of experience, it’s refreshing to know that even the oldest of dogs are more than fully capable of showing off their new tricks. With more tracks like “Belong” on the horizon, it wouldn’t be surprising to see even more of a renewed interest in EDX in the coming months, so keep your eyes peeled for a DJ set near you – it’s a party you won’t wanna sleep on.
“Belong” will be released on Spinnin’ Deep on September 21.
Claire Schlissel and Jen Mozenter are young, crazy, and want to rule the world. It helps that these two ladies, known to the dance music community as The Jane Doze, happen to be practically made of energy in case you haven’t been paying attention to their trajectory. Starting off as worker bees in the hustle and bustle of the music industry, the duo quickly found a calling as DJs and producers after discovering a shared love of EDM. Fast forward to 2015, they’ve crushed the remix game time and time again delivering high-octane, *wink-wink* edits that’ve consistently made them a major draw in both the dance music blogosphere and the club circuit.
Following their recent stream of quality singles, I took a moment to chat with the duo about their past, their future, the state of dance music, and whether 90′s Britney is better than 2000′s Britney.
First off, I would like to begin the interview by saying thank you for taking the time to speak with us and, also, I’m a huge fan of your work and have been since the start. So, congratulations on your success. Super happy to see that you two are getting your dues. My first question is this: who are the Jane Doze and, if you could create a custom emoji to describe yourself, what would it be?
We are a DJ/production duo from NYC. We do have an emoji! It’s this: }:) (ANTLERS UP).
There’s been multiple interviews detailing your past i.e. how you met at a show in New York and how you each left jobs in the music industry to pursue careers in dance music. I have yet to see an interview, however, where you were asked about what your 5 year old self would think if they knew this is where you’d be. What would 5 year old Claire and Jen say if they knew this was their future? Do you think they’d be stoked?
Claire: If you had asked me at age 5 where I’d be 20 years later, I probably would have said married with kids and working as a paleontologist. Suffice to say, I never saw this coming. It wasn’t until midway through college that I even considered music as a career path.
Jen: I started playing instruments at an early age, so I think even at 5 years old I would have told you that I wanted to do something that involved music.
In 2011, you two started out making mash-ups and now you’re working on original productions. As far as your music taste goes, it’s pretty eclectic having stretched from trap to deep house and everything in between. Since you started, has your taste influenced the way you produce? Or would you say it’s the other way around? Because you seem to fall into a broad spectrum.
We started out in more of the hip-hop/pop space, but soon after we started DJing, our production style changed. We wanted to make things that we could play in our sets which were becoming increasingly more electronic. We started seeing what people react to at a live show and that heavily influenced how we approached production.
And you guys also seem to have discovered this signature, tongue-in-cheek self – awareness when it comes to your music. Is that a byproduct of having experienced the music industry as insiders?
Yes, we think so. Maybe we’re jaded because we spent so many years on the other side. It’s almost like we know too much – we’ve see labels manufacture bands. We know what takes place on the back end. We try not to take ourselves too seriously because even though this is our life, it’s fun.
When it comes to traveling to gigs, what do you find is the secret ingredient to making your life easier? Red Bull? Neck pillows? Harry Potter toothbrush?
Good question. Our biggest splurge is probably Ubers to the airport here in NYC instead of lugging suitcases on the subway. The best investment we ever made in travel was applying for Global Entry/TSA Pre-Check. It saves us so much time at airports and we don’t have to take our shoes off.
Sometimes when you’re heading from gig to gig, the only meals you get around to having are late night eats. What are the most memorable late night eats you’ve had in recent memory after a show?
Oh man. Every now and then we go hard in the room service game. Most recently we were in Anaheim for VidCon: we finished our set around midnight, and nothing was open, so we ordered almost everything the hotel had in their kitchen. When we’re in NYC, and need to eat after a gig, we always go to Bubby’s in Tribeca. Best 24 hour food in the city.
So, as a DJ myself, I’ve come to find that I’m constantly chasing some kind of feeling during a set. When you two play a set, are you searching for something? And if so, what are you guys trying to chase? Find? Elicit?
The connection with a crowd: that moment early in a set when the audience sort of surrenders to you and decides they’re going to let you take them on a journey.
This question is going to be a little more political. You’ve said before that EDM can be “a boys club” which is a sentiment I think many of us agree with. I would also say, however, that EDM has also become a bit of a “white, heterosexual, middle class club” as it became more popularized in mainstream culture. Do you think it’s important to preserve the cultural roots of dance music and, if so, what’s your take on what we can do to preserve the history?
This is true. And absolutely. It’s sort of two-fold. One: Dance music needs greater diversity. A lot of this responsibility falls on the people who book festivals, who A&R records at dance labels, etc. Two: Part of preserving history is repurposing the old and making it new; what we love about a lot of tech and deep house are the references to the ‘Chicago House’ scene of the 80′s. More of this please!
Change of topic. These are going to be a series of rapid fire questions. Go with your gut instinct. First rapid fire question: fries or tots?
Both. Sorry, too close to call.
DJ set at MTV Spring Break or in Ibiza?
MTV Spring Break.
Halloween or Christmas?
90′s Britney or 2000′s Britney?
90′s Britney. HANDS DOWN. NOT EVEN A FAIR QUESTION.
Throwback hip-hop or throwback pop/rock?
Being young in America can be tricky. I feel like it can be hard for some to take the leap of faith, like you guys did, because we’re raised in a culture that tells us to follow our dreams, but to also follow the formula of going to school, getting a job, etc. in order to live a happier life. What advice do you have for the kids out there who struggle to tackle the fear of failure in order to be who we want to be?
We always encourage people to pursue their dreams. We understand, often times, that is easier said than done, but if you have the resources, there is no reason not to go after what you’ve always wanted to do. What’s the worst that can happen? Better to try and fail than regret never trying.
Since you’ve been teasing glimpses of original work with the releases of “Give You Up” and “Lights Go Down,” does that mean we can expect an EP or full-length in the near future? And as far as that goes, do you have any artists or producers on a bucket list that you’d kill to work with?
We’ll probably continue releasing singles. There are a bunch of producers and artists we would love to work with: Robyn, Alison Wonderland, Anna Lunoe, Gorgon City to name a few.
So can we expect to see you in D.C. again soon? These jumbo pizza slices aren’t gonna eat themselves.
We love DC. Hope to get back soon.