#the classic ominous lucy vibes are there

[chaserainbows]

Boss battle for any of your Hoennites!! Can’t believe I almost missed Amano music hours

Send me “Boss Battle”, and I’ll post the music that plays when your muse fights mine as a boss.

May vs Lucy, the battle is on to see who's the best at scheming and fighting dirty

[doomedandstoned]

Enchanted Paris Doom Trio WITCHORIOUS Premieres Astounding Full-Length

~Doomed & Stoned Debuts~

By Billy Goate

This debut LP by WITCHORIOUS is without doubt one of the finest doom metal offerings the year has given us. Antoine Auclair (guitar/vocals), Lucie Gaget (bass/vocals), and Paul Gaget (drums) have assembled a thoughtful collection of 10 tracks that draw upon the themes of classic horror and traditional doom metal, with prolific drumming, sinister guitar, and surreal atmosphere.

We begin with the ominous "Monster," which is surely the musical equivalent to a brooding stormfront. Each instrument brings its unique powers to the whole, generating a menacing sound that got me slow headbanging immediately. Vocals have the same Medieval gruff as classic Morgoth, full of prophetic dread.

The roars of "Catharsis" approach Domkraft levels of fierceness. With male and female vocals in the chorus, the effect is mesmerizing. The track following this is deeply atmospheric, with its fuzz-filled intro and repeated arpeggios forming a thick haze that bedazzles the listener into a strange, trancelike state. Appropriate considering this is "The Witch."

"Blood" is deliriously good. Again the riffs are on point! You'd have to go back to BelzebonG's Sonic Scapes & Weedy Grooves to find riffs this pure. The beat never lets up; it's a steady driver all the way through, keeping the narrative moving forward. Verses feature another lusty vocal performance and the chorus has tons of heart. I was happy there was room for a guitar solo.

"Eternal Night" has an unsettling vibe akin to the band Demon Lung. When the solo erupts towards the end, it sounds like something between a siren and a sax, but it could be a guitar effect or synthesizer. Whatever it is, it's effective in bringing a chilling climax to the moment.

Once again, it's the vocals that make a song like "Sanctuaire" so convincing -- and this is to say nothing of the incredible drumming, subtle basswork, and atmospheric guitar play. Even the sequence of "heys" at 4:31 were dripping with the angst of instability, making me think of Kurt Cobain and Mark Arm.

After a brief interlude ("Amnesia") we're ushered into the album's final three songs. The vocal attack on "Watch Me Die" is just savage, utterly convincing, and the doomy guitar chords match the mood. "To The Grave" is chill by contrast, with acoustic strumming that allow Antoine and Lucy to vary their vocal delivery and range, as they're not competing with loud instruments.

Finally, comes "Why" (the longest track after "Sanctuaire" at 7:20). This one has a grooving bassline, bittersweet riffmaking, slappin' drums, and clear, sincere singing with a certain Ozzyesque mystique. The guitar solo is soulful and grungy with plenty of stoner sway.

Witchorious drops Friday, February 16th on vinyl, CD, and digital via Argonauta Records (get it here). Don't pass this one by! Stick it on a playlist with Amen-Ra, Beastmaker, Lord Vicar, Famyne, and Purple Hill Witch.

Give ear...

SOME BUZZ

Witchorious is a doom metal band from Paris, France. Founded in 2019, the trio is composed of Antoine Auclair (guitar/vocals), and brother and sister Paul (drums) and Lucie (bass/vocals) Gaget. Their first two singles “3 AM” and ���Evil Creature” came out of darkness in 2020.

Their music blends bluesy riffs inherited from Black Sabbath, aggressive sounds supported by fuzzy bass lines in the likes of Electric Wizard, and intense atmospheres inspired by bands like Amenra and Mastodon. All this led by adventurous and solid drums, spawning modern chaotic doom metal songs with enraged vocals. Between screams and whispers, Antoine and Lucie’s voices have us travel from incantations to outpouring of despair. Each track will immerse you in the darkness of your mind, where you will keep looking for answers.

