Wednesday, March 30, 2011

Swedish House Mafia-Essential Mix (Live)

Edited the track so now it goes right into the good stuff. Enjoy

Live music has a way of making you instantly jealous, armed with the knowledge that at one point, people were watching what we have to be content to listen to on our headphones or speakers.You never know if you missed that golden concert, the one that you'll be telling your friends in 30 years you went to.

While Swedish Mafia is not the most refined group of DJs, they know how to put on a show. The classic BBC essential mix features sets from the best DJs of the world, spinning some of the hottest tracks in house/trance/dubstep, etc. Underlying it all is a running competition, with each DJ/ground trying to one-up their rivals. Each Essential Mix is critiqued by a flock of trance junkies and rave babies, each transition broken down, each drop carefully scrutinized. Swedish House Mafia, the motley group of three Swedish DJs, puts on a epic two hour long show for this live Essential Mix from the Creamfields Festival in England. Like mad puppeteers, their control over the masses is undeniable, with the crowd feeding off of the rise and fall of each track. We've featured an article questioning rave culture, but like the SHM say, it is hard to deny goosebumps. The perfect workout/road trip track, put this one on and let it ride. 


Monday, March 28, 2011

The Very Best-The Warm Heart of Africa

Being a music blogger, it's sometimes easy to feel the need to "be first" with the artists and songs that appear on your blog. It's a rat race, and a dumb one at that. And while this song has apparently been out for a cool minute, it's only been brightening my days for the past few weeks or so. And no matter how many loops around the blogosphere track it has done, that doesn't make it any less of a jamandahalf.

While winter stubbornly refuses to fully release spring from its cold fingers, this jam has been doing its best to flirtatiously tease me with promises of future sun and sand. The Very Best is a collabo between Malawian artist Esau Mwamwaya and the London DJ/Production duo Radioclit. Esau moved to London from his native Malawi in 1999 to try and make a better life for himself. He opened up a junk store that was randomly visited by Etienne Tron, half of Radioclit, the rest being history. Coming together with the Vampire Weekend's Ezra Koening (the lead singer of the band that owes a serious debt of gratitude to Afropop) resulted in this track, one that strolls down the street like the most popular kid on the block, an indisputable hint of groove in every step. Esau and Ezra take turns, with Esau crooning in his native language, Chichewa, while Ezra lays down a repeating chorus. Esau's voice is the clear star in this song. Bold and warm, his verses seem to capture all your attention; well, whatever attention remains that's not focused on getting your best boogie on. Like Esau's old shop, sometimes you miss gems amidst junk. But when you find them, like this one, they shine just as bright as if you were the first person in the world to see them.

Click here to download

Friday, March 25, 2011

Blisses B-Thirty Days, Sixty Years

Blisses B, a San Fran based quartet, sent over their newest album, Thirty Days, Sixty Years, about a week ago,  and man, it just feels right. Listening to the eleven tracks feels like a night of tapas in Madrid; each track is a different flavor, but as a whole they result in a happy stomach and a great time. Showing off a wide variety of influences, a little afropop here, little bit of bluegrass there, the end product feels organic. Tracks like this jamandahalf highlight why I am so excited about this group. Meticulously crafted, no instrument is ever lost in the mix, but each given its proper time to shine. This wholesome balance pervades this track and the album in general, with no sound seemingly wasted . On this track lead singer Noah B. Libby takes turns with a epic chorus which breaks out into a symphony of groove, but is reined back each time by the smooth vocals of Libby. Listening to the album reminded me of one of my favorite South African groups, Freshlyground. Like them, Thirty Days, Sixty Years is a experiment of sounds and influences, and one that should have your ears happy for a long time.

Download Album

Click here to download "Thirty Days, Sixty Years"

 03 Thirty Days, Sixty Years by BlissesB

Thursday, March 24, 2011

Empire of the Sun-Country

The Australian duo Empire of the Sun, best known for their all-time hit "Walking on a Dream," take you on a journey with this jam. No matter where in the world you're reading this, Australia is probably still pretty damn far away from you. But the duo do not want to take you back to their home country, with this one they try and take ya a little farther, far out there in the reaches of time and space. "Country" has a mysterious quality to it, but one that doesn't get in the way of how chill it is. It moves along at its own pace, meandering along through a jungle of noise.The song seems to often get momentarily lost in mazes of sounds but it never falls into the depths, always being pulled back by the reassuring loop. Dreamy and pensive, this is a great jam to wind your week down with.

