Singer/songwriter/producer Dazeases (a.k.a. London Perry) has been developing her stripped-down lo-fi electro-pop signature over the course of releasing her Lame Parties debut EP and C R U M B S full-length. A provocateur who injects heartfelt, deeply personal feelings into her songs, she juxtaposes her music with what some (not us) might deem as racy onstage attire. Her mission statement takes a cue from the sad-songs-say-so-much chapter in Elton John’s playbook and is dedicated to finding the courage to fearlessly bare her soul.
Ahead of the release of her Local Slut EP on EggHunt Records (both Dazeases and her label are based in Richmond, VA) on the imprint’s cassette series, we’re thrilled to world premiere “Plum” from the upcoming release. An artist who is unafraid to draw outside of the musical lines and wrestle with her emotions in her music, we asked Dazeases to give us the backstory behind the emotive song:
“‘Plum’ is about having been in a hetero/cis-passing relationship, where maybe both partners held their tongues about themselves in regards to their sexual orientation and gender identity. I wanted to chance to be honest about myself and also to address what I never asked of my ex. There were a lot of problems in that relationship that left me with many nagging ‘what if’ thoughts, but I wanted to have at least one song written to that person that expressed my love and support rather than the hurt and resentment I expressed on the Welcome Back EP. My bonus track on the upcoming Local Slut EP explains the sentimentality that I now associate with the word “plum” in an intimate way whereas this track is bolder and overt. A declaration to remind myself that the love I felt was once true, which I feel embarrassed to admit now that we are severed.”
It’s almost one year to the day since we premiered “Haus” from Italian producer Mennie’s 2016 Reels Rebel EP on Exploited Ghetto. After serving up dance floor scorchers for revered imprints including Desolat, Pokerflat and Housewax in 2016, Mennie is looking ahead to a big things this year. With his remix of Andre Diaz’s “Streets” out now on Inmotion Music, Mennie, who is now part of the Tenax crew, is about to unveil his first original production of 2017 by way of a triumphant return to Exploited Ghetto. We’re extremely pleased to world premiere his new cut “Get Some” where the Florence-based maestro lays down a fiery vocal-house cut. Have a listen below and check the release when it hits on February 6.
Chicago-based future bass producer/beatmaster Cofresi just released his Visions EP, a five-track effort featuring booming basslines, chopped and screwed vocal samples and beats for days. The Windy City wonder, who has supported artists such as Pretty Lights, Break Science, Kill Paris, Big Gigantic and Matisyahu at festivals such as Summer Camp, Spring Awakening and North Coast, says the release was “inspired by my experiences, performances and listening habits in 2016, these five songs represent my current take on future beats and future bass.”
Stream the full release below, and keep your eyes fixed on this guy in 2017.
Polish DJ/producer duo Karol XVII & MB Valence (read their thoughts on 2016 in our annual Rewind feature) have been fine-tuning their deep-house sound for a decade. During this time they’ve recorded for labels including I Records and Neurotraxx while slowly building up their own label, Loco Records. On February 3 the duo will unveil the Session 1 EP, a career defining release that demonstrates their ascension to the next rung of the global house music ladder. We’re pleased to world premiere their brilliant four-track effort brandishing all sorts of deep vibes and textures. Hit the play button below on the first edition of the Sessions series and discover the breadth of their moody, atmospheric sound.
How Circus Recordings boss Yousef manages to run his label while DJing all over the world and remixing/producing is anyone’s guess. The Liverpool-based phenom has put together Selector Part 5, a righteous compilation EP brimming with four-on-the-floor house tracks. We’re extremely pleased to world premiere Bontan’s opening cut “C’est Moi” from the four-tracker. Picking up where he left off when he recently remixed Sabb & Serge Devant feat. Forrest’s “Waiting” for the imprint, Bontan goes straight for the jugular on a striking track filled with sublime synths, cracking drums and sexy French vocal samples that has has peak-hour written all over it. Check Bontan’s masterful re-rub below and be sure to grab the release — which features tracks by Lee Walker, DJ Dep and Illyus & Barrientos — on January 16.
Few things are as frustrating as writer’s block. It has the dastardly power to shake a creative person to the core of their soul. Not long ago German DJ/producer Johnny D, who has crafted tracks for esteemed labels including Cocoon, Moon Harbour, Strictly Rhythm, BPitch Control and Mobilee, unexpectedly found himself unable to make music he liked. Instead of succumbing to the blockage, he worked through it. After much struggle came “Nokey,” a slinky tech-house track heard on Swedish label ACKT Imprint’s ACKT 002 compilation out January 16 featuring tracks by Marco Nastic, Chris Tietjen, HITCH & Andre Buljat and Nicke & R.MA. We asked Mr. D to recount the inspiring story behind how the slinky tech-house cut came to be.
“I made the track in a time where I was actually totally uninspired. I felt a bit blocked with my creativity not knowing why. I was unsatisfied with my studio situation and I was changing my set up all the time! I was even changing the position of my speakers every day and thought the problem would be on the technical side. Finally I fortunately met an old friend and musician that has been making music for a long time and who has had a similar problem some years ago. He explained to me that my problem might me and in my head. I didn’t take that in to consideration before. He told me to keep my mind free while making music. I noticed that I used to be a lot more relaxed but just forgot it and got a bit distracted over the years in music business.
“So while I was stuck in a loop again getting more and more frustrated looking for a right key on my piano, I remembered the wise words of my friend telling me to keep my mind free on expectations during the creative process of the track. I grabbed my mic and sang “Where is my key?” and some ridiculous things. But it was ok. I might not have found good lyrics but I found a way back to a looseness that helps me a lot in my workflow now. Not because I use a mic, but because I learnt not to value every process while working on a track. This is what I love about electronic music: everything is allowed – nothing is impossible.”