Alexander Lewis just dropped his long waited 6-track project – Red EP – and his signature trombone melodies still play a significant role with the addition of new production elements he incorporated. Lewis has been experimenting with Hip-Hop lately, and this new project that’ll be the first in a series of color themed EPs is no exception. Trained ears can still trace back to Lewis’ EDM roots from the implementation of elaborately designed risers and a grandiose song structure. Although Red EP isn’t the first time that Lewis experimented with Hip-Hop, it still signifies the start of a new chapter in terms of Lewis’ dedication and passion for producing in the style of this flexible genre that offers a lot of space for creativity.
Lewis decided to start off this cinematic experience with Soar, the latest single he released before the Red EP. Soar sets the mood for this epic journey with its theatrical and mysterious vibe. This climactic song is followed by Alexander the Great, a more enigmatic piece that offers insight on Lewis’ train of thought. It is one of the more personal pieces on the album with a dynamic pad melody and a continuous transition from trap to a simple, more intimate Hip-Hop sub-genre. But the track that reflects the complete truth of Alexander Lewis would be Left U On Red feat. JNTHN STEIN. The two talented producers collaborated on this song to display Lewis’ inner world through meticulously crafted sounds. The strings mainly function to make the piece more versatile but also warm and welcoming. The subtle implementation of string plucks make the song a more vibrant and lively one in comparison to a completely computer-generated track.
Lewis had the following to say about the Red EP:
“Red EP was a way for me go beyond the typical “trap trombone banger” and a way for me to dig even deeper with live instrumentation and blend it with electronic music. Red (being part 1 of a color series of EPs) is just another part of my musical influences and a way for me to showcase more depth in my music, not only as a producer but a composer and arranger. I wanted to give the listener a glimpse of what’s to come with mixing trap and more live instrumentation and foreshadow something I’ve always dreamed about doing; performing live with a full orchestra.”
Lewis’ previous work Omni EP hinted a shift in the producer’s style before, but Red EP makes this transition to Hip-Hop official. During this journey, Lewis also contributed on the production of some of Hip-Hop’s greatest hits like Juice WRLD’s banger Big and very recently he produced MAX’s Acid Dreams feat. Felly which premiered on NYLON. He also produced for several other big names like Normani, Rita Ora, YBN Cordae and The Underachievers. Lewis doesn’t forget about his Energy pals either as he’s producing B.Anderson and William $’s upcoming albums.
You should definitely check out this epic project by clicking here or from the web player below.
An artist who alters R&B with his visionary approach, sobhhï just released a new video for his 2019 freestyle track. sobhhï has been on a grind lately since he dropped his Black I EP in February. His innovative alternative R&B style with a sentimental focus makes sobhhï stand out from the crowd, and his artistic growth can be observed from the unique way he combines Rap, Hip-Hop, R&B and Pop elements in his work.
sobhhï’s self-directed video is a work of art. The stunning black and white visuals with an occasional splash of colors emphasizes the reflective nature of the video, and allows the audience to see the world from his eyes. Although much shorter than traditional music videos, 2019 freestyle captures a contrast between real and fake, serious and frivolous. The imagery of sobhhï driving a Lamborghini with the doors fully open and people sitting on top of the roof conveys a self-confident attitude unaffected by judgement. The pop-up lyrics that appear every now and then draws the attention away from the stark theme of the video and offers a comedic side note. Just like the rest of his EP, the music video for 2019 freestyle might appear like a minimalist, stripped down product, but a tremendous amount of work has been put into the making of the video as it was recorded in three distinct locations: Dubai, New York City and San Fransisco.
sobhhï had the following to say about his EP:
“I wanted to create an experience of night time and nocturnalism through the music; to experience something moving, extremely visceral; romantic, sensual, and dangerous… I would consider the BLACK series of EPs to be my most essential work, this is only the introduction”
2019 is a strong year for sobhhï since he is establishing his position as one of the up and coming Alt-R&B geniuses of the year with Black I and three other EP’s that are yet to come. In the meantime, check out the music video for 2019 freestyle from below:
The Code’s new EP “mercury” is out today, a few months after teasing the us by releasing “moments”, which was first played at 1Xtra by DJ Target. On their mission of bringing down the barriers that distinguish genres, The Code is putting their advanced R&B/Hip Hop production skills to use and creating a space travel experience for people who are exposed to their artistic vision.