Dying to meet their audience, Witchorious played more and more gigs and opened for The Wytches in Paris and Westill Fest in November 2023. Witchorious’s debut album will be released in February 2024 through Italian label Argonauta Records. The album was recorded in Paris at Studio Sainte-Marthe by Francis Caste and contains 10 tracks that address psychic duality, human vice, and the inevitable fate of the world along with hellish fuzzy riffs.

Says the band:

"Initially, after the release of our double single, we were thinking of releasing a first 5-track EP. However, the health crisis dragged on and writing, like most bands, became our main activity. The writing of the album took around two years, with numerous arrangements on the tracks. The initiative for a track usually comes from a guitar riff and the vocals, and then we get together and each of us adds its own touch. We transform the song, the rhythm, its structure, until it sounds ‘Witchorious’. We wanted to create more modern sound and structures to avoid doing doom that we’ve all heard before.

"In the lyrics, we express our frustrations and self-awareness. The album deals with mental conflicts and psychological distress, the influence of human beings on their environment and on others... We were also keen to develop the character of the witch, who for us is a figure that represents oppressed minorities, whatever they may be. The witch frightens, disturbs and revolts, but at the same time fascinates and survives through the ages. We’ve had a lot of fun with the clichés of the genre, particularly around everything religious and satanic, because it creates an occult atmosphere that we love.

"This album is a concentration of our influences, a first step towards showing who we are, what our sound identity is, and what we have to say. By the time the album was recorded, the songs had really matured, and we fully focused on sound and ambiance. Francis helped us emphasize the evil aspect of the compositions, to make the whole thing sound really haunted."

Follow The Band

Get Their Music

[gayspock]

ok ep 2. i looked into it more and im confused cuz again like... i swear ive seen no advertising for any of this? it looks like it dropped in aus in NOVEMBER. now its dropped in the uk all in one go.... this past week?? and it apparently drops in the us all in one next month. so im like confused as fuck as to why they would release something like that

one thing i will say is theyre insanely good with the casting still arent they

another thing what was i to say

oh im sorry im watching this and every time i think to myself hmmm i wonder where cosima or sarah or hel- i cut myself off and i think about tatiana maslany in godawful cgi

this kid (jules as the episode title would lead me to believe) is soooo fun i love the hair

WHY THE FUCK IS FELIX HERE

FELIX ARENT YOU MEANT TO BE DEADBY NOW

HOW OLD ARE YOU SIR

HOW OLD IS KIRA

GOOGLE SAYS SHES 47 NOW AND SO FELIX IS LIKE WHAT. GRANDPAAAA GO TO BEDDDDDD

HELP

HWELP

CRAIG CAN YOU JUST BE CHILL FOR FUCKING ONCE AND HELP US TORTURE THIS 16 YEAR OLD

FELIX WHAT IS THIS FUCKING VIBE YOU'RE PUTTING DOWN RIGHT NOW WHATS HAPPENED WHERES YOU GRITTINESS HELP I FEEL LIKE IM GOING INSANE

WHAT THE FUCK DO YOU MEAN SHES WORKING AT A SHELTER

I SORT OF DONT AGREE WITH THAT OUTCOME FOR SARAH NOT TO BE A DICKHEAD I feel like its like.... squints.how do i fucking describe this. it does not feel like her to me and it feels likeughghh the word escapes me you know what i mean

can this dialogue be any

felix drag her

YOU TOOK HER TO HOME DEPOT. CLASSIC.

i love how lucy is a cunt. i do like that about her i will admit.

We were made in a printer.

