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luuurien · 3 years ago

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Amaarae - THE ANGEL YOU DON’T KNOW

(Alternative R&B, Afrobeat, Electropop)

THE ANGEL YOU DON'T KNOW carries an impenetrably cool vibe across its fourteen tracks, Amaarae's wispy ethereal singing over summery afrobeat, punchy trap, and trippy alt-R&B without ever missing a beat. The album's biggest strength is how good it is at sneaking up on you, inviting music with a sinister amount of swagger and stickiness to it.

☆☆☆☆☆

Amaarae knows what she wants, and just how to get it. Her music is insistently affirmative, driven by hooks like "Every day is mine, I flex" and "I just wanna get paid, yeah!" that are nonchalant enough to not feel overly-demanding while still getting you to do anything she asks. Her debut album THE ANGEL YOU DON'T KNOW slathers itself in production smooth enough for today's sleek alternative R&B world while pulling rhythms and vocal stylings from her native Ghana's musical world. The result is one of the most worldly and impressive pop statements of the past few years, an unhurried embrace of fluorescent pop and alté and southern trap with an incredible scope throughout. Amaarae pulls back the lens until the entire world becomes her; no sound is far from her reach. The album's biggest strength is how good it is at sneaking up on you, and that's something Amaarae intentionally does in her music so she can balance her knack for hooks with the low-key R&B grooves she croons over. HELLZ ANGEL's carnival synthesizers and sing-song lilt are so mellow the song's presence comes off closed-off at first glance, but Amaarae's chirpy head-voice singing turns the song into an instant earworm with her devilishly sweet melodies. FANTASY is textured with wooden mallet percussion and sloshing synth chords, engaging without having to be over-the-top, and the concert-loud chorus chanting earns so much character from it. Music is a conversation between an artist and their listeners, but Amaarae is less interested in giving you things to wonder about and instead focuses on giving her listeners a good time. It's why the afrobeat rhythms blend so well into these songs, because it demands such an immediate physical response from the audience. African rhythms and sounds have been the bedrock of popular music for decades, but as Amaarae distills it back down to its purest form that she can then insert it into these modern-day songs unclouded by years and years of musical development. For such a musically humble album, THE ANGEL YOU DON'T KNOW packs so many exciting ideas into it that you only realize once you choose to simply have a good time with the album rather than try and dissect every one of its systems. And having a good time with THE ANGEL YOU DON'T KNOW is not a hard task in the slightest; Amaarae performs hit after hit after hit. The first half of the album is so musically rich and enthusiastic it's truly remarkable: FANCY is this singular moment of metallic-tasting trap where she plays with gender roles ("I like it when you call me zaddy") over a sublimely confident beat, LEAVE ME ALONE, JUMPING SHIP and FANTASY are pure afrobeat beauty with a sassy kick, while FEEL A WAY and TRUST FUND BABY are sensual R&B jaunts where Amaarae explores more upfront interactions with sexuality and love over production that goes down as smooth as whiskey. She plays with African slang in her songs that give credit to the shaping from her time growing up in Ghana, even when she's singing over poppy R&B grooves ("Baby, whine and go down low / Rock to da riddim, that calypso," she beckons on FEEL A WAY), never trading one sound for another entirely. There's a darker tone from now on, lamenting a love who took her money, drugs, and soul on SAD, U BROKE MY HEART before healing it through cash and dancing on SAD GIRLZ LOVE MONEY and even some emotions-blocking sex to fill her mind on quiet finale PARTY SAD FACE / CRAZY WURLD. Not a second of THE ANGEL YOU DON'T KNOW goes by that isn't pure euphoria, and an addiction to her music is formed in your mind in just barely over a half hour. DAZED AND ABUSED IN BEVERLY HILLS is one of the album's shortest moments, but I keep returning to it over and over again. It's a soulful piece of pristine indie pop, glistening synths and sweat-covered guitars that could be playing in the background of a teen clothing store if it were any other artist. Amaarae only lets it happen for a minute, though, knocking the song out of your ears right as it begins to pick up speed. It's a bit of an enigma on an album so largely focused on more shut-in dance and pop sounds, but by god is it one of the most tempting songs she's ever made. Despite sounding so much safer than anything else on THE ANGEL YOU DON'T KNOW, every characteristic of the album is there: it's confident, it's sumptuous, it's enthusiastic. It's proof Amaarae can do anything as long as there's a hook in there, and wherever it's located she can find with ease. The second half of finale track PARTY SAD FACE / CRAZY WORLD is one I didn't mention earlier, and that's because it's much more fitting for this section than the others. It's 30 seconds of thrashing hardcore punk with a cheerleader-chant melody, so much more confrontational and pressing than any other moment here, but it slams on the gas pedal and crashes you right into the doors of the club to party for the fifteenth time in a single night. THE ANGEL YOU DON'T KNOW doesn't show us everything Amaarae can do, but it proves how worrisome a talent like her can be. Everything is within her grasp, and it seems like she knows how to perfect every single sound she touches base with. She blesses THE ANGEL YOU DON'T KNOW with poise and charisma, and that's all Amaarae needs to get you wrapped around your finger.

