Deorro – Five Hours

The original mix. The amazing track that formed the solid foundation; the one that started it all. There are so many beautiful aspects about this track and yet, its simplicity allows me to summarise its greatness in one word: Balance. I love the way this track was mastered.

When you first listen to how Deorro builds up the wobbling sounds, you can hear how it could have gone wrong but didn’t. He could have gone louder and deafened us all, he could have just made that the recurring element of the entire track, but no. Deorro morphs it into something light and bouncy, smoothly, as though it were simply a matter of turning  a single knob. It’s not too sharp, not too high-pitched, not too ear-piercing, just right.

Once the track goes the usual House tempo, Deorro maintains the steadiness of the melody, keeps the pitch just right, and places a layer of vocal snippets on top of the smooth tune. Unlike certain producers who run out of their creativity juices and end up having the same elements repeated excessively, Deorro knows when to put a pause. A smooth instrumental bassline gets introduced, reminiscent of styles in a Daft Punk era. Although it is occasionally modified to create some sort of dribbly bass effect, it remains at the bottom of the layers of sound; the player in the background; the base. There’s no need for it to overtake any element for listeners to appreciate it. In fact, it fits in so nicely with everything else that without it, the track would lose its grooviness.

The original mix of ‘Five Hours’ is ideal for those who want something they can tap to, nod to, or move their shoulders to. A clear glass of sparkling water amongst muddy pools. Chillax and enjoy the ride.

PS – Here’s why I dislike the Chris Brown version: I find it difficult to imagine one element of this song without the other, which is why I think everything else that gets added to it should achieve the same effect. Otherwise, it just wrecks the preestablished consistency and becomes a distraction. I don’t think Chris Brown’s rap doesn’t blend in well, which is why I hardly consider it as an enhancement or necessity to Deorro’s original composition.


Keep Rockin and Telraam

Riggi and Piros - Keep Rockin

Published on Beatsmedia 26/02/2015

I came across two tracks from two labels that sounded very similar to one another with slight differences in the atmosphere that their melodies create. Although I must admit that both tracks have very catchy melodies, they’ve been repeated too often throughout each track with hardly any variations at all. It’s nice to hear these tracks chipped into a set for a brief moment, or played once in a blue moon, but putting these tracks on repeat can make people feel rather nauseated while sober. To describe it in another way, it would be like eating too many sweets and sugary things at once. The more people have too much of a good thing, the sooner they’ll get sick of it and move on to something else.

‘Telraam’ has little hints of disco inserted here and there. Each instrumental component is modified slightly to give it a fresh sound and the staccato makes things very light hearted. They complement each other extremely well. Yet, although ‘Telraam’ is just a cut-off preview, I just cannot bear to have the same melody repeated for 1:53 minute(s) straight. On the other hand, ‘Keep Rockin’ might sound a little bit better with different melodic variations. However, there’s hardly anything new in the percussion or in the way the track builds up and breaks down.

If you ever feel like having some sort of guilty pleasure, these tracks will offer some short-lived satisfaction. But if you’re looking for something to put on repeat, maybe you’ll end up looking for something else. Riggi & Piros’ ‘Keep Rockin’ was released through Armada and Zonderling’s ‘Telraam’ is now available on Spinnin’ Records.

Originality 4/10
Harmony 5/10
Chorus 6/10
Overall 5/10

Blasterjaxx feat. Rosette – No Place Like Home

Blasterjaxx ft. Rosette - No Place Like Home

Published on Beatsmedia 25/02/2015

It takes a lot of work to make something that sounds simply beautiful rather than simply dull. In fact, Blasterjaxx and Rosette’s ‘No Place Like Home’ is nothing short of daring. Featuring organic and natural instrumental components and sexy beats, this piece is an absolute pleasure to listen to. Expect this to be a hit at festivals that take place on the beach or in parks.

It starts off with a popping bass and a compressed melody that gradually decompresses and increases in volume. Elements of this track sprinkle and scatter to create a very exciting sensation for the ears. Then, a smooth transition is made as the track goes into the breakdown. After a brief silence, there’s nothing but the crisp sound of the guitar and the soothing female vocals of Rosette. The guitar strumming works surprising well with the digital elements when merged, which is a pleasant surprise. Although the cliché build up might be a bit too sharp, the drop isn’t too intense or destructive at all. Thankfully, most elements were well balanced.