NOW who the fuck is He.

sorry also to backtrack a bit im bewilderedand unsure how i feel about them bringing in the old guard at all because hello like look i said what i said i dont want them to have a show called orphan black echoes with like no reason for it to actually be related to orphan black but also what the fuck

if harry potter is still culturally relevant in 2052 i swear to god

come on charlie girl. its gonna be ok. everyone shoots someone in the head once.

beck from victorious i need you to be all in on this ok

so who the fuck is thissssssssss

SO FUCKING WHAT? SO WHAT? LUCY IS NOT ALLOWED TO KIDNAP KIDS? WHY NOT? LOSERS.

JULESSSSS YOU SLAYEDDD THEREEEE YOU SLAYEDDD I WONT EVEN LIEEEEEEEE HELP TOILET SHANKKK

he is kind of so funny . i love you beck from victorious.

im also ok going back to like this relating to people from before like... this charcterisation os kira feels so odd

"lord this place is like neolution without the tails" wow did you get that guys ! a callback

AND YET SOMEHOW LIKE I THINK THE CLUBS FROM LAST TIME WERE SO MUCH MORE REAL THAN WHATEVER THAT IS

james youre tickling me

CHRIST WHATS GOING ON HERE

SORRY I THINK ITS SO FUCKING CORNY WHEN THEY TRY TO LIKE DO FUTURE THINGS DO YOU KNOW WHAT I MEAN THE FUCKING FULL SIZED MIRROR TIKTOK LIVE IS INSANE.

this fucking acting and general fucking reaction is also crazy to me wes im sorry youre adorable but please

JULES YOUREEEEE SO FUNNYYYYYY

FUCK LUCY CAN WE STAY WITH JULES

okay theres just something so off putting about felxi im like help me what is going on

also i feel like kira is like sending me so much i feel like this happens all the time when kids who initially .... no offence.... lacked a lot of character ... now have to be an adult version cuz what are you going off. i dont know who this woman is but she isnt kira to me because who the fuck was kira in the first place but a kid that said ominous stuff and was a plot device for most of the show

also i think theres again something so insanely off i cant tell what it is. i think its still in that space of being so stupid high budget fo rwhat it is and yet itr feels so weird looking. the whole futuristic thing is strange to look at. like this being orphan black which ootherwise like. sci fi but still very grounded. it feels weird to now go to this

and i feel like i'd have preferred a smaller timejump. if they prove me wrong with that then fine but thus far i dont see the benefit of it being in 2052. i'd have preferred them to go less crazy with the like aesthetics cuz theyre just kinda weird and take away from everything for me.

and again i dont like the general approach to all of this. i think they needed to start slower and build stuff up more over time . everything here with jack for example like... i would have preferred if we sat with lucy and lucy alone and we didnt keep cutting to kira . like let us build this up and have it be one long continuous thing and maybe hold out this reveal a little longer. this feels like its rushing. and again the strongest part of orphan black, to me, before was like the slow build of increasingly complex fucking dire situations and being able to layer that shit

hi lucas

kira being a shit mam is so funny to me

FELIX'S ENTIRE PERFORMANCE STILL FEELS SO FUCKINH INSANE TO ME. cuz i get what youre going for but the delivery is jsut so fucking choked by the actor trying to keep it up. i swear he was not that stilted before even when he WAS putting something on. like is it trying to mask his voice age as well or something?

jules is so much more compelling to me again i think it is cuz her storyline IS the slowburn one here . and also shes got all the things i mentioned kind of lack with Lucy

like sorry i hate it when theyre like "haha. she's so spunky." (the actual chatracters are telling us this to the camera) like ok i get it i literally could have GOTTEN that watching

AND AGAIN WHY IS EVERYONE ... i dont know it feels like the exposition in the dialogue is crazy. like theyre shoehorning stuff in. you dont have to have them say everything so literallly and explicitly . help

KIRA PUT THE CYOKEEE DOWNNNNNNNN

ok im pausing for tonight hang on

[alexsfictionaddiction]

Review: Fledgling by Lucy Hope

The stunning, wintry cover of this middle-grade is definitely what attracted me to it. In fact, I had no idea what to expect but I was looking for a chilling, thrilling, magical read which is exactly what I got!