#amaarae #the angel you don't know #golden child #afrobeat #alternative r&b #electropop #hip hop #neo-soul #pop #pop rap #r&b #trap #2020 #10/10 #blondonbrunette

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fiwehbooks · 3 years ago

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Leading Dancehall Music Collaborators Badda General and ZJ Liquid Announce 'The Barrel Tour'

New Post has been published on https://www.fiweh.com/10/03/2021/leading-dancehall-music-collaborators-badda-general-and-zj-liquid-announce-the-barrel-tour/

Leading Dancehall Music Collaborators Badda General and ZJ Liquid Announce 'The Barrel Tour'

Powerhouse Reggae and Dancehall artists and collaborators Badda General and ZJ Liquid are pleased to announce “The Barrel Tour.” Named after their massive “The Barrel” (Gold Up Records) collabo and remix featuring Shatta Wale and Stylo G, the explosive tour will kick off in November.

“The Barrel Tour,” falling at the heels of a string of monstrous releases from the duo, is set to hit several U.S. East Coast cities during its first leg. Although the pandemic naturally put many things on hold, it did not cool the Badda General and ZJ Liquid musical fire. At last, an opportunity to safely offer live entertainment to fans has presented itself! The Badda General and ZJ Liquid team encourage promoters to contact them soon if there is interest, as dates are moving quickly.

“It’s now or never,” said Badda General. “For me, this will truly be my first time officially touching stages as ‘Badda General’ and I couldn’t be more excited.”

“This is the best way for us to give our fans an interactive Dancehall experience. It’s a show they won’t forget,” says ZJ Liquid.

To add to the already blazing music pair’s line up, special guests will join their shows in select cities. With Badda General and ZJ Liquid’s artistic reach, “The Barrel Tour” promises to be a high caliber Dancehall event.

The entertainers, who are each successful on their own accord, amassed a huge, diverse following with their infectious style of reality Dancehall collabos in 2021! Offering social commentary through their humorous lyrical exchanges, the songs drew scores of listeners into the timely — and sometimes necessary musical conversations.

In addition to the wildly popular “The Barrel” single and remix, the Dancehall collaborators won over fans with buzzing songs like “State of the Union,” “Curfew,” “Current Events J.A.,” “Trending News Jamaica,” “Con Artist,” “Barrel Riddim Saga” and “Cream Crackers.” Viral sensations, spanning attention from the underground to sound systems, DJs, top media platforms, leading radio stations (i.e., BBC Radio 1xtra, Hot 97) and streaming giants (i.e., Tidal, Pandora), it’s no secret that the Badda General and ZJ Liquid formula works!

Amidst the pandemic, the Badda General brand and solo career peaked and was virally consumed by the masses via an amazing catalogue of red-hot music. Songs including the breakthrough smash “I Wish,” “Money App,” “Outside,” “Check The Fresh,” “Krazy Summer, ” “Jacket Raffle” and more have solidified the General’s signature reality Dancehall sound.

ZJ Liquid is truly one of Reggae and Dancehall music’s gatekeepers. The influential personality — through his eclectic ear and roles as a DJ, label owner (H2O Records), producer and artist under the monikker “Mobay’s Son” — has helped shape the sound of Dancehall music along with curating the careers of top talent per his longrunning Zip FM radio show. ZJ Liquid’s franchise role in the industry has served as the driving force of his bustling business in music. Without question, ZJ Liquid is leaving an indelible mark on fans.

Currently, listeners are raving over the super talent’s flute-driven “Love Me,” festive “High Life” (produced by Usain Bolt’s ATeam Corp) and the rugged “Born Wid It.” Infectious anthems like “Wifey Walk Out,” “The Good Book,” “Forever” (w/Vybz Kartel), “Dem Nuh Like We” (w/Noah Powa) and many, many more make up the unforgettable sound of ZJ Liquid! The creative dropped his 4th album “Point A View” to rave reviews in 2020.

“The Barrel Tour” will see Badda General and ZJ Liquid performing energetic sets of both their red-hot collabos and sizzling solo selections. If one craves live Dancehall music, entertainment and fun, “The Barrel Tour” is a must attend! Keep up to date with the tour and all things Badda General and ZJ Liquid by clicking the links below.

WATCH TOUR PROMO: https://www.instagram.com/p/CUaGe3-ggB6/?utm_medium=copy_link

DIGITAL SMART LINK

Badda General https://linktr.ee/baddageneral

ZJ Liquid https://linktr.ee/Zjliquid

#dancehall #Reggae Music #story #World Music

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bluebuzzmusic · 6 years ago

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Your EDM DOUBLE Premiere: Vorso and QZB Play Remix Swapsies on ‘Needle’ and ‘Heptine’ [Flexout]

Two of the definite breakout bass music stories of this year have been centered around Vorso and QZB. While the two Flexout mainstays have each been releasing before 2017, it was their respective “Needle” and “Heptine” tracks that captured the respective imaginations of the dubstep and drum and bass communities. It should also be noted that “Heptine” was released in 2016, but it remains one of QZB’s most played tracks to-date, so we shan’t get bogged down too much in those details, shall we? These tracks are too good to grouse.

What’s interesting about this swap between QZB and Vorso is that it’s not only a track swap but a full genre swap. As Vorso is so embedded in the dubstep and halftime sound while QZB are rock solid in neurofunk and DnB. This switch will really have fans looking sideways, and it seems that’s been how the swappers wanted it.

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The original “Heptine” by QZB is one of those tracks that fits in everywhere in DnB, due to its techy and heavy yet minimalistic sound. It can mix with just about any subgenre while also standing on its own as a dancefloor roller. With hit remix, as he is wont to do, Vorso flips that techy and minimal beat on its ear by slowing the track down to dubstep or riddim tempo and basically creating a new beat for it which is chunkier and more rock-driven. The result is that the speedy techy vibe of the original is now smoothed out to an emotional, almost anthemic riddim track that also defies that genre’s parameters. It will definitely have both camps doing a double take, and perhaps not even recognizing the track as a remix.