Click here to download

Wednesday, March 23, 2011

Brother Ali-Walking Away

Music can be a lot of things. A song that is uncomfortably honest doesn’t sound like it could easily be a jam, but “Walking Away” is that and more. It tiptoes the line of too much information, with Brother Ali spitting lines that you would think he would only tell his closest kin, but that is why this song is so unique. Ali allows his listeners an incredible glimpse into his life, something much deeper than the facade of closeness that the average fan gets from Twitter and Facebook. The mellow beat drops immediately, not hinting that the upcoming song is going to be an intimate look into a failed relationship. Brother Ali then spits his verses with a nonchalant calmness, one that conveys a mind at peace, and each hard-hitting line combines great lyricism with a technical precision that few rappers out can match. A helluva story on top of a baby butt smooth beat, this jamandahalf shines in a way that few others do. 


Tuesday, March 22, 2011

Washed Out-New Theory

Our friend and member of the jamandahalf family Lydia Cruz got in touch with us about a contest she's in to be a host at one of her local radio stations, and we're happy to help her out however we can. Lydia has a lot of great musical knowledge (even though she admits her love for Justin Bieber in the video below), and we have no doubt she'd kick nothing but the juiciest of jams for the fine people of Seattle. Check out her audition video below (she's in the final 5), and vote for her here. While you're at it, check out the post she wrote for us last February about a jam that quickly made its way up my most played list, Washed Out's "New Theory." 


When Ernest Green moved back home with his parents in June of last year, no one could have predicted that only a few months stood between obscurity and buzzworthy musicianship. Adults living at home face plenty of stigmatism, and America doesn’t generally crown pop stars bunking down in their childhood bedrooms. But even artists can crave the comforts of home, and the move would ultimately prove itself a renaissance.

Despite Green’s previous experimentation with ambient, dance, and even hip-hop music, it was the return to his rural Georgian roots that sparked his production of lo-fi synthpop, reflecting both the extent of his talent and environmental influence. Ernest quickly settled on the new, nonsensical moniker “Washed Out”, and with the help of a small Charleston-based record label called Mirror Universe, he released a limited amount of material on (wait for it) cassette.

Just like Bon Iver/Justin Vernon was inspired by an isolated Wisconsin cabin (For Emma, Forever Ago, 2008), and Jason Lytle was enkindled by his relocation to Montana (Yours Truly, the Commuter, 2009), Washed Out quickly became the artistic reflection of a laidback, peach-filled, Georgian summer. With a sonically distinct nod to the eighties - a tasty acid groove that hits like a soothing dose of Nyquil and recalls a refreshing, rolled-down window breeze – Washed Out breathes new life into the best part of the John Hughes era.

I have to single out “New Theory” from Washed Out’s Life of Leisure EP as a truly influential jam. The lyrics are simple, yet powerful. The rhythmic/synth production grabs a hold quickly but clandestinely, lulling the listener into a vivid, dreamlike state of auditory adventure. And like any great dream, you, the participant fear the inevitable ending, the all too-rapid return to consciousness.

Lydia Cruz

Thursday, March 17, 2011

Kanye West-Home (Bootleg)

Let's keep the soul going. Kanye West has always been known for having an ear for samples, an ear for being able to capture the perfect part of an obscure song, flipping it, and turning it into a full length banger. Although I have no idea where the sample used in this jam comes from, it sounds undeniably right. This is the original version of the track that was later known as "Homecoming" (featuring Chris Martin) found on the Graduation album, but lyrics aside, it's hard to find even a glancing similarity between the two. The looped sample, the somewhat suspect sound quality, the passion with which the young Kanye delivers his lines, all of it takes me back to when I first heard this song-2003, even before College Dropout dropped. Back then my buddy gave me a cd full of tracks by an artist named Kanye West, something which sounds incredibly dated, even though it was only eight years ago. Before Kanye became the international superstar he is today, he was just a young producer who had dreams of becoming a rapper, and a magic touch for making tracks like this-a true jamandahalf which combines storytelling, a twist ending, and most especially, a heaping serving of a little something called soul.

 Kanye West - Home by jammininthenameof

Tuesday, March 15, 2011

Charles Bradley-How Long & Why Is It So Hard

As cheesy as it sounds, this artist's story strengthens my belief in chasing dreams till you catch them. Charles Bradley just recently released his first debut album; at the age of 63. Born in my hometown of Gainesville, Florida, Bradley's life really sounds made for one of the sad soul song that he now sings so powerfully. With a youth spent (wasted?) as a chef bouncing around the US, Bradley easily could have lost forever, one more person wondering, what if? But luckily his break did come, and Bradley seems to be making the best of every second.