In the middle of a thunderstorm in Edenburg, Bavaria, a cherub blows in through the window of Cassie’s room and she is unsure what to do with it. While she decides whether it’s a sign of something good or bad, she hides the strange creature from her family but some very odd things start happening. Her mother is an opera singer whose main interest is herself, her father is a keen taxidermist and her grandmother spends most of her time in bed. Cassie’s best friend Raphael seems to have secrets too. Can Cassie figure out what the cherub is doing here and how its linked to her family’s past?

The cherub herself is a fascinating creature and quite unlike the cherubs you see in classical art. I couldn’t decide whether she was dangerous or innocent but I was thoroughly bewitched by her presence. I’m not sure I’ve ever read another book involving cherubs, so they’re not a species that I’m particularly familiar with. I knew that she was a sign of something and like Cassie, I enjoyed figuring out what that was.

Cassie’s father is a taxidermist and the house is full of stuffed animals. Taxidermy has been in the family for years and Cassie sees it as her duty to look after her father’s creations when he isn’t around. The owls are a particularly strong feature in the collection and the image of their frozen beaks and dead glassy eyes add to the gothic vibe of the book. Every scene under their stare was full of dread and I was just waiting for something frightening to happen.

The setting of Edenburg is full of dark history and the presence of this huge, empty buildings was so strong. Just like the taxidermy, it felt like the castle and the family house were watching all the time. The characters were never truly alone, even when they thought they were and it made for a highly unsettling, ominous atmosphere.

Fledgling is a compelling, magical story with plenty of twists and turns. It is quite scary in places, so I don’t think I’d recommend it for under 10s but older children will be completely drawn in by this creepy, chilling adventure. There are also a few twists, plenty of surrealism and even some mythological aspects that aren’t explored very often. I thoroughly appreciated all of these things and would love to see what Lucy Hope writes next!

[plungermusic]

The sounds of California… the climate of Seattle.

Maverick Saturday had the real flavour of the West Coast, particularly on the open air Southern Sounds main stage, with a wide range of the Golden State’s sun-drenched sounds and an increasingly ominous Rain City sky.

Kev Walford & Kelly Bayfield [main picture] were the ideal breezy main stage openers, with Crosby/Nash-like increasingly complex multi-voice harmonies on Money Rules In My World Now, and the moody Renaissance-style proggy folk of The Whistling Man with Kelly’s limpid clarity and a gooseflesh-raising midbreak of noodling Telecaster, soft mallet toms and lush wordless Crosbyesque harmonies.

Robbie Cavanagh [below] proved every bit as good as we recalled from previous hearings: from the big bold Jackson-Browne-at-Glastonbury sound of Get Out Alive with its anthemic progression and punchy chorus to the slow country waltz of Roles Reversed where Robbie’s breathy emotive vox and simple acoustic were backed by Everlyesque harmony interjections and pedal-steel-aping slide guitar. New song Helpless showed a sure hand with sweaty Memphis soul, with impressively soulful vox and twangsome solos from both Robbie and Neil Watkins. Eaglesy flavours abounded in Scars, with its portentous hook and slick multi-part vocals, and in the closing shitkicking two-step of Choked Up where the sublime harmonies shone in an a cappella passage.

Imogen Clark returned looking and sounding rather different to last year: the floaty troubadouress dress and delivery replaced by a spangly all in one trouser halter top and a similarly gussied up mainstream country sound. Easygoing fine vocals (and great backing from fellow Aussies Lachlan Bryan and the Wildes) delivered a Sheryl Crowish Late Night Girl and an anthemic Take Me For A Ride which left folks of a certain age humming Baba O’Riley…

A quick trip to the barn brought plenty troubadouress vibes in the solo acoustic set of Lilly Winwood [below], a deconstructed Big Skies ballad-style take on her father’s Can’t Find My Way Home amply demonstrating her big powerful vocal (genes really are everything!)