The Code opens up the EP with “system” to set the tone and lets the audience know that even though you can only hear with your ears, you will be immersed into a 3-D experience by just listening to this EP. The precision of the beats juxtaposing with a melody that resembles lo-fi but is also in harmony with every aspect of the production are the main reasons for this EP to sound like a message from distant galaxies.
In The Code’s own words, “This is what it must feel like to be retrograde”.
The Code keeps their identity anonymous to avoid distorted social media representations and to speak only through their art. This strategy has helped them a lot as it can be observed from the 8 million streams they have gained from “Gravity” featuring the rap legend G-Eazy.
The Code has also been praised by outlets like The 405 and Pigeons & Planes for their debut “Blue Electronica” and another long project “Paramount”.
After playing at a couple of Desert Hearts events, it only
made sense to officially embrace SHADED into the Desert Hearts family by
signing him to the label. The artist’s debut EP on the label, “Gucci Baggy”
fits right in with the brand and promises great things in the future.
The opening track, Gucci Baggy, captivates the mind with
lyrics that will bring out the listener’s expensive taste: everyone can have a
Gucci bag on the dance floor with them for this track. The track boasts
retro-inspired synths and a buzzing bassline that trickles into the next track.
The second song, titled Trounce, feels a bit quirkier than the first with
unusual sounding bubbling synths that maintain a retro sound but edges into the
The entire EP is playful and deeply rooted in the Desert Hearts house music genre, which makes us excited for what’s to come from this partnership. Give it a listen!
DIRTYBIRD welcomes Marc Houle back to the label, this time with his own EP titled makes “Min and Soda.” Hailing from Canada, Houle is a practiced producer and knows how to entice the crowd with his unique live sets. Years of experience a vast knowledge of electronic music result in his remarkable ability to produce a sensory experience – exemplified in this EP.
The opener, “Min and Soda” is a minimal trippy track featuring offbeat synths and a futuristic tech-house sound. In typical Marc Houle fashion, the listener is never able to guess what’s coming next, and the track is anything but cookie-cutter.
The second track, “Car and Driver” is just as unique. Ears perk up with a driving acid line that never lets up, and from start to finish we become a passenger in his fast-paced car racing through a vintage-inspired video game. As per usual, Houle’s unusual style turns up a success.
After first releasing her own music in 2010, Joye Muniz’s underground fame spread worldwide like wildfire. DJ Namito ran the underground scene in Berlin, until most recently releasing a double LP entitled Letting Go which garnished national acclamation. Recently, the two elite musicians hailing from Deutschland, came together to deliver a classic EP Me and Da Beat.
The German DJs start strong with a fire track featuring Quinta Jones over crazy synths and a slap-happy bass line.
They reached deep in their toolboxes to bring to life “Beside My Beat”. A fever dream sound created by combining cutting tones and sharp percussion with hollow progressions, strings, and vocals.
They paint the final stroke of their portrait as powerfully as the first, drafting Desert Hearts lead, Mikey Lion, to craft a salacious tech house rinse.
The Irish-born DJ, Rebūke, is all about challenging the classic tech-house we know and love. DIRTYBIRD gets behind his movement and offers a new EP titled Jump Ship that showcases the artist’s unique style.
This two-track EP pushes the boundaries for a DIRTYBIRD release, and the result is a success. The EP opener, aptly named Jump Ship, is a departure from a typical house track and calls for the listener to pay attention. Rebūke wakes us up from the methodic head-bop of house music and adds unexpected djembe-like drums while playing with different rhythms and beats per minute. This high-energy track will have you gyrating from head to toe. The second track on the EP, The Pipe, is no different in the sense that it’s unlike anything you’ve ever heard before. The whole EP has a jungle-beat vibe to it and The Pipe hits the listener with flute-like synths that serve to transport the mind.
Since stepping on the scene, Rebūke has worked to make an original sound, and Jump Ship seems like a metaphor for departing from typical mainstream rave music and inviting us on his journey. The EP is unique and a pleasure to listen to, and accomplishes the artist’s goal of originality.