Electric Feels: Your Weekly Electronic Music Recap
The best of the electronic world in the past week, including Baauer, Maribou State, Nyxen and more.
Header photo: Maribou State by Alexandra Waespi.
Baauer - Hate Me feat. Miquela
After solidifying his place as one of electronic's most versatile producers with his applaudable debut album Aa back in 2016, Baauer has been steaming towards his next release with a run of singles that further cement his production range, kicking off with the AJ Tracey and Jae Stephens-featuring, dancehall-infused 3 AM last month. His latest single, Hate Me, continues this trend, with the US beat-maker teaming up with cyber-star Miquela (yeah, we have no idea either) for a more pop-centric release that flexes Baauer's songwriting skills without watering down his masterful production style. It's a synthy release packed full of that typical Baauer charm but in a bit of a different way; the production keeping rather restrained and subdued as Miquela's vocals - if they are indeed, her vocals - coming in over the top. It arrives with an official video animated by Brud, LuckyMe and Melbourne-based studio Pitch Studios - who deserve a massive shout-out for their recent work which has positioned them as one of Australia's, if not the world's, most exciting creative studios.
Maribou State - Nervous Tics feat. Holly Walker
While we admittedly weren't too across UK electronic duo Maribou State when they first popped up on our radars, their fantastic run of singles in the lead-up to their debut album Kingdoms In Colour - out via Counter Records on September 7 - has placed them among our favourite electronic acts of the year. Following on from Turnmills and the sensational Feel Good, Nervous Tics is the album's latest tease and it's an absolute vibe, matching their down-tempo, Bonobo-esque sound with the airy vocals of the guest-starring Holly Walker, who explains the single's theme on modern life. "Nervous Tics is about the low-lying panic of modern life," she says on the track. "We’re all on our phones getting terrible news headlines and hyperreal Instagram images live-streamed into our brains, and it’s making us jumpy. This song is the realisation that no amount of mindful breathing or downward dog can replace some good old fashioned human contact and emotion."
Nyxen - Chains
Way back in 2016, we named New South Wales producer/songwriter Nyxen as an electronic artist to watch in 2017, and we're pretty stoked to say that in the two years since, she definitely hasn't let us down. With a steady stream of singles over the last two years showcasing her songwriting dexterity and range, she's just returned with her first for 2018 Chains - and it's a ripper. It's a bit of a funk-fuelled twist from the house-leaning musician, who this time around, has taken on a slightly more down-tempo and relaxed sound instead of her typically more quick-paced and summery flavour - mixing this thick bass line with bright, retro-like synth and her own vocals for a bit of an 80s-feeling jam which we're definitely welcoming. After spending the first half of the year busy in the studio, Nyxen is charging towards a yet-to-be-announced debut album, which may just be one of Australian electronic's unexpected stunners when it officially drops.
Mansionair - Technicolour (Christopher Port Remix)
We may be a little late on this one as the track technically did drop a week or so ago but we bloody love Christopher Port and we bloody love Mansionair so why the hell not. After dropping his spectacular latest ep "LIGHT" two weeks back (read our interview on the EP and more HERE), Melbourne beat-maker/musician Christopher Port has donned the remixing cap for a super special remix of Mansionair's indie-leaning latest, Technicolour. Like his recently-released EP, Port's remix of Technicolour is a masterclass on his Australian spin of UK garage, uniting shadings of the original's bright melodies with intricate percussive loops and this kick-drum-focused, garage-leaning drive which gives the remix a pulse underneath Mansionair's vocals. At times, it completely pulls back for a demonstration of restrained ambience, offering a touch of relief before Port's signature drive takes over the thickly-layered percussion swoops in for another round.