Following from yesterday’s theme of mellower genres rising from the EDM/big room sound, let’s take a listen to these two deep/tech-house tracks from Medicinne. The duo of Arcader (“Pillowtalk”) and Allen Tagle start with “Saving,” which is a bit more uptempo with a bouncy beat, effected vocal, and bit of the retro Nu-House vibe while still staying in the tech-house world. “Lucid” feels more like a progressive concept album track from the ’70s, as produced with modern electronic elements. It has a few guitar elements that are reminiscent of Deep Dish during the “Flashdance” era, but overall has more of a feel of mid-’90s progressive house/trance. Both tracks will work for DJs looking for deeper tracks for early evening play and for listeners looking for tech-house tracks that have a beat that you can still chill with.
Ah, the glorious WTF track… In the constant stream of tracks released on a weekly basis, it takes a special or WTF (what the fuck) track to stand out and make you notice. It’s not that “Nippleodeon” is completely original – there are elements of ’90s techno, late ’80s industrial, glitch, and electro mixed with diva vocal samples, handclaps, and horn loops. The way that all these parts are seamlessly blended is what elevates it from a mash-up to a truly original track. Nippleodeon is for the big rooms what Arcader’s “Pillowtalk” is for the techno-heads. That the title is quite fun to say just makes it even more stupid fresh.
As the music industry prepares its descent on Austin, Texas for the annual South by Southwest festival, it seems a perfect time to highlight Arcader, one of the rising EDM talents from there. I wrote about his funky techno remix of Tyler Hampton’s ode to ADHD “The Knight” a few weeks ago, and here he returns with the Pillowtalk EP- two tracks of funky dance floor madness. The title track isn’t exactly retro, but the shuffling beat changes subtly throughout and contains many references to old school house, yet modernized with a smooth progressive feel. The vocodered voice is a nice touch, giving a kind of ominous, robotically-structured feel to a constantly-changing track. Bermuda doesn’t necessarily have a tropical feel to it, but it does have a rhythmic feel that sounds like a vacation track. I could almost imagine someone singing “Break My Stride” on top of it. It’s also one of those rare tracks at a relatively slower bpm (124) that has more energy than much faster electro tracks. The bouncy beats and swinging shuffling groove are deceptive in the way they suck you in without you even realizing it. With a topline vocal added, Bermuda could be come one of those leftfield club records that gets big out of nowhere, like a “King of My Castle” kind of thing.