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Like “Heptine,” Vorso’s original “Needle” is also a heavy dancefloor track, with lots of bass synth and techy sounds of its own. QZB have approached their remix in a very different way than Vorso has with “Heptine” in that rather than stripping down the stems, they cut them up, sped them up and made a completely different structure. The ornamental drum sounds that originally comprised the synths are now used as the main beat pattern, rifled around and re-patterned in a number of different ways by the skilled mixdown. Somehow the tribal banger that was “Needle” is now a techy, unconventional think piece that will leave even the most savvy compositional DnB mind wondering how QBZ put this one together.

It turns out this little remix swap session Vorso and QZB did sort of just for fun has produced two tracks which are not only on par with their originals quality-wise but as stand-alone tracks might be two of the best of the year. It’s a testament to why QZB and Vorso have the attention on them that they do now: they’re just both that good. Here’s hoping the two talents work together more and continue to swap tracks and genres.

“Needle” (QZB Remix) and “Heptine” (Vorso Remix) are avaiailable exclusively now on Beatport but will release on all other platforms on July 28. Stay tuned for more fire from both camps, as Vorso will be releasing a remix album shortly, while QZB will continue to release bangers from their other home planets of Critical and Flexout.

var VUUKLE_EMOTE_SIZE = "90px"; VUUKLE_EMOTE_IFRAME = "180px" var EMOTE_TEXT = ["HAPPY","INDIFFERENT","AMUSED","EXCITED","ANGRY","SAD"]

This article was first published on Your EDM. Source: Your EDM DOUBLE Premiere: Vorso and QZB Play Remix Swapsies on ‘Needle’ and ‘Heptine’ [Flexout]

source https://www.youredm.com/2018/07/27/your-edm-double-premiere-vorso-and-qzb-play-remix-swapsies-on-needle-and-heptine-flexout/

#edm #party #rave #lit #girls #dj #djs #martin garrix #aviccii

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eliasmbvukuta · 4 years ago

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zodiacpostgenerator · 7 years ago

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The signs as Riddims:

Aries, Libra: Diwali Riddim

Taurus, Scorpio: Riddim Driven

Gemini, Sagittarius: Stalag riddim

Cancer, Capricorn: Greensleeves Rhythm Album

Leo, Aquarius: Sleng Teng

Virgo, Pisces: Riddim

#zodiacpostgenerator #zodiac #astrology #Riddims

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prnanayarquah · 5 months ago

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Prinz Xtra enlists 6 songs debut EP titled “Heart’s Riddim”, drops July on Friday, 19th.

New Post has been published on https://plugzafrica.com/prinz-xtra-enlists-6-songs-debut-ep-titled-hearts-riddim-drops-july-on-friday-19th/

Prinz Xtra enlists 6 songs debut EP titled “Heart’s Riddim”, drops July on Friday, 19th.

Few days ago, the Skolars Entertainment signed act introduced himself on the scene with new promo photos. The Afrobeats crooner shares 2 pre-order links with his audiences ahead of the major release. The pre-save links are for Apple Music and Spotify, below:

Apple Music: https://music.apple.com/gh/album/hearts-riddim-ep/1753821185 Spotify: https://show.co/social-unlock/4VTEEM7o1Pfi1sdfHBsFzC

“Heart’s Riddim” enlists 6 songs for it, mainly Afrobeats. All produced by Philsbitz. All songs were done by him, with zero features.

Skolars Entertainment is an Accra-based music record label with its signee, Prinz Xtra, as the frontliner. Poised to reach higher heights, the label is very optimistic about pushing the young talent’s crafts to global heights. Already, some singles were released under the label for Prinz Xtra, namely, “Alele”, “Buried Inside”, “Mon Bebe” and “Money Icon”.

About Prinz Xtra: Prinz Xtra was born on April 9th as Prince Teye Matey, in Odumase Krobo, Eastern Region of Ghana.

In 2019, Prinz Xtra discovered his artistic potential while in high school. Driven by passion, he organized rap battles on campus and performance to showcase himself and others to the audience. In 2021, he had the opportunity to perform on one of the biggest stages in the Eastern Region during the “Eastern Arts and Music Awards” where he performed alongside other artistes.

Kindly follow him on Social Media below: Facebook – Prinz Xtra Tiktok, Instagram – @Prinz_Xtra X – @Prinz_Xtra1

For bookings and press: +233532712998

#Prinz Xtra #Skolars Entertainment

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kevindurkiin · 5 years ago

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DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

Is anyone else going to be sad when DJ Rap’s Back to the Future remix EP series is over? Part three released today with four remixes and a remaster of her classic, bass-driven tune, “Rumble” and then there’s only one more to go in the four-part series. It’s been an excellent trip down memory lane as well as an education for rave GenZ as to the foundations of drum and bass. Most of all, however, Back to the Future has shown how timeless D&B is and how truly ahead of its time it was and still is.

The “Rumble” remixes include a chest-thumpingly dark mix from HydeUK, a version by Conrad Subs that has even more old school jump up flavor than the original, a synthy, hip hop-tinged mix by Flapjack and an intelligent bass super-throwback by Special K. Rap’s own remix is a dancefloor tear-up of a remix called “Tearout,” which is fitting given the ragged, slicing synths contained therein.