One may not expect to hear electro house tracks to sound groovy and relaxing or nostalgic at the same time, but ‘No Place Like Home’ is a ground-breaking and exceptional case that brings people back to basics. The track was released on the 20th and is now available on Beatport.

Overall rating: 10/10

Hardwell and Headhunterz feat. Haris – Nothing Can Hold Us Down

Hardwell and Headhunterz - Nothing Can Hold Us Down

Published on Beatsmedia UK 10/2/2015

When I heard that Headhunterz was beginning to play House in his sets, I couldn’t believe it, but I guess his latest collaboration with Hardwell is yet another wake-up call for me. Believe it or not, Headhunterz’s ‘Sacrifice’ (Original Mix), was the first Hardstyle track I ever listened to. I didn’t know about Hardwell until Headhunterz made a remix of ‘Spaceman’.

There seems to be an odd trend with the way Hardstyle artists have chosen to remix Hardstyle tracks, they feature a great deal of the original. For example, Brennan Heart and Code Black’s remix of Afrojack’s ‘Ten Feet Tall’, would put the track at its original tempo as a breakdown. The composition for ‘Nothing Can Hold Us Down’ sounded even weirder to me, because the first half is Electro House and the second half is semi Hard Dance.

There can be several explanations for this choppy way of putting two different genres together. Firstly, raising the tempo is one of the ways producers increase the hype. Secondly, it seems that Hardstyle producers are anticipating situations where they will be playing at stages that are not specifically dedicated to Hardstyle. For example, Headhunterz was the only Hardstyle artist invited to play at festival Stereosonic last year. Additionally, Dimitri Vegas & Like Mike actually dropped Coone’s remix of their track in a set at Future Music Festival several years ago, which was a pleasant surprise.

Nonetheless, I should deliver this warning: If you are a Hard Dance fan who is not used to listening to such combinations, you will not feel comfortable with this track. I certainly didn’t feel like I was used to it until one or two weeks ago, even though I had already heard Brennan Heart and Code Black’s remix of ‘Ten Feet Tall’ way before that. Back when I was listening to Hard Dance, it was just that. The concept of Hard Dance being moulded together with Electro House or Trance, or the possibility of a term like ‘Electrostyle’ to emerge, is still relatively new to me.

Anyway, let me go a bit deeper into ‘Nothing Can Hold Us Down’. Both Hardwell and Headhunterz have managed to provide creative inputs into this piece to create a highly engaging and gleeful melody. In fact, those who are familiar with Headhunterz work will hear little bits of Headhunterz in there and know that it doesn’t overpower the Hardwell style. The techniques that each producer has to offer in this piece have been moulded and mixed well.

Now, let me tell you what’s bad: The ending. After I listened to both the SoundCloud and YouTube preview, I still went to iTunes just to confirm the length was around 3:18. That is how abrupt the outro sounded and that is how much I wanted this track to have more Hard Dance. I thought the kicks would become much harder. Unfortunately, Hard Dance was the outro in this case. It sounded as if they spun a coin with Electro House on one side and Hard Dance on the other, then slammed it on Hard Dance and took the coin away immediately. I was left unsatisfied but at the same time, I wanted more. It’s not a horrible track since the melody is beautiful, but it could have been a much better mix of genres.

Outro 2/10
Melody 10/10
Lyrics 7/10
Vocals 5/10
Overall 6/10

Press Play – Bollybounce

Press Play - Bollybounce (Hussle EP)

Published on Beatsmedia 2/2/2015

Ah, Bollywood, where people can sing and dance forever if they want to, and among the tracks that people could dance to might also include this release from Aussie DJ Press Play, titled ‘Bollybounce’.

Surprisingly, this track actually includes a great deal of Indian flavour and instruments. The trills are super addictive and whenever the low-pitched sounds make their presence as a foreground melody, there would always be a slight variation between each note. After several breakdowns, the sounds are sharpened and snipped, then a few pats to the tambourine can be heard, all of which form a very smooth outro.

Electronic music tracks infused with exotic instruments are hard to come by. Hopefully, this release by Press Play will inspire more music producers to find and incorporate more sounds made by instruments from various parts of the world.

This track was released via Ministry of Sound Australia on the 19th of January.