It's sometimes easy to label an artist as "passionate." Most artists do, of course, feel strongly about what they do, and that transfers easily to their music. However, I have never heard an artist who sings each note like it was his last on earth. Bradley takes traditional Southern Soul and attacks it with measured desperation, with the end product sounding both extremely original and very modern. And with this project a lifetime in the making, its not surprising that Bradley completely conquers his debut. "How Long" is my personal favorite off of his first album, No Time For Dreaming, but I have to throw in "Why Is It So Hard," an autobiographical song by Bradley (with a Gainesville shoutout), who at 63 years young still has a whole new life ahead of him.

Buy No Time For Dreaming

Download "How Long"

 Download "Why Is It So Hard"

Monday, March 14, 2011

David Wonder & 9th Wonder-What Did I Do

David Banner is nothing if not complex. Despite multiple albums, a true gem of poetic introspection, a complete sell out of a club record, and pretty much everything in between, Banner never has seemed completely comfortable on any of his records, perhaps torn between a common rapper dilemma-making music that sells vs. making music that vibes (ie, the newest Lupe record). With the producer 9th Wonder providing the page to project his thoughts, David Banner truly seems to have permanently found a voice which has been tantalizing fans like myself since I first heard of the Mississippi rapper/producer in '03. 

On a classic 9th Wonder track with a repetitive sample anchoring a track with an expansive NY sound, Banner flows about the pain of a woman leaving him. With his trademark relentless energy, Banner flies through the downs of his life with the woman, detailing each one with painful honesty. With 9th Wonder on the beat, Banner has both quit his usual producer duties while swapping a very Down South sound for a more North-East flavor. But giving up the reins has allowed Banner to focus on channeling his passion into his lyrics, and this throw away track from the collabo album Death of a Pop Star soars because of that, baring an honesty which is rare in most music today, and not just hip-hop. 

Sunday, March 13, 2011

Lykke Li-I Know Places

The Swedish singer Lykke Li  has created the perfect wasted Sunday mellow jam on her new album, Wounded Rhymes. And not wasted from too many brews, but wasted as my Sundays usually are-wasted from a lack of any substance. Not to say that's necessarily a bad thing, but you catch my drift. 

"I Know Places" is a simple song, one that moves at its own pace, and that pace is just perfect for a day like this. There is not one ounce of hurry in the six minutes of this jam. The rolling verse, repeating each time with slight changes, keeps you engaged while not demanding too much attention. A chorus joins in, giving Li some backing, a backing she doesn't necessarily need because her voice is the star in this song. With little to shield it, it really shines, almost sounding bluesy as she croons. At around the 4:06 mark, the song completely changes, easing into an instrumental that will hopefully have your Sunday cruise along as mellow river as mine has. 

Saturday, March 12, 2011

Guest Post-A Rave Rant: Dylan in the Age of Deadmau5

I read this on my alma mater's student website (still feels weird to say alma mater haha) and found it really interesting. Though I don't necessarily agree with every point he makes, it's extremely well written, and definitely stirs some thoughts about the modern music scene. Thanks a lot Joey for letting us repost it here.

Raves and electronic “house” music (see: techno, dubstep, etc), have become our generation’s de-facto counterculture concert shtick in the past few years. They’ve grown terrifyingly popular in the past decade, posting staggering attendance numbers (100,000 people attended the second night of Los Angeles’ Electric Daisy Carnival last June) and their DJs have suddenly become household names, party playlist mainstays, and Grammy attendees (wasssssup, David Guetta). Fact is, this “rave thing” is more than a fad or your druggie cousin’s wet dream; it’s literally a music revolution that’s exploding before some very (dilated) eyes. And, as with any revolution, it sounds exciting, refreshing, and….(apologies)…revolutionary. But don’t buy all the hype or drink all the Kool Aid. This might be a revolution, but it’s no Woodstock—despite what event planners (and that damn cousin of yours) might tell you.