All the “Rumble” remixes make a heavy nod – almost a bow – to all types of old school style except, surprisingly, Rap’s. Her techy, almost neuro-tinged version with those “tearout” paper cut synths could fool even the most well-read new or even middle school raver. The old schoolers could probably tag that early neurofunk feedback but it’s clearly done in a modern way sound design-wise with cinematic sound design around the intro and breaks, just a hint of a digital echo around the drums and, despite the track still having a definite groove, precision timing one could set Greenwich Mean Time to.

Here’s a good lesson for the new heads: “Rumble” and especially the Conrad Subs remix of “Rumble” is what early jump up sounded like. It still had a kick! Not even remotely close to the “fast riddim” fans think of today. The jumpy part was in the synths, as is perfectly exemplified in this mix. The HydeUK remix is a study in early darkstep with the main synth being mostly comprised of grinding bass and the ambient background space being very, well, ambient.

The Flapjack remix is done in the way a lot of remixes were done back in the day, by reversing the snares so they’re sort of backwards amens. This tightens up the sound somehow and with just a fraction of the original bass synths, makes the track sound familiar yet totally different.

Lastly, the Special K mix brings back an unfortunately long-forgotten subgenre from the old school: intelligent drum and bass. Sort of an precursor to and offshoot of drakstep, intelligent D&B’s melody is always made up entirely of sub bass synths and said deep could often contain words of phrases within them. Special K was one of the progenitors of this style back in the day.

This remix may remind 90s D&B fans of 187 (now Jordana)’s seminal 1998 album, Quality Rolls. Many a D&B head spent many a chemically altered night squinting at the tracks on that album trying to figure out the messages contained therein. Sort of a “Where’s Waldo” of bass music. It’s unclear whether the bass synth in this version of “Rumble” is actually saying something (your humble author’s guess would be the title of the track), but here’s hoping this style comes back. Given the current social climate, it could be a fun social distancing game, not to mention a sick style of D&B.

Part three of DJ Rap’s Back to the Future with “Rumble” remixes is probably the best representation in the series so far of just how many styles there were back when the original track was made and how many there have been since. Each of these tracks is a great way to remember, to learn and to look “back to the future” for inspiration.

Back to the Future Part 3 the “Rumble” remixes is out now on Rap’s Propa Talent label and can be streamed or purchased on multiple platforms here. Also be sure to tune into her new livestream mix sessions every Wednesday on Facebook.

This article was first published on Your EDM. Source: DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series published first on https://soundwizreview.tumblr.com/

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bestdjkit · 5 years ago

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DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

This article was first published on Your EDM. Source: DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

from Best DJ Kit https://www.youredm.com/2020/03/26/dj-rap-and-friends-are-ready-to-rumble-with-part-3-of-her-back-to-the-future-remix-series/

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marcoshassanlevy · 6 years ago

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Written by

Marcos Hassan

| 10 months ago

As anyone who’s a music fan knows, producers are often relegated to the margins in a vocalist’s career. Their job typically isn’t as glamorous as those on the stage, as they spend most of their time in the studio brewing beats into future hits. But because of this work – sampling, programming, recording, arranging, and sometimes writing melodies – they merit better understanding and recognition from fans. Of course, the heads have these creators on their radar, but let’s face it, some shine for producers could really make a difference for how we enjoy our favorite songs.

In 2018, we’re witnessing a special time for beat-driven music. Reggaeton has pretty much established itself as the sound of Spanish-language pop radio, and there’s no sign of it slowing down, while trap en español has slowly crawled in that direction. Meanwhile, other styles of Spanish-language hip-hop cross over with reggaeton and trap so often that lines continue to blur. Producers help fuel this constant fluidity between styles and keep the genres exciting and innovative.

That’s why we decided to highlight some of the most high-profile producers in the mainstream Latin music industry – the hitmakers behind the biggest songs in Spanish-language pop right now. These are the minds behind the most addictive Ozuna and Bad Bunny tracks.

Unfortunately, this list reflects the gender inequality that shapes the music industry. The producers behind Billboard-charting hits and record-breaking YouTube views are, unsurprisingly, almost all men, proof that the upper echelons of the Spanish-language music business are still a boy’s club. Of course, efforts to highlight women’s contributions to reggaeton and cultivate databases of women producers are well underway in underground spaces. Here’s hoping the mainstream music industry follows suit soon.

Yampi

Jean Pierre Soto Pascual is a master, able to command Atlanta-inspired 808s as easily as delicate dembow riddims. He is one of Ozuna’s go-to producers, but Yampi has famously lent his talent to other artists like Anuel AA, Ñengo Flow, and Yung Beef, although that hasn’t stopped him from making a bid of his own with his forthcoming compilation album Trap Cartel. The Puerto Rican wizard, who is part of Ozuna’s independent label Dimelo Vi, is the mastermind behind staples like “Tu Foto” and “El Farsante.”

DJ Luian & Mambo Kingz

https://www.instagram.com/p/Bfi-2ybndB8/?taken-by=djluian

The team made up of Luian Malavé Nieves and Edgar & Xavier Semper are celebrated for discovering and amplifying Bad Bunny’s career through Hear This Music, but they are as savvy behind the boards as much as they are behind great deals. They’re responsible for “Soy Peor,” “Krippy Kush,” and “Sensualidad,” to name just three bangers, giving us some of El Conejo Malo’s biggest hits, as well as some of his most well-known features.