Download on Beatport –

Instruments 10/10
Transitions 8/10
Originality 7/10

Eptic – Level Midnight

Back when I used to listen to Dubstep and the UKF Dubstep channel very often, Eptic was one of the artists I could never forget. ‘Like A Boss‘ resides on my iTunes playlist as one of my favourite Dubstep tracks of all time. Today, I decided to reunite with Dubstep and was greeted with this Dubstep and House combo from Eptic, titled ‘Level Midnight’.

With a fading and echoing whiz, huffing whooshes and puffs lead into bouncy notes and wobbles. The percussion and notes have a sharp edge to them, acting as weapons of a playful killer on the dance floor as it leaves cut marks everywhere. Every time it descends, it releases a femme fatale. The soft bass in the background acts as a silent marauder that seems to carry the entire track like a conductor of anarchy, achieving a contrast that brings out the dangerous sound of this tune.

What I dislike about this track is the lack of variation. It relies on switching between compression levels throughout, which isn’t that fresh. Aside from a little skittle at 3.13, there is a lack of cheeky elements to make this an absolute whopper. People will definitely reach the midnight level in the game of dance, but they’ll need much more if they want to reach doom.

Rating: 3 out of 5
Label: Never Say Die
Release Date: 27 October – Firelight | Holiday Review Series: Post 18 - Firelight

I’m constantly looking for cool electro house tunes, so you can imagine my joy when I came across this pleasant surprise in my promo inbox. The naturalistic title completely matches the theme of the track. In fact, my favourite part, where the drumstick rolls get infused with trumpeting melodies, perfectly resembles a crackling bonfire. I could totally imagine a bounce pit trampoline being formed on the dance floor when I heard it. The other part I really love is how the bass line changes its intensity with different effects. Also, the overall composition of this piece really helped to build up to that pinnacle. Progressive and Electro House are combined seamlessly to create both light-hearted joy and ground-breaking explosiveness. What an awesome combination.

Robert Vadney – Attack of the Clones| Holiday Review Series: Post 6

Robert Vadney - Attack of the Clones EP

This track takes elements of Star Wars to create an unforgettable, powerful and cheekily sinister effect. Church bells and violins instantly take its listeners into the groove, so it’s hard to resist dancing with a whole lot of swag. There’s some clicking noises that can remind people of the sounds that the Stormtroopers make when they march on metallic surfaces. Screeches might be annoying to those who dislike cliche Dubstep incorporations. Yet, the idea that it sounds like jerking machine movements, and the fact that it’s not too overpowering, makes it bearable. In the breakdown, various spaceship hovering sounds are combined with the old-school ringing to bring its listeners to outer space. Then, when violin sounds and Stormtrooper steps get isolated, it’s as if ultimate doom was encroaching, and it pumps up the adrenaline rush that will get people excited. Another memorable component is the mystical, Oriental vibe released with synthesized digital beeps. Surprisingly off the Death Star, yet complementary and groovy!

However, the Jason Grey Dub Mix was quite confusing. The instrumental elements were significantly dimmed in the Jason Grey dub mix, which greatly diminishes the power of the original. It seems too reliant on the pulsing effect for a groovy sensation. Additionally, although there seems to be an attempt to contrast the more mysterious, ambient sounds with chaotic sci-fi war sounds, the arrangement wasn’t able to meld the two in a harmonious way. For instance, although it makes an attempt to incorporate more of the old-school beep ringing of mysterious outer space ambience, they were disrupted by the constant choo-choo laser shots. If the laser shots were less overpowering and distant, at least it might have created a foreshadowing element. Or, conversely, perhaps occasional sprinkles of laser shots over the outer-space ringing would make things less irritating. Overall, the transition and arrangements don’t create as much suspense or excitement as the original and have room for improvement.

This EP comes with three tracks, an original mix, a leadless mix, and the Jason Grey Dub Mix. It has been released through Reclublic Recordings on 03/03/2014.

Krewella – Live For The Night (Remixes)

Krewella - Live For The Night

Published on Pumped Audio 02/10/2013:

Krewella - Live For The Night

A few days after Krewella’s new album ‘Get Wet’ was leaked on SoundCloud, it was reported that ‘Live For The Night’ was remixed by chart-toppers W&W and Dash Berlin. Have a listen to the previews below!