Returning to the main stage we caught a surprisingly young lad doing a brief but accomplished burst of Duelling Banjos before Lachlan Bryan and the Wildes’ own set. Lachlan’s gritty-but-mournful stationhand vocal fitted the excellent Outback outlaw country of Ballad Of A Young Married Man perfectly, with plangent electric guitar and girly harmoniess. Imogen Clark returned the favour by returning for bvs in the cinematic shamble of Deathwish Country and to duet with Lachlan on the old time Basics Of Love, while the dreamy Buddhist Priestess with lush keys had Hannah Aldridge guesting.

No Coward Soul drew the short straw - as they began their (for Plunger) curate’s egg set alternating upbeat danceable rockabilly meets Mumford & Sons cider advert tunes, with more intriguing numbers with touches of sophisticated latinate rhythms and some off-kilter Dead-style lopes, the long threatened drizzle set in, prompting an outbreak of brollies, cagoules and military spec rain capes [and the retirement of cameras, sadly].

Don Gallardo showed a very British sense of irony: Stay Awhile (with its “Sun is gonna shine” lyric) with great pedal steel came as the rain intensified and the exodus for cover began. There was more fine steel work (and weather references) in the relaxed Diamonds & Gold, and an appropriately dreich North Dakota Blues. Lilly Winwood brought her powerful voice to the bustling Shine A Light with chiming pedal steel and sunny harmonies, a slower How Many Days with its anthemic wordless vox-led coda, and the wistful acoustic two-hander Rhyder’s Song. The threatening chug of Banks Of The Mississippi, driven by choppy guitar and tight 1-2 beat, evoked the Stones’ miss you, which the band obligingly segued into in an extended coda!

The joint prize for bad luck and perseverance went to Seattle’s Massy Ferguson: their brand of grungy, southern rock-informed, clap-above-your-head stadium country (providing the punchline to a “Charlie Starr, Tom Petty, Kurt Cobain and Ronnie Van Zant walk into a bar…” gag) was ideal sun-drenched festival crowd-pleasing fare. As it was they played a spirited full-on set to a knot of (just plain drenched) die hards who lapped it up: screaming along to Powder Blue and jigging about to the metronomic Can’t Remember and Maybe The Gods with Rachel Harrington guesting. Wolf Moon was a brief moodier interlude with trad sounding melody and nice harmonica, but the set closed with the hypnotic hybrid of Lou Reed and Springsteen, Momma’s In The Backseat with its overdriven guitar harmonics and a proper ‘big rock’ ending.

Conceding defeat to the rain Jeb Loy Nichols [above] was moved indoors to the Peacock Stage. Perhaps he’d originally got a band lined up to play with, but here (with only the one acoustic guitarist and his own 3/4 guitar) he delivered a very mellow set that would have been incongruous following what preceded it on the main stage. His soft silky vox and soul-cum-jazz-cum-calypso songs (including the highly apt As The Rain, Long Live The Loser and Room 522) evoked Labi Siffre crossed with Gil Scott Heron (in my kinder moments: less kindly, Val Doonican crossed with Jake Thackray). At any other festival it’d have been raining wee-filled Woodpecker bottles outside.

With stirring, resonant voice, occasional electronic drums and atmospheric electric guitar accents Angel Snow [below} returned us to the West Coast in dreamy ambient country: the kick-driven dance-meets-Petty Secrets with its complex beats and chiming guitar, and the Viktor Krauss cowritten Lie Awake combined for a modern rework of Nicksian reverie or Miranda Lee Richards trippy whimsy.

Despite Ray Hughes’ mohican, Black Feathers’ old time harmonies delivered to a single mic were more in the vein of traditional Americana: the gentle, slow Lighthouse On Fire saw his-and-hers shared verses with wife Sian and a thrilling a cappella close, and more a cappella featured in the folky, backwoods Down By The River.

