Do we call this NuGarage? On “Burnfire,” Slovenian DJ/producer Umek blends two step and speed garage for a modern, bouncy take on two urban dance music styles. It sounds both classic and current at the same time. With those gated, stuttered vocal effects, it’s as if they are channelling an Armand Van Helden remix of Artful Dodger from 1997. Jay Colin’s toasting goes in a ragga/dancehall direction which fits perfectly with the track. “Burnfire” is quite a brilliant and fun track, and it stands out for being both really well-produced and sounding different than everything else that is out there right now.
There were two “Bounce” tracks that broke during the Winter Music Conference – not Melbourne bounce – but bouncy electro tracks which feature the word bounce as if to describe the way you dance to it. Showtek & Ookay unleashed “Bouncer,” which added a bit of trap and synth-pop with the commanding chant to “Let Me See You Bounce.” While not sounding exactly like “Ode to Oi” or “What’s Up Suckaz,” it is easy to identify “Bounce Generation” as a TJR track. Working with Italian “Raveology” duo Vinai, TJR spruces up his signature with the chant “everybody make it bounce,” a heavily-accented female voice saying “bass keeps pumping” (or at least that’s what it sounds like), and a dropout with a sick, rolling buildup. Crowd response is assured as “Bounce Generation” is as instant as a Deorro track – party music for big rooms and festivals that will rile people up to go crazy.
Yeah, it’s that track. The one that everyone was trying to figure who the producer was. My money was on DVBBS & Bourgeous but it ends up being the “mysterious” KSHMR. Not much is known about “him,” aside from his fear of vowels and love of extinct sharks, since the Instagram is private (though there are over 3000 followers with no posts) and his Facebook/Twitter accounts have just been started. Makes you think that KSHMR is probably a pseudonym, with the person to be unveiled at Spinnin’ Session in Miami (for which this song is the soundtrack of the teaser). Back to the track, it’s a big crowd pleaser with “Tsunami”-esque triplet rolls and a classic musical-vibed breakdown. That may sound strange in print, but it really works as a scary and dark, yet enchanting big room track. Keep an eye on this track as it will no doubt explode into something bigger by the time WMC gets here.