Lord knows they’ll try, though. And, of course, that’s the idea—legitimacy through favorable comparison. As such, the rave movement recruits in romantic, idealized, even flowery fashion. It offers ideals (“peace, love, unity, and respect”–a common mantra at raves), freedom of expression (dance away, awkward white man!), extensive opportunities—and endless encouragement—for drug use, extraordinary popularity, and, perhaps most importantly, scantily clad ladie—uhh, sexual gratification. Sounds a lot like Woodstock, right? It should. And I haven’t even gotten to the event names yet, which include (but are not limited to): Together as One, Lovefest, and Electric Daisy Carnival—I mean, they might as well be paying hippie-royalties at this point. However, amidst the tie-dye diggin’, neon-lovin’, drug-pimpin’ atmosphere, it all sounds deliciously, temptingly Woodstockian. That is, until you ditch the propaganda and consider the music….which says, well, nothing.

Literally—it’s usually lyric-less. And not in the Beethoven, Coltrane, or “Tequila” song of way, where there’s an intimate human element involved (that is, the instrument). In the case of rave music, the chief aesthete is stimulation—raw, consuming, seemingly “tribal” stimulation. When you boil it down, really, a successful house song can be measured by one simple question: does it blow your mind? (variations include: does it melt your face? and did you just pee yourself?). Rave music incites the sensory, indulges the superficial, and thrives on the synthetic. Nobody goes attends a rave to think, reflect, or engage in introspection. No, you go to be stimulated—saturated with the loudest noises, the prettiest lights, and the craziest outfits. And you do it all under the influence of Ecstasy, a drug solely engendered to make you feel good. None of that spiritual nonsense or existential, soul-quaking questioning you get with other drugs….you know, thinking and such. Instead, “E” drives pure, cathartic release, tuning body and mind to the steep, sharp stimulation of the music’s bass and beats. And ravers, caught up in the breathless, intoxicating nature of the situation, care less about what music means, and more about what it moves. But what does it move, exactly, beyond our limbs and capacity for “feeling good?”

It’s a steep departure from Woodstock, a heavier, deeper music n’ drug revolution. Now that was counterculture. That movement, my friends, really meant something—and it was a lot of fun too. Granted, it had its problems—STDs, bad trips, and blown-out brains, to name a few—but the Woodstock movement actually fought against something. “Peace, love, unity, and respect” weren’t just buzzwords, but integral components of the music itself, which challenged the Vietnam War, decried racism, and upended the uncompromising status quo of 1960s America. Furthermore, hippies didn’t want to just feel alive; they also wanted to know why they were alive, even if it meant dropping enough acid to see Jim Morrison’s beard in a glass of Coca-Cola. Hippies, in short, walked the talk.

Maybe there’s just not enough reason to “walk,” though. I mean, our generation’s “struggles” pale quite lamely in comparison to that of the ’60s flower children, when you think about it. Consequently, we’re using this refreshingly decent period of history as an opportunity to, well, party. It’s basically release for the sheer sake of it. Don’t buy it? Just take a moment, and consider what’s changed since the 60s: Caucasian afros? Gone, mercifully. Gender equality? Getting closer, despite what your Scrippsie friend says. The draft? Not coming back, unless Dick Cheney takes over the White House in a curmudgeon coup d’état.

The point is that things are better than they once were. A lot. We might be frustrated, but at the end of the day, everyone’s holding Soy Chai Lattes, playing Angry Birds on their iPhones, and masturbating to free porn (yes, Facebook counts). Hell, even convention’s gotten bearable, if Mad Men is any indication. What I’m trying to say—in a roundabout, “how many drinks have you had?” sort of way—is that we don’t have enough to rebel against…and our music doesn’t either, as raves clearly show.

The Woodstock crew? Different story.

Now, I’m not trying to go all fire n’ brimstone on this rave thing. In fact, I happen to enjoy some of the music…especially when I’m speeding on the freeway (thanks for the ticket, Deadmau5). And I know that raves are supposed to be fun—butnotforthewholefamily!—stuff, and that it’s slightly (very) unfair to lump all raves and electronic genres in the manner seen above. I get that. But it’s time to temper a bit of this rave’olutionary fire and consider what we’re dealing with. And what we’re dealing with, essentially, is a musical revolution…but one that’s a slightly shallow cry from the one 50 years ago, when Jimi Hendrix made convention his tour bus toilet and Bob Dylan asked, “how many times must the cannonballs fly // Before they’re forever banned?” The difference between the two says as much about the times as it does the interests of our generation. That is, aren’t we, an incredibly informed, tolerant, socially connected generation, meant to do more than just…party? Do we really want this to be out mainstream musical legacy? Aren’t we worth more than a simmering of the senses? And finally…isn’t music?