You can’t get more country than a former rodeo rider… Rachel Harrington not only brings the CV but also a classic Tammy/Patsy breaking-but-strong nasal Nashville twang, and a nice line in intersong banter. After the “a little ironic” Sunshine accompanied by JD Hobson on sweet dobro slide, and Hush The Wild Horses’ lazy four-footed stroll through Laurel Canyon, the lilting, folky-picked I Meant To Go To Memphis was prefaced with a tale of falling off the wagon thanks to the peculiarly British practice of “adorable little half pints”. That may have lain behind the tremulous country waltz Drinking About You, too, although military marching chants were the surprise inspiration for the Elvis-meets-101st Airborne rockabilly of Drop Zone.

Norton Money (Broken Island’s Dan Beaulaurier, Jeremy and Anna from Hallelujah Trails, and drummer Jamie Shaw) were the discovery of the weekend. A Cordovas-y combination of twangsome country, louche Dead-ish lopes, tight harmonies and jamband sensibilities ran through Queen Of Tunitas, the Mexicali-spiced Kickin’ & Cursin’, and a cover of Warren Zevon’s Carmelita with Anna taking soft impassioned lead vocal. Latest release The Ballad Of Hi & Lo (which we promptly bought right after the show) gave us Hey Lucy (one of several Caleish shitkicking boogies); Dream The Same Dream (after a Fistful Of Dollars intro) was a haunting minor key epic with soft mallet cymbals, hypnotic bass, fragile harmonies, and extended jamband plinking, while Lie Awake’s easygoing shamble developed into trippy Dark Star noodling and intertwining wordless multi-part vocals.

Hannah Aldridge covered almost the whole Americana spectrum in one set, from the folky acoustic-only emotive introspection of Gold Rush with her clear strong drawled vox and judicious harmonies from Robbie Cavanagh; through a cover of Gillian Welch and Dave Rawlings’ Ruby with fine fiddle from Chance McCoy and bassist Gustav Sjödin swapping to guitar and lead vox, right through to Burning Down Birmingham, a rollicking, country rock epic with the crowd providing a lusty choir-and-clap backing for Hannah [below] to sing over.

Rich Hall’s parody / pastiche / homage to country (with a large dollop of stand up) was a hoot. From established routines like the riff on Ipswich girls (punchline “it could’ve been worse… she might have been from Colchester”), the critique of The Little Drummer Boy, (“… what is he going to do? Bonham triplets? Purdie shuffle? Nope… ‘pa-rum-pa-pum-pum’, Jeez”) to improv-ish songs for Gary and his partner, My Eritrean Trucking Buddy (dedicated to a local trucker) and the song for a psychiatric nurse about how country tropes and characters are all explainable by mental illness. His finest hour though came with his Bob Dylan song… with Bob on stage this evening we won’t spoil the surprise.

Having been caught out with the post-11 finish the night before we made good and certain to book a taxi for the 11.30 scheduled close on Saturday, but thanks to cumulative overrunning replacement headliner Will Hoge was so late on stage we only caught Oh Mr Barnum’s stately progress with high taut vox, relaxed rhythm and expansive overdriven guitar; and about thirty seconds of the rattling Pettyish freeway-cruiser Secondhand Heart before scooting off already late for our long-suffering cab driver…

[mrwilliamcharley]

The Best Remixes Of The Week 030

Celebrate our 30th edition with fiery new remixes from 1788-L, Brasstracks, neutral., Wild Cards, and more. Also check out our banging Run The Remixes playlist on Spotify with all our all-time favorite remixes, updated weekly.