W&W’s remix provides a more guided introduction with more emphasis on a piano improvisation. The melody acting as a backdrop to the vocals is more simplified, so that it doesn’t steal away the spotlight of that heavy Big-Room sound. This is an effective way of punctuating the track at the right moment. In addition, the percussion used prior to transition from the strong bass component creates a refreshing effect. This W&W remix is a very empowering piece that brings something new to the decks, and it’s bound to be something a lot of Big-Room house fans will enjoy.

Dash Berlin loops a slow trill quite often throughout his remix of ‘Live For The Night’. Not many people might like to hear the same notes looped over and over again without some sort of melodic variation. However, to me, this melody just has that hypnotic quality where one can loop it a thousand times and not get sick of it. Whenever there is a decompression, sounds expand like the way clouds drift apart after a rainy day to reveal the bright sun.

Although it was reported that these two remixes were official, they have not been included in the track list on iTunes or Beatport. Perhaps we’ll just have to wait and see if Columbia Records will release them in a remixes album. For now, have a listen to Krewella’s first album ‘Get Wet’ below!

Krewella – Get Wet

Krewella - Get Wet

Published on Beatsmedia 30/09/2013:

Krewella - Get Wet

Two girls and one guy who go by the alias Krewella have managed to garner great interest from the fans of electronic music with some of their impressive Electro House and Dubstep singles. On YouTube, acoustic versions of their singles can be found, demonstrating their versatile ability to move between genres. The curious thing about their first album is that it’s actually classified as Pop/Rock on Beatport. However, if you actually listen to the whole album, it’s pretty difficult to classify the album.

‘Live For The Night’ is the result of an Electro House and Dubstep fusion, with a deluxe melody accompanied by octave-low notes, and swirly wobbles at just the right pitch. The way Krewella have adequately adjusted Dubstep and Electro House portions throughout the track allows them to control the atmosphere in an intelligent way. For instance, the kicks are more profound in the climax, whereas the Dubstep wobbles might sound profound in other moments with lyrics. In effect, the crowd could clap in the intro, have the chance to dance or twirl seductively during Dubstep grinds, then jump energetically during the climax!

‘Come and Get It’ sounds quite joyful and great to skip to most of the time, but it has edgy boosts that will rock you to the core as well. It incorporates the best of Dubstep and Drum-N-Bass, which is probably why it’ll be hard for people to work out exactly where the climax is. Is it the lyrical moments, or the wub-wub? Anyway, during the more Dubstep-focused parts that are played with Drum-N-Bass percussions, there are also lighter notes layered and sprinkled with different chords for a sparkly effect. Basically, this track will be the confetti and glitter shooter of any stage.

Life has its ups and downs, but we can all ‘Enjoy The Ride’ with Krewella. The piano notes and soft vocals in the intro of this track create a bittersweet hook to draw its listeners in. There’s even an earthy guitar bass line! However, what’s most amazing about this piece is how seems to remind us of this fact – Traditional instruments continue to play a significant role in effects and composition of a great electronic music track. When they sing: “Let’s do it again”, it’s really a way of foreshadowing possible audience reactions to the song – Repeat! Repeat! Repeat!

The intro for ‘Pass The Love Around’ doesn’t just have repetitive chords. Instead, it includes some light, melodic embellishments to make things interesting. The boom-boom-clap percussion goes well with some fuzzy Dubstep sounds. The breakdown also allows the vocalist to shine with the piano, before the track reinstates the electronic climax. The lyrics convey a touching message of living life with passion, which really enhances the euphoria that comes from listening.

‘Ring of Fire’ has a dark intro, consisting of a bass line and pace commonly associated with Rock music. If you think female vocals couldn’t sound as cool as a male vocal, then this will definitely challenge your perception. The melody that plays after the notes hit also give off a very mysterious vibe. When the hard-hitting kicks come in, it could easily present an imagery of people dancing around a bonfire, and the sandy effect would be the seas of freedom on the shore. Finally, towards, the end, an orchestral portion brings in some unexpectedly sinister drama!

Classification doesn’t really matter, does it? ‘Get Wet’ is practically Krewella’s way of doing splits and playing Twister in the E/DM scene as they effortlessly mash and morph various genres. The mind-opening album is now available for streaming on SoundCloud, and available for purchase worldwide on Beatport.

Oh, and remember to grab your towel!

Originality 8/10

Harmony 7/10

Instrumentals 8/10

Lyrics 7/10

Overall rating 7.5/10