Chris Jeday

Another frequent Ozuna collaborator, Puerto Rican producer Chris Jeday has been in the game a bit longer than some of his contemporaries. He’s worked with some of the biggest names in reggaeton, including Daddy Yankee, Zion y Lennox, and Don Omar, to name a few, and his 2017 posse cut “Ahora Dice” was the sixth most viewed video on YouTube in 2017. Lately, he’s been making a name for himself in pop, working on Enrique Iglesias’ “Subeme La Radio” and Reik’s urbano version of their hit “Qué Gano Olvidándote.”

Tainy

Marco Masís (aka Tainy) has been in the game for years, but thanks to constant reinvention and hard work, he’s managed to stay in the top ranks of reggaeton and Spanish-language hip-hop. Tainy initially made his mark with reggaeton OGs Luny Tunes, contributing to their albums Más Flow 2 and Los Benjamins and working with nearly every reggaetonero of note at the time. Although his legacy is sealed as one of the biggest names behind the boards, he’s nowhere near finished, thanks to his work on present-day chart-scorchers like Cardi B’s “I Like It” and Bad Bunny’s “Estamos Bien.” He even collaborated with indie veterans Bomba Estéreo on a remix of Amanecer‘s “To My Love.”

Sky Rompiendo

Alejandro Ramirez is without a doubt one of the most important producers in pop music today. He is J Balvin’s right-hand man, an alum of the Medellín-rooted Infinity Music crew that catapulted Jose Osorio Balvin to fame. As part of the team that conceptualized hits like “Ginza,” “Safari,” “Machika,” and “Ambiente,” he has helped set the tone for much of the current wave of reggaeton. The Medellín-born producer is now embarking on a solo project that will likely see him continuing to shape the sound of reggaeton’s transformation for years to come.

DVLP

DVLP can easily say that he can do anything he sets out to accomplish. Since his early days as part of turntablist collective The Allies, he’s worked with some of the biggest hip-hop stars of the 2000s, like Eminem, The Diplomats, and Rick Ross (perhaps most famously, he’s responsible for a little hit called “Fireman” by Lil Wayne). But he’s also collaborated with Latino rappers and pop singers for some time now, producing hits for Paulina Rubio, Enrique Iglesias, and Pitbull. As trap and reggaeton inch closer to the mainstream, through his Transcend.ent imprint, DVLP has been collaborating closely with newer talent, such as Fuego, C. Tangana, and Jesse Baez, helping them reach a new audience in the process.

BrunOG

The 23-year-old Mexican producer is not one to sleep – or sleep on. BrunOG got his start remixing songs by rappers like Álvaro Díaz and Banda Bastön, but his breakthrough came with the ascent of Homegrown Mafia. He’s the architect of some of the hardest tracks by Alemán, Yoga Fire and FNTXY, including the unstoppable posse cut “Homegrizzy Boys.” In 2017, he was nominated for a Latin Grammy for his work on Ghetto Kids’ “Coqueta.”

Hi Music Hi Flow

Ozuna’s Odisea is easily one of the best reggaeton albums in recent memory, thanks to its depth and range. Since Hi Music Hi Flow produced much of the album, it’s a guarantee that this man worked on your favorite Ozuna bop – whether it’s new tracks like “Única” or classics like “Dile Que Tu Me Quieres.” Along with peers Chris Jeday and Gaby Music, he’s also partially responsible for the Puerto Rican vocalist’s dancehall collab with Cardi B, “La Modelo,” which showcases his chops with pretty much any type of beat.

Gaby Music

Another man that shines in the current reggaeton pantheon is Juan G. Rivera-Vazquez. He’s also one of the noteworthy names behind Ozuna’s Odisea, as he appears right alongside other producers on this list. A frequent Chris Jeday collaborator, Gaby Music has also been instrumental for Natti Natasha, as he’s provided the backbone for her collab with Becky G, “Sin Pijama,” along with many other tracks.

Light GM

Dominican producer Felipe Marticotte has been instrumental in building bridges between scenes that sometimes don’t see eye to eye. He made his mark by working closely with Dominican urbano staple Mozart La Para, helping him reach the top of the Dominican charts; however, tracks like Bad Bunny, Mark B and Poeta Callejero’s “Me Llueven” are meeting points for dominicanos and boricuas to finally work together. Peep more of his magic on Arcángel’s recently released album Ares.

hip hop

reggaeton

trap

. Wednesday, July 25, 2018 at 2:43 PM EDT

#trap

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bassmentbusan · 8 years ago

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Phantoms Of Riddim w/ Goth-Trad (Deep Medi, Tokyo) @ Cakeshop Seoul April 8, 2017 SAT

사운드시스템 컬쳐에 기반한 클럽뮤직을 전파하는 Phantoms Of Riddim의 이번 파��는 Deep Medi UK 의 대표적 아티스트이자 월드 헤비웨이트 일렉트로닉 씬에서 가장 중요한 아티스트 중 하나로 세계로부터 큰 사랑과 존경을 받고 있는 도쿄의 사운드 오리지네이터인 Goth-Trad가 함께 합니다. 12년만에 다시 내한하는 Goth-Trad의 스페셜 덥플레이트 세트와 함께 할 이 특별한 저음의 밤을 놓치지 마세요!

