chasing dreams

Dexter’s Beat Laboratory is a weekly collection of songs from DA managing editor Robyn Dexter. With a taste that can only be described as eclectic — to say nothing of a name that lends itself to punnery — DA is happy to present a selection of tracks personally curated by Dexter for your listening pleasure.

Putting his own “post-apocalyptic horror house” spin on AWAY‘s “Honest to God,” Bloodtone returns in full force. The producer ramps up the energy from the original, bolstering it with a pounding bassline and down-pitched vocals. He calls the original “one of the my favorite electronic tracks that I have heard in the last five years” and brings his own creative flair to the piece by building a dark, eerie atmosphere. He gave a similar treatment to Alison Wonderland‘s “U Don’t Know” a few months ago and returns with an equally sinister reworking here.

F.O.O.L‘s new EP is one of the most fascinating bodies of work I’ve heard this year. Highway weaves its way from mystery-filled synthwave to high-powered electro, teaming up with collaborators like Laura Brehm and Anzo to complete the collection. After releasing the EP’s title track in June, fans knew to expect something dynamic and fresh from the Swedish producer — and that’s precisely what happened. The EP’s second track, “Escape Plan,” follows the synthwave path, thrilling with a frantic orchestral melody and backed by racing ’80s-style synths in the verses. The synthwave takeover is nigh, friends.

Oliverse recent joined the Disciple Records family, and he bursts onto the label with an EP that showcases his versatile production skills. The title track for the EP, “Get High,” is a powerful piece. Catchy vocals lead into a forceful, wobble-filled drop, pounding the ears with a perfect balance of old-school dubstep and contemporary elements. He makes an impressive showing for his Disciple debut, dropping a 30-minute mix just days before the release of Get High. From his Koo remix in 2015 to now, I’ve thoroughly enjoyed observing his experimentation across the EDM spectrum.

The release of deadmau5‘s “Monophobia” with Rob Swire in July led to an onslaught of remixes. Artists couldn’t wait to get their hands on the mau5trap masterpiece, and rightfully so. It’s been reworked every which way, but one in particular’s caught my ear. Essenger took the time not only remix “Monophobia,” but cover it as well. His take is a minimalist, garage-influenced one, leaving space for the listener to absorb the dreamy essence of his production and vocals. A guitar melody takes the place of the song’s plucky introduction, leading the unassuming listener into a dramatic synthwave switch-up about halfway through the cover. It’s a refreshing and compelling take on the original.

There’s just something special about this 11-minute piece from Chasing Dreams. I first heard it at the beginning of a Gorm SorensonSilk Musicmix and was captivated by its gorgeous ascending melodies and peaceful atmosphere. “The One Who Watches” begins with a simple piano melody and leads into harmonious chords, gently easing the listener into the serene soundscape that lingers long after the song has come to a close. It’s an uplifting, hopeful piece that’s part of Chasing Dreams’ Ascesa album, which has been described as “a lingering, gentle, pensive rise presented as a melodious milkshake of stories, experiences, and feelings.”