Joey Farewell

Thursday, March 10, 2011

Victor Deme-Djon Maya

There is something beautifully simplistic about this song. While some songs on this blog need modern studios to help maximize the beginning product to turn them into jamandahalfs, this one takes it back a little bit. Listening to Victor Deme's (from Burkina Faso) "Djon Maya" is almost like getting a glimpse at the hidden beating heart of music-just one guy jamming away, singing his soul to an audience of only his guitar. Featured on the magnificent Africa-50 Years of Music compilation, "Djon Maya" is kinda what this little blog is all about. Although I can't understand the words, I can clearly recognize the passion and emotion in Victor Deme's voice. Although I can't play the guitar, I immediately appreciate hearing a master at work. And although I'm no musical technician, the song just sounds right. It took 46 years for the Burkinabe to release his first album, but with such a gorgeous sound, sometimes you just have to feel lucky that he wasn't kept a secret forever.

 Victor Deme-Djon Maya ( by jammininthenameof

Victor Deme - Djon Maya (Official Video) por skidoo

Wednesday, March 9, 2011

Wintersleep-Miasmal Smoke & The Yellow Bellied Freaks

Ride with this one. Wintersleep's "Miasmal Smoke & The Yellow Bellied Freaks" is an odyssey of a song. Starting off with a haunting guitar loop it builds and builds and builds, sometimes dropping out, sometimes teasing you with a glimpse of a guitar roar, but all the time building. Quickly prefaced with a short breather, at 2:26 all hell seems to break out, and the song takes on a completely different feel. With a new loop setting the pace, this jam finally hits a crescendo and truly comes alive, exploding in euphoric energy. When the energy tsunami finally stops, it comes at the perfect moment-anymore and your speakers/headphones/neighbor would have likely burst. An incredible rich sonical experience, this is a jam that begs to be seen live. While vigorous, it never sounds overly aggressive, instead it takes you on a wild voyage of sounds and movements, and provides the perfect bookend to a great album.

Buy Album


Saturday, March 5, 2011

Bone Thugs-N-Harmony feat. Phil Collins-Home

It's funny how many people I know that have had a Bone Thugs phase-a time when all they would listen to was the smooth sounds of the Cleveland rappers. I know I had one; about 9th grade I had jams like "Notorious Thugz," "Days of Our Lives," and of course, "Crossroads," on repeat. Bone Thugs was always somewhere in between a hard rap group and a gospel choir, shifting between melodic and aggressive with a natural ease. Each rapper of the group brought a different style and flavor to the table, but their common bond were deliveries which often sounded more musical than the actual instrumentals. Although it's impossible to pick a favorite, the Bone Thugs jam I've had on repeat lately is "Home" featuring the outta nowhere collaboration with Phil Collins. A classic Bone track, the video really puts this one over the top-why so awkward Phil? With effortless style, this is a perfect introduction to Bone Thugs, or for long time fans, well worth a repeat listen. 


Friday, March 4, 2011

Calle 13-No Hay Nadie Como Tu

I get a fuzzy feeling every time I get a post outta nowhere in my inbox. This time, Griffdawg The Wise comes through from the depths of Buenos Aires where he's been living and teaching for the last little while. I present a great jam, and an even better writeup, from Griff, and even more impressive, in Spanish. Gracias, tio. 

Yo quería introducirles a algo desconocido.  Algo raro, que tiene sabiduría de una tierra extranjera.  Pero, por desgracia, me fracasé.  Discúlpame, hay que hacer mejor en el próximo. Si, sin duda, el próximo.

Ahora, les daré un poco de conocimiento de que es popular en total Latino América.  Les enseñaré de la banda Calle 13.  Calle 13 es una banda Puertorriqueña que toca una mezcla de hip-hop, reggaetón, y electrónica.  La propia banda se compone de “Residente,” su hermanastro “Visitante,” y a veces la hermana de “Visitante” que se llama “PG-13.”  Juntos ellos han ganado 10 premios Grammy Latinos y 2 Premios Grammy.  (Pará, pará, yo lo sé ellos están re-conocidos y hacen música pop.  Pero, todavía, me gustan.)  Ellos son respectados por todos lados por críticas de música y por el pueblo Latino Americano.

