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.
New on the remix front is a fairly epic prog trance mix I just put together for Vintage & Morelli‘s awesome MOONTECH, forthcoming on local powerhouse Adrenalin Room records.
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.