The Glitch Mob – Disintegrate Slowly ( 1 7 8 8 – L / R E M I X ) | Stream

1788-L is one of 2018’s fastest rising stars. The unique producer exploded with his dynamic S E N T I E N C E EP and has joined “H E X” collaborator REZZ on her Certain Kind Of Magic tour. 1788-L has now unleashed sinister soundscape around The Glitch Mob‘s “Disintegrate Slowly” for an unforgettable remix. A whirlwind of dark trap and electrifying dubstep combine to bring a grungy rock-inspired edge to The Glitch Mob’s original. 1788-L is definitely one to keep an eye on this year.

Brasstracks – Good Kid, Brass City | Stream

On Monday, Kendrick Lamar‘s Good Kid, M.A.A.D. City hit its 6th year anniversary and Brasstracks celebrated with a phenomenal tribute. Accurately capturing the bold vibrancy of Lamar’s legendary album, Brasstracks gently suck you into a world drenched with brass instruments. Deftly straddling the lines of hip-hop instrumentals and jazz, “Good Kid, Brass City” is a nostalgic ode that packs a tremendous punch and leaves a lasting impression. – Peach Gallagher

Cheat Codes & DVBBS- I Love It (neutral. Remix) | Free Download

Neutral. has risen as one of the finest remixers of 2018. His fiery future pop soundscapes have reinvigorated tracks by The Chainsmokers, Lost Kings, and Shaun Frank, and he’s now put his touch on Cheat Codes and DVBBS‘ “I Love It”. Neutral. spins “I Love It” into a sensational future bass banger filled with anthemic percussion buildups and explosive synth drops. If one thing’s for sure it’s that neutral.’s “I Love It” remix will make you dance.

Lauv – There’s No Way (Felix Palmqvist & Oliver Torshall Remix) | Free Download

A month ago, Swedish producer Felix Palmqvist amazed with his glorious remix of Lauv‘s “Paranoid“. This time, he’s back with TWO HIGH producer Oliver Torshall to give Lauv’s new Julia Michaels collaboration a sultry spin. The duo flood “There’s No Way” with bright synth chords, breezy guitar melodies, and thunderous percussion to bring a dreamy waviness to the track. Felix Palmqvist is definitely one to keep an eye on this year.

Lucy Daydream – Maps (Yeah Yeah Yeahs Cover) | Free Download

Lucy Daydream has made quite an impression with their gorgeous cover of Post Malone’s “Go Flex“. The musical duo has now unveiled a dreamy cover of the Yeah Yeah Yeahs‘ “Maps” and secured themselves as artists to watch. The cinematic downtempo cover drifts into a euphoric wonderland as ethereal vocals sail over sultry guitar melodies and light percussion. Lucy Daydream’s “Maps” cover is simply otherworldly.

Green Day – Boulevard Of Broken Dreams (Wild Cards Remix) | Free Download

Wild Cards have impressed with their dynamic remixes of Khalid, Two Friends, and most memorably Fall Out Boy. The rising duo has now spun their future bass web around Green Day‘s classic “Boulevard Of Broken Dreams”. Working around the iconic guitar riffs, Wild Cards amp the track with vibrant melodic synths and punchy percussion. This is one Green Day remix we hope to hear in all the club sets this fall.

JOYRYDE & Skrillex – AGEN WIDA (Badrapper & JACKNIFE Flip) | Free Download

Australian trap producer Badrapper is hot off his “IMMA” collaboration alongside ATLiens and quick to remix JOYRYDE and Skrillex‘s “AGEN WIDA“. Enlisting fellow Aussie JACKNIFE, the duo have unleashed a whirlwind of dark and sinister trap that ruptures with twisting basslines and rumbling percussion. JOYRYDE and Skrillex’s “AGEN WIDA” was both due and deserving of a good flip and Badrapper and JACKNIFE have nailed it.

Dua Lipa & BLACKPINK – Kiss and Make Up (BEAUZ Remix) | Free Download

Electronic duo BEAUZ are known for their vibey remixes of Zedd, DJ Khaled, Marshmello, RL Grime, and more. They’ve now woven their dance-pop soundscape around Dua Lipa and BLACKPINK‘s “Kiss and Make Up”. Out now via Proximity, BEAUZ flood the track with whistling vocal chops, dreamy melodies, and tribal-inspired percussion. BEAUZ have created an absolutely sensational remix.

