Bout time for an instrumental from yours truly, and this one should be pretty versatile at 128 with lots of dark textures plus some melodic flow.
Here’s what the blurb says:
Something is brewing in the San Francisco electronic music scene, and Derek Ryan is one of the producers at the forefront of this creative movement. We’re happy to officially welcome him into our label family with his latest creation called SUTRO. A tasteful balance of brooding bass and soaring melodies, this track creates quite a unique soundscape which is easy to get lost in.
Release Date: November 19, 2013
For more on Adrenalin Room:
Got another remix out, and this one is a bit of a fusion. A combination of my signature electro basslines and trippy melodics, but this time fused with a whole bunch of space and some creamy vocal chops. It’s a bit different, but alot of fun. Hope you guys like it!
Out now on Sorcery Records – click here to view on Beatport!
As you can see in the pic above, there’s a bit of warp happening in my life at the moment. Crazy amounts of projects stacking up, but all of them fun.
Really excited about the stuff in the pipeline now.
Charmy‘s voice has already carried us through a number of journeys and soundscapes, but this is yet a new one. It’s a new frontier every time with this girl.
The best is yet to come…
I’ve been waiting to share this one for ages…
Got a new Derek Ryan tune coming out soon on Noys music – this time a vocal collaboration with trance-family diva Charmy and kick-ass Chicago producer Melissa Lin. It’s got a darker, haunting feel to it that breaks out into some melodic epicness, and straddles the line between house, trance, and ravey goodness.
Also, we’re super stoked to present the official video for the tune above! Director Szymon Bielesz and crew brought an amazing eye and style to pair with the tune, and Charmy looks like magic in it. Got the darkness a-flowin.
Gravity will be released May 15th on Noys Music.
Till then, enjoy the video!
The original mix was already an amazing tune – great movement, great chords, and a great vibe, and it blew me away when I first heard it. The vibe was on.
So I figured that for a remix, the best thing to do would be to go for something pretty different than the original, while still maintaining the essence of the melody. A first consideration was finding the what that essence was – there’s a melody stab line and a legato countermelody after the break in the original, and either could be considered the “main” melody depending on your viewpoint. I ended up choosing the former, as it to me was the most memorable element of the original.
Folks who know me know that I love fracking with chord progressions, so I ended up changing Vintage & Morelli’s original progression into a whole new direction, then using that as a starting point to redesign the track. I envisioned a strong all-in “chorus”, so big stabs were the word of the day, but also wanted to do it in a way that wasn’t cheesy or overdone. One bit that really helped that was taking Vintage & Morelli’s original piano line and turning it into a countermelody of its own – the dreamy tonality of that really helps the mix achieve more of an otherworldly feel.
I knew I wanted some tougher sounds in there too, so after getting the progression and basic lead melody sound nailed down I started playing with some more aggressive bass sounds and patterns, and stressing the frack out of some percussion elements to get a sort of “tribal-meets-electro-meets-trance” feel. It’s always fun to work on percussion in remixes like this because you have a wide play for sonics so long as you emphasize the underlying rhythm properly.
Also, I wanted to have some sort of chops/stops in the melody, as I both thought that would sound good as part of Adrenalin Room’s sonic palette, and also be a great compliment/counterpoint to the flowy nature of the melody in the original.
The results are up here – so hope you dig it!
Would be curious to hear any and all thoughts on it, and stay tuned for the official release coming on March 7th!
Absolutely must give a shoutout for a track I’ve been loving the crap out of recently -
(also here if you can’t see the YouTube link above)
This is of course not an unknown piece of work, though it probably is yet to be as famous as Above & Beyond’s most lauded works. However, I think it’s truly one of their best, at least from a songwriting perspective.
Not sure how much of the lyrics are Zoe and how much are the Anjuna boys, but holy hell, they’re on fire.
Simple yet extremely moving, a very real slice of life from a very real situation.
Pair this with a great progression, and we’ve got a winner.
If you haven’t seen the lyrics, you can find them here.
What do you think of this track?
In the office I work from in Tokyo, there’s always background music playing, just at the edge of your consciousness.
It’s never loud enough to interfere with conversation or work, but enough so it’s always floating there in the mists of corporateland.
Usually it’s fairly innocuous Japanese house – like Mondo Grosso and generic variants thereof – but always on the smooth side.
I’m not sure if they’ve been reading studies on it increasing productivity, or whether they just want their office to have that lively feel, but it does really seem to help get in the zone.
I will say that for one thing it does give those background cycles that usually clog up the flow a place to latch onto, and gets them out of the way so the rest of your consciousness can be more focused on whatever the current corporate goal is.
I’ve definitely found that for some tasks, having something to groove to can make a huge difference in limiting distractions. True, the music itself takes a certain amount of attention, but I know I’ve gotten far less fidgety and flighty when it’s there to keep me centered.
Alot of this for me also depends on whether the material in question is spastic and filled with other distractions, or is a continuous experience. Continuous DJ mixes are great, as are albums, that stick to a theme. However if it’s something that jumps around between different tones, tempos, and moods, it starts to bring the distractions back instead of minimizing. Shuffling songs is bad this way, but the worst is modern EDM netcast shows.
While they make great listens when you want to be distracted, having a shoutout between every song just is not conducive to concentration. No love lost for the format, just can’t work with it.
What’s this like for others out there? Are folks able to concentrate on work no matter what the material?
I have the honor of having my latest remix featured on luminaryPaul Oakenfold’s latest mix compilation, Four Seasons (iTunes link), due out November 2nd 2012.
Deep Forest will be on the forthcoming Autumn segment, for some solid fall vibes this November!
Check it out…
Local legend Jason Knight has a new single coming out next week, and it’s gonna be a banging package.
Jason’s original was already an amazing track, hands down – incredible production, solid vibes, and just the right amount of creepy.
I took the vibe in a different direction for my remix on this – keeping the atmosphere but going for a slightly unsettling, yet melodic interpretation and upping the big room boom by a few notches…
Front and center are some etherial vocals by one of the most inspiring and out there (in the best way) individuals I’ve met in quite a while – Jiin Christou. She adds the secret sauce to the EP that takes it over the edge.
Look for the release of the Deep Forest EP next week on Drizzly Records imprint Bootcamp Records – stay tuned.