So… back to the vault! And since summer could be the root of the dearth of new, quality, electronic songs, why not use summer as the solution too? Here’s a great summer tune from Tritonal!

What makes a summer tune? First and foremost it has to be upbeat. And the bouncy tunes with Riley Clemmons on the mic makes sure that checkbox is ticked. Secondly it has to have a reasonably wide appeal; you don’t want the song to come up on the boombox only to stop the party in its tracks due to a song’s niche sound.

One of the things I respect about Tritonal is that you know what you’re going to get from their new songs. The duo’s sound is right down the middle and it’s hard to imagine offending anybody with one of their songs. They’re songs are also easy to identify on a list due to their use of stylized butterflies for all their album art.

Why do I take issue with the toy piano noise? There are a couple notes in there that simply do not seem to track well. If I had to guess I’d say it’s the G# that’s rubbing me the wrong way, but don’t hold me to that note estimate. Luckily the piano fades to the background once the percussion picks up and Nevve steps in to do her thing.

The drum fill before the final chorus is extremely basic and digital, but still sets up the segment elegantly. I just wish the mixing would emphasize her voice more because as it stands it sounds as though she’s fighting for the spotlight with the instrumental.

Who is Droeloe? They’re a duo from the Netherlands who were taken under the wing of San Holo for mentorship in 2016. They release a lot of their content through Bitbird which isn’t surprising since that’s San Holo’s recording company.

Who is Nevve? Well you’ll have to wait and see. It’s easy to hit dead ends when you attempt to research that name, but we’re in the process of writing an article on her that should satisfy your curiosity. In the meantime, take a listen to “Weird Machine” below.

Ironically, the lyrics don’t follow the bubbly theme of the instrumental track. Gigi’s smooth vocals transition well through the ups and downs of the song, but mostly focus on a masochistic approach towards love, stating that she’s “a sucker for something mean.” Hey, if that’s what you’re into, go for it. There’s obvious potential for figurative language here, but I prefer to take things at face value despite what the literature professors would prefer.

I don’t normally comment on the album art, but I like the way this one was done. The feature credit underlaid behind the jagged song names draws out the image of frantic code.

Ooooh I dunno Rick, it’s not really, I mean it’s just a thing–

Holy shit, Morty, that’s actually a really good song. I mean, normally *burp* you’re incapable of even the most basic functions, but credit where credit’s due. This is some sick shizzz!

Terrible Rick & Morty references aside, “Gonna Love” by Moorty is one of those songs that I couldn’t get out of my head–it didn’t take long before I knew I had to share it on A[D].

Moorty, formerly known as Moomimurr, has been releasing songs through Your Secret and Chinchilla. Despite the lack of a formal credit, there’s strong evidence to suggest that the vocalist is Sunnie Williams, but don’t quote me on that.

“Gonna Love” has the quintessential electropop vibe to help any get-together stay upbeat. It’s a little bit busy, but doesn’t take long before you can embrace it fully.

“Love Me” brings in Lights who has her own prolific career. Her songs skew more towards pop, which doesn’t interest me much, but Felix Cartal’s production helps give this collaboration a bit more punch. That being said, Lights sounds somewhat different in this song than in her other works. Her delivery is much more staccato and the vocals come through more nasally. This isn’t necessarily bad, as it gives her performance a unique colouring. Both artists are Vancouver natives, which likely made this a simple collaboration from a logistics standpoint.

So what are you waiting for? Check it out!

I wouldn’t be surprised if the idea for the song’s theme was derived from the collaborative artists’ time spent together. Two Friends, Juscova, and James Delaney make up a total of 5 individuals who came together for this track. Tack on Justin Caruso after the fact and you have 6 total people who influenced the final product.

The irony is, this remix has a very upbeat, big room mood which would make me want to play it for a dance party as opposed to a chill night in. The original song’s verse is more casual, but the chorus is still pretty electric.

Justin Caruso’s remixes are very wholesome and professional. His treatment of the introductory vocals add some reverb and layered pitch to give a slight robotic tinge which helps coordinate the singing with the electro flavor. He’s also done a great job rewriting the electric kazzo solo that’s used in the chorus of the original which was a bit too much for me. But if that’s your thing, check out the second SoundCloud player to compare it to the remix!

The intro is straightforward enough, it’s the verse/post-drop that can sound a little dicey. But now that I’m thoroughly familiar with the song I wouldn’t change a thing. So I challenge you to not just give this song a listen, but give it a couple. See if it grows on you, because it’s certainly left a lasting impression on me.

What a banger. Well, I would call this “Electropop,” so consider it electropop’s version of a banger. Regardless, I’d be shocked, shocked I tell you, if you don’t hit repeat on this song at least once. To be honest, the original by Anna Clendening did not need much refining–the overall formula remains. Justin Caruso does a solid job of upping the production value of the chorus by adding limited chops and cuts while slight tweaks to the tempo to modernize the beat. Addition of percussion elements and mid tones via wind instruments are sublime. One thing that I respect about Justin Caruso’s remixing is that he preserves a lot of the original vocals. Occasionally you will hear a producer alter or cut the original vocals to the point where all that remains are a few bars of the chorus. And by keeping the tempo near Anna’s version, we end up with a final product that’s actually 30 seconds longer thanks to the instrumental intro. So check it out for yourself below. The original is also linked so that you can see the additions that Justin Caruso has made.