Half The Animal – Magic (Charlie Crown Remix) | Free Download

Charlie Crown, formerly known as Flapo, debuted his new name with his seductive dark-pop single “Loner” but first impressed with his phenomenal future bass remixes of StayLoose and Thutmose. He’s now drafted chilling remix of Half The Animal‘s “Magic” that solidifies him as an artist to watch. Crown’s “Magic” remix soars as deep bass stabs and downtempo percussion bounce against the gritty, filtered vocals. Charlie Crown’s “Magic” remix certainly is magical.

The Chainsmokers – This Feeling ft. Kelsea Ballerini (Baaku Remix) | Free Download

Newcomer Baaku first made our pages with his explosive future bass remix of Justin Caruso’s “High Enough“. He’s now unearthed a fiery remix of The Chainsmokers‘ “This Feeling” and it’s outstanding. Baaku unravels ominous bass chords amidst sparkling percussion and vibrant synths to fuel a dance-crazed future bass drop. Baaku’s dance-pop remix of “This Feeling” is sure to get you moving this week.

Julia Michaels – Jump (Hibell Remix) | Free Download

Rising producer Hibell has garnered thousands of plays across his remixes of Lorde, Sia, Kiiara, and more. He’s now unveiled a jaw-dropping remix of Julia Michaels‘ “Jump” that is flooded with luscious guitar melodies and snappy percussion that bring a luxurious indie vibe to the track. Hibell’s downtempo “Jump” remix is a lowkey banger you’re sure to love.

CHVRCHES – The Mother We Share (Shisto Flip) | Free Download

Maryland based producer Shisto has impressed with his remixes of Kanye West, Post Malone, BAYNK, and more. He’s now warped his dynamic soundscape around CHVRCHES‘ “The Mother We Share”. Shisto’s remix vibes with intricate production that seamlessly blends elements of indie, future bass, and trap music into an emersive sonic experiment. Shisto has certainly stepped up with this CHVRCHES remix.

ODESZA – Memories That You Call (Yvng Jalapeño Edit) | Free Download

Australian remixer Yvng Jalapeño has caught our eye with his edits of Ekali, RL Grime, QUIX, ATLiens, and more. He’s now revised ODESZA‘s “Memories That You Call” into a dynamic trap explosion. Rupturing with wild, chiming percussion and gritty bass throbs, Yvng Jalapeño shifts the ODESZA original into full gear. Yvng Jalapeño is definitely one to keep an eye on.

Nas – Life’s A Bitch (junior state Remix) | Free Download

Newcomer junior state is certainly making a statement with his edgy, lowkey remixes. Last week, he caught our eye with his remixes of OutKast and Missy Elliot and is back with a brilliant bump of Nas‘ “Life’s A Bitch”. Junior State brings a phenomenal retro hip-hop feel to “Life’s A Bitch” with his crisp old-school production. Junior State is certainly one to watch this year.

Zeds Dead x 1000 Volts (Redman x Jayceeoh) – Kill Em (Jaenga Remix) | Stream

Jaenga has resurfaced with an explosive retro bass remix of Zeds Dead and 1000 Volts‘ “Kill Em”. Out now as part of Zeds Dead’s official “Kill Em” remix pack via Deadbeats, Jaenga’s remix stands out with its high-energy production and hard-hitting drops. Jaenga is definitely back on a roll.

Ookay – Bad Habits (Olmos Remix) | Free Download

Olmos impressed last week with his stunning rendition of Jai Paul’s “BTSTU” and has once again caught our eye with his remix of Ookay‘s “Bad Habits”. Glittery indie vibes wrap around Ookay’s original as wonky vocal chops bounce off eclectic percussion and rushing basslines. Olmos is definitely one to watch this year.

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