La canción, No Hay Nadie Como Tú, es de su tercera álbum que se llama Los de Atrás Vienen Conmigo.  Este álbum lo hicieron en 2008 y ganó el Grammy Latino en la categoría de Álbum del Año.  La canción No Hay Nadie Como Tú es conocida por su mezcla de diferentes estilos musicales.  La canción es una unión de pop, rock, dance, y reggaetón.  Para mí las letras tiene poder.  Además, el concepto de la canción no es profundo.  Todavía me la gusta porque “Residente” nos muestra su cara de humor y su habilidad de rimar.  El intenta definir personas de grupos y estereotipos cuando en el mismo tiempo mostrar que todos somos individuales únicos.  No es muy inteligente, pero es atractivo y buena para estudiar.

Caraca mi Castellano es mierda.  ¡Tengo que estudiar!

Paz y mucho amor desde La Boca

 No Hay Nadie Como Tu - Calle 13 ( by jammininthenameof

Thursday, March 3, 2011

Tallest Man on Earth-Graceland (Cover)

The Alexander track yesterday got me on a folk tip, I'll roll with it for a second. The Tallest Man on Earth is a favorite of this blog, and his music just continues to sound better with time. While some critics harp on his high level of nase (I think I just made that up), its uniqueness simply adds to many reasons why the TMOE is one of the best new artists out right now. And with most of his songs simply consisting of his voice and a guitar, it ain't hard to tell that the Swede has not just come to terms with his nasallyness, but has wholeheartedly embraced it-putting it out naked in front of the audience in each song with very little in the way of distractions.

In this jamandahalf, the TMOE does two things that I think are essential when artists put out a cover song. 1-the song has to be a complete remake of the original, and 2-the cover has to make you think at least for a half second that it's better than the original. The all time showcase for these theories is Hendrix's Dylan cover "All Along the Watchtower," but this cover does its best to challenge those lofty heights. Completely stripping the original to its bare foundations, the Swede performs a nuanced and stirring take on the Paul Simon classic, paying homage to the original, but in the end making it completely his own.

Thanks to SunsetintheRearview

 Graceland (Paul Simon Cover) by jammininthenameof

Wednesday, March 2, 2011

Alexander-In The Twilight & Old Friend

Alex Ebert is an interesting cat. I'm not going to go deep into his history, (you can read that here) but he seems like a modern day wandering troubadour, getting in where he fits in, but never staying somewhere for too long. His most recent stop is as a solo artist. The current front-man of personal favorite Edward Sharpe & The Magnetic Zeros, Ebert dropped his debut solo album, Alexander, on Tuesday. The album does exactly what you hope to see from an album of the lead singer to one of your favorite bands-introduces a new side of him that builds on, but doesn't copy, his work with his band, while establishing himself as a unique and memorable artist in his own right. 

These two jams showcase two very different sides of Alexander. "In The Twilight" is classic folk-pop. Mixing in a bit of the musical magic dust of Ed Sharpe, this song claps and stomps its way to a feel good finish. On this track Alexander sometimes echoes a young Paul Simon and is a worthy, if untested, heir. "Old Friend" presents a completely different side of Alexander. A convoluted song which at times threatens to ramble, "Old Friend" has a somewhat mysterious power to it which has had me listen to it on repeat for the last two days. While I still won't venture a guess about its meaning, Alexander's meandering psychedelic campfire story is bold and unexpected. The warbling background guitar and other sound effects threaten to take the jam to outerspace, but the sad story about loss and revenge and the harmonica solo keep it firmly rooted. The album on a whole is sometimes messy, and often reaches sky-high, but in the end its exuberance and passion keeps it refreshingly grounded. 

Tuesday, March 1, 2011

Tiesto & Hardwell-Zero 76 (Original Mix)

Back in it. Though I try and stay away from songs that have made their respective ways around the blogosphere, this is a must post. The first time I put this on a few days back, my ears had a dance party rivaling any Ibiza will see this upcoming season. This song just goes, hard. Constantly morphing itself into new creations, this jam is the bastard child of trance and house, drawing heavily from both genres while seemingly intent to test the limits of whatever headphones/speakers you play this on.

The first thing I thought when I heard this song is, man, I can't wait to hear this live. There is something about this style of electronic music that can't be flawlessly replicated without massive speakers raining noise and sweaty people weaving around you. But Tiesto and Hardwell do their best to bring you the feel of a live show to wherever you are-the seismic bass rumbles, the synths roar, and the whole jam just feels alive. Tiesto's fingers are all over this one, while Hardwell seems to have woken up his fellow Dutchman, and the two have created a indisputable banger(andahalf).

 Zero 76 (Original Mix) by jammininthenameof