▶ Special Guest:

Goth-Trad (Deep Medi, Tokyo)

▶ Phantoms Of Riddim are :

Mood Schula Von Bueno Soulscape Cong Vu Quandol

▶ Goth-Trad (Deep Medi / Back To Chill, Tokyo)

Goth-Trad는 지난 십 수 년간 일본의 일렉트로닉 씬에서 절대적 존재감을 갖는 아티스트이자 해외에서 가장 큰 명성을 얻은 ‘'The Sound Originator'이다. 1998년 데뷔해 앱스트랙 일렉트로니카부터 광폭한 노이즈, 덥, 레게, 정글과 레이브에 이르기까지 실험을 거듭하며 도쿄 언더그라운드 씬에서 명성을 얻은 후 2000년대 초반부터는 지속적인 유럽투어와 앨범을 연이어 발표해 진화를 거듭하며 세 번째 앨범 ‘Mad Raver’s Dance Floor’으로 그는 마침내 인터내셔널 마켓의 큰 주목을 받게 되고 영국의 레이블 Skud Beats에서 첫 번째 월드 와이드 릴리스를 하게 되었다.

곧 이어 그는 덥스텝의 창조자라 할 Digital Mystikz (Mala & Coki)의 전설적 클럽 이벤트인 ‘FWD >>’에 출연하였고, 곧이어 세계에서 아마도 가장 많은 팬을 가진 베이스뮤직 레이블인 Mala의 Deep Medi Musik 계약을 맺었다. 2006년 이후 놀라운 성장을 거듭한 Goth-Trad는 곧 자신의 장르에서 가장 존경받고 사랑받는 인터내셔널 아티스로서 월드 덥스텝씬의 중심이 되었으며, 2007년 이후 Goth-Trad는 The Bug, Kode 9, Blackdown, Juju, Skream 등과 함께 세계 각지의 덥 스텝 및 일렉트로니카 씬에서 투어를 한 결과, 증진된 존경과 관심을 받게 되었다.

2007년 "Deep Medi Musik"에서의 첫 12”를 릴리스했고 일본에서는 Rebel Familia의 새로운 앨범을 발표했다. 그는 일본에서 광범위하게 투어를 계속하면서 동시에 유럽 투어를 시작하여 전설적 나이트인 DMZ에 출연했으며. 그의 놀라운 라이브는 유럽 관객들로부터 확고한 인기와 지지를 얻었으며 2007년부터는 매년 유럽과 북미 투어를 하고 있다. 2008년 그는 Skud Beats와 Soul Jazz Records에서 싱글을 발표했으며, 도쿄의 밤을 지배하는 Back To Chill로 일본 덥스텝 씬을 위한 플랫��을 제공해왔다. 2009년부터 2011 년까지 Goth-Trad는 유럽, 일본 및 아시아에서 계속 투어를 진행했으며 Deep Medi Musik에서 싱글을 발표했으며 2011 년 말 Babylon Fall EP와 계속는 리믹스의 발매에 이어 4번째 앨범 ‘New Epoch’를 Deep Medi에서 발표하며 덥스텝에서 가장 중요한 목소리 중 하나로 꼽혔다. 이 앨범은 영국의 FACT Magazine이 그해 최고의 덥스텝 앨범으로 꼽는 등 세계 각국의 찬사를 받으며 그의 경력에 새로운 이정표가 되었다.

New Epoch가 발매된 후 Goth-Trad는 Coachella, Fuji Rock, Outlook Festival, Lockdown과 같은 해외 유수의 대형 페스티벌을 포함하여 유럽, 미국 및 아시아 전역에 이르는 월드투어를 했다. 투어 기간 동안 Goth-Trad는 New York의 Dubspot, 영국 Fabric에서 공연과 믹스를 제공하였고, Danny Scrilla와 Lea Lea의 리믹스에서 리믹스에 대한 새로운 방향을 제시하며 XLR8R의 Best of 2013 : Top Downloads에서 3 위를 차지하기도 했다.

이후에도 그는 프로듀싱과 투어 외에도 매월 일본 덥스텝과 동의어라 할 클럽 나이트인 Back To Chill을 지속적으로 기획과 큐레이트하며 자신의 사운드 시스템을 제공할뿐 아니라 동명의 레이블을 시작하였으며, Deep Medi를 통해 월드와이드 릴리스를 거듭하며 명실상부한 아시아 베이스뮤직을 대표하는 원앤온리의 존재로서 활동을 이어가고 있다.

www.gothtrad.com www.backtochill.com www.facebook.com/gothtrad

http://www.fabriclondon.com/…/audio-goth-trad-fabriclive-x-… http://www.xlr8r.com/…/xlr8r-s-best-of-2013-top-downloads-2… http://www.redbullmusicacademy.com/…/tokyo-2014-back-to-chi…

"Goth-Trad는 일본에 기반을 두고 있을지 모르지만, 그의 사운드는 Jammer, Kode 9, Horsepower의 UK Sinodub/Grime 실험과 공명한다. "Back to Chill"은 매우 놀라운 인트로를 갖는다." - Blackdown, www.pitchforkmedia.com

"활기차고 불안하고 예측이 불가능하다." Kuedo (Planet Mu)

"일본에서 영국 하드코어 연속체를 돌연변이로 낳는 원맨 군단." Kode 9 (Hyperdub)

"굳이 비교해야만 한다면, 'Mad Raver 's Dance Floor'는 애시드 시절의 Afx, Bass Terror 시절의 Alec Empire, Exprerience 시절의 Prodigy, Shinso 시절의 DJ Krush 의 결합일 것이다. 이 세 번째 앨범은 봉헌이다. 장르를 정의하는 앨범이자 올해 최고의 앨범" - www.dmute.net

"Goth-Trad의 New Epoch는 현대 dubstep의 기수." - FACT

▶ Phantoms Of Riddim

Phantoms Of Riddim은 첨단의 댄스뮤직으로부터 우리가 놓치고 있었던 미싱링크를 루츠를 거슬러 올라가 만나는 일에 큰 관심이 있습니다. 자메이카에서 탄생되고 영국을 통해 세계로 확산되었던, 그러나 여전히 한국에서는 미지의 영역으로 남아있는 사운드시스템 & 베이스 컬쳐에 기반한 모던 댄스뮤직을 리딤(Riddim)의 관점에서 다룹니다.

▶ Entry is 20,000 won + (free drink until 12am) at the door 입장료는 20,000원/인, 12시 이전 프리드링크 티켓 1장

▶ VIP/Table Reservation: VIP/테이블 예약 > Message (telegram) @cakeshoprsvp

▶ ID required. No Minors Allowed

We, Phantoms Of Riddim, are so excited to present a special night with Goth-Trad, who has been making heavy waves in the world’s heavy electronic music scene.

A unique producer with a unique style, Goth-Trad has emerged from the Japanese electronic scene in the last decade as one of the most arresting artists from his generation. ‘The Sound Originator,’ Goth-Trad creates remarkable dance music with an abstract approach.

Goth-Trad’s music career started in 1998. Between 2001 and 2004 Goth-Trad grew his notoriety on the Tokyo underground and went on his first European tour after releasing his first and second album. This led to his third album, Mad Raver’s Dance Floor released in November 2005. Over 10 tracks the album condenses more than 10 years of dance music into an amalgamation of styles which flows seamlessly. The release tour for the album travelled to Berlin, Paris, Metz, London and 8 Japanese cities.

It was with this third album that Goth-Trad would finally break into the international market during 2006 thanks primarily to one track - Back To Chill - which would soon become synonymous with the Japanese dubstep scene. Inspired by the grime sounds he’d heard in London in previous years, Back To Chill also became the name of Goth-Trad’s monthly dubstep night in Tokyo - set up in 2006 - and saw a release on the UK label Skud Beats, his first official single on a non-Japanese label. At the same time Goth-Trad embarked on his fourth European tour, where he met with dubstep pioneer Mala from Digital Mystikz, at the seminal dubstep night FWD>>. This meeting led to Goth-Trad being signed to Mala’s Deep Medi Musik label and become a fixture of the international dubstep scene, which from 2006 onwards grew at an exponential rate and Goth-Trad soon became one of the genre’s most recognised and loved international artists.

From 2007 onwards Goth-Trad received increased support, respect and interest from across the dubstep and electronica scenes worldwide with people like The Bug, Kode 9, Blackdown, Juju and Skream all playing his music and sharing stages with him. Mary Ann Hobbs was also an early supporter on her Breezeblock show on BBC Radio 1.

Goth-Trad released his first 12” single for Deep Medi Musik in 2007, Cut End. He continued to European tours where he appeared at the legendary DMZ dances among others. His eclectic and varied live show made him a firm favourite of European audiences and he has toured Europe every year since 2007.

In 2008 he released singles on both Skud Beats and Soul Jazz Records. At the same time he continued to grow the Back To Chill nights in Tokyo providing a platform for the burgeoning Japanese dubstep scene. Over the coming years the night would see new Japanese talent added to the resident line up and play host to both local and international guests.

From 2009 to 2011 Goth-Trad continued to tour in Europe, Japan and Asia and released singles on Deep Medi Musik as well as remixes for European and Japanese artists leading to the Babylon Fall EP in late 2011, the precursor to New Epoch his fourth album. New Epoch was released on Deep Medi in early 2012 and marked Goth-Trad as one of the most important voices in dubstep. The album received praise from around the world with the UK’s FACT Magazine heralding it as one of the best dubstep albums of the year.

With New Epoch marking yet another milestone in Goth-Trad’s career, the Japanese one-man army - as Kode 9 once referred to him - is set to continue on his unique path. Always charting new territories while staying true to what motivates him: making good and honest music that reflects the world around him.

After the release of New Epoch, Goth-Trad embarked on his worldwide tour across Europe, US and Asia including many Festivals such as Coachella, Fuji Rock, Outlook Festival, and Lockdown (Natherlands) to name a few. During the tour Goth-Trad was involved with various projects including the Dubspot workshop in New York and a project in Japan called “Z-Machines”, where he was asked to produce a piece of music for the first ever Robot Band. In the UK Fabric, invited him to play and also asked Goth-Trad to provide a mix for the event, around this time Goth-Trad was asked to remix Danny Scrilla and Lea Lea, Goth Trad showed his new direction on both remixes, especially “Lea Lea - Black Or White (Goth-Trad Remix)“ awarded 3rd place on XLR8R’s Best of 2013 : Top Downloads.

Alongside producing and touring, Goth-Trad still runs Japan’s most famous bass driven club night, Back To Chill in Tokyo city every month, inviting the newest local producers to play alongside the scene’s for runners such as The Bug and Kode9.

Not only do Goth-Trad and his team organize and curate the event with cutting edge, stunning visuals but Goth-Trad also provides the sound pressure with his very own soundsystem. In 2014 Back To Chill celebrated its 8th year anniversary. And he collaborated with Red Bull Music Academy Tokyo for “Back To Chill - A Red Bull Music Academy Special Party” which invited American sludge metal band “The Body”. In November 2014, he started his own Back To Chill label.

http://www.fabriclondon.com/…/audio-goth-trad-fabriclive-x-… http://www.xlr8r.com/…/xlr8r-s-best-of-2013-top-downloads-2… http://www.redbullmusicacademy.com/…/tokyo-2014-back-to-chi…

Links: www.gothtrad.com / www.backtochill.com / https://www.facebook.com/gothtrad

Acclaim for Goth-Trad: “Goth-Trad might be based in Japan, but his sound resonates with the UK Sinodub/grime experiments of Jammer, Kode 9, and Horsepower. “Back to Chill” has a particularly incredible intro.” Blackdown, www.pitchforkmedia.com

“Vibrant, unhinged and unpredictable. ” Kuedo (Planet Mu)

“A one man army mutating the UK hardcore continuum in Japan.” Kode 9 (Hyperdub)

“If we must compare, ‘Mad Raver’s Dance Floor’ combines acid era Afx, Bass Terror era Alec Empire, The Prodigy around the time of Experience and Shinso era DJ Krush... This third album is a consecration. A defining album, and one of the year’s best.” www.dmute.net

“Goth Trad’s New Epoch is a modern standard-bearer for dubstep.” FACT (UK)

#PhantomsOfRiddim

#phantomsofriddim #goth-trad #deepmedi #backtochill #cakeshopseoul #schedule

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donsinclair · 5 years ago

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Official Lee Scratch Perry Musical Journey A notoriously eccentric figure whose storied reputation and colorful personality match the sheer strangeness of much of his recorded output, Lee Perry is unquestionably one of reggae's most innovative, influential artists. His mixing-board innovations, from his early use of samples to hallucinatory echo and reverb effects, set the stage for generations of musical experimentation, particularly throughout electronic music and alternative/post-punk, and his free-association vocal style is a clear precedent for rap. Active as a producer and vocalist since the early '60s, he helped guide Jamaican music's shift from ska and rocksteady to reggae with singles like "People Funny Boy" (1968). During the '70s, he became a super-producer, helming seminal works by Bob Marley & the Wailers, the Congos, and Junior Murvin, in addition to releasing dub albums such as Upsetters 14 Dub Blackboard Jungle (1973) and Super Ape (1976), often credited to his band the Upsetters. His work became popular in the U.K., and he collaborated with the Clash, broadening his audience. By the end of the '80s, he had begun recording extensively with dub acolytes such as Mad Professor and Adrian Sherwood. Compilations such as 1997's Arkology and acknowledgment from alternative acts like the Beastie Boys confirmed Perry's legendary status during the '90s. He remained highly active during the first two decades of the 21st century, touring often and collaborating with artists ranging from Andrew W.K. (2008's Repentance) to the Orb (2012's The Orbserver in the Star House), in addition to revisiting earlier material on releases like 2017's Super Ape Returns to Conquer. Born in the rural Jamaican village of Kendal in 1936, Perry began his surrealistic musical odyssey in the late '50s, working with ska man Prince Buster selling records for Clement "Coxsone" Dodd's Downbeat Sound System. Called "Little" Perry because of his diminutive stature (he stands at 4'11"), he was soon producing and recording at the center of the Jamaican music industry, Studio One. After a falling out with Dodd (throughout his career, Perry has a tendency to burn his bridges after he stops working with someone), he went to work at Wirl Records with Joe Gibbs. Perry and Gibbs never really saw eye to eye on anything, and in 1968, Perry left to form his own label, called Upsetter. Not surprisingly, Perry's first release on the label was a single entitled "People Funny Boy," which was a direct attack upon Gibbs. What is important about the record is that, along with selling extremely well in Jamaica, it was the first Jamaican pop record to use the loping, lazy, bass-driven beat that would soon become identified as the reggae "riddim" and signal the shift from the hyperkinetically upbeat ska to the pulsing, throbbing languor of "roots" reggae. From this point through the '70s, Perry released an astonishing amount of work under his name and numerous, extremely creative pseudonyms: Jah Lion, Pipecock Jakxon, Super Ape, the Upsetter, and his most famous nom de plume, Scratch. Many of the singles released during this period were significant Jamaican (and U.K.) hits, instrumental tracks like "The Return of Django," "Clint Eastwood," and "The Vampire," which cemented Perry's growing reputation as a major force in reggae music. Becoming more and more outrageous in his pronouncements and personal appearance (when it comes to clothing, only Sun Ra could hold a candle to Perry's thrift-store outfits), Perry and his remarkable house band, also named the Upsetters, worked with just about every performer in Jamaica. It was in the early '70s after hearing some of King Tubby's early dub experiments that Perry also became interested in this form of aural manipulation. He quickly released a mind-boggling number of dub releases and eventually, in a fit of creative independence, opened his own studio, Black Ark. It was at Black Ark that Perry recorded and produced some of the early, seminal Bob Marley tracks. Using the Upsetters rhythm section of bassist Aston "Familyman" Barrett and his drummer brother Carlton Barrett, Perry guided the Wailers through some of their finest moments, recording such powerful songs as "Duppy Conqueror" and "Small Axe." ❤️💛💚 #Reggae & #SoundSystem #Culture For more Quality Vibes Subscribe

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bluebuzzmusic · 5 years ago

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DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

This article was first published on Your EDM. Source: DJ Rap and Friends Are Ready to ‘Rumble’ With Part 3 of Her ‘Back to the Future’ Remix Series

source https://www.youredm.com/2020/03/26/dj-rap-and-friends-are-ready-to-rumble-with-part-3-of-her-back-to-the-future-remix-series/

#edm #music #music production #music news #edm news

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