Such a pleasure to have Mirror State back on Disco Droppings. His steadfast tunes stay with me, and I find his depth as an artist very inspiring. The EP above is available for free via Bandcamp, my personal favorite is “Distress”. Mirror State holds down a show on Sub.fm, which you can hear Sundays from 7-9am GMT time (that’s Saturday’s from 11pm-1 Pacific time)..
DD Your new music, like the productions I’ve featured in the past remains sharp, focused and distinct. What helps keep your perspective fresh?
MS Thanks. I couldn’t say really. Listen to lots of new and old music and make what you want.
DD Are you more introverted or extroverted? Do you get more inspiration from being social and out-n-about, or being more solitary?
MSI would say I’m more introverted. I don’t really get more inspiration from either specifically, a lot of the time I think music is inspired by both. There is music made for the dance floor and for people to come together to, and there is also music for someone to listen to alone. I think I take a bit from each side.
DD Does restricting or limiting yourself play into your approach as an artist?
MS Not really, I normally wouldn’t have a point where I’d say “this is where I’m going to end up”. Sometimes though I find it can be useful when it comes to exploring ideas and finding out what you can do.
DD What state of mind do you find yourself in when creating music?
MS I stay quite focused but open minded with my ideas. Most likely, I’ll have a small idea in my head. I’ll put it down as soon as I can, and let other things flow from there. I find when you’re really pushing yourself to do something specific, it’s not going to turn out how you’d like.
DD Who are you most excited to share next on your Sub.Fm show?
MS A lot I could mention really. I’d have to say keep an ear out for Ghostek and his new tracks. You’ll also hear new things from Neka (Part of Tape Echo in Bristol who also does a show on the station). Some of the deepest and most mesmerizing music around lately.
DD When you want to take a break from dance music, what do you put on?
MS I would have to say I don’t stray too much from electronic music these days. What I listen to if I want a change you could still call “dance music”, but I don’t really think about it like that initially, just as music with a good rhythm. Lots of garage, drum & bass and ambient music. I still play Break’s album from 2010 a lot at the moment, also artists like Seba. I currently live with my twin brother who listens to a huge amount of black metal, so I listen to a lot of that when I’m just chilling as well.
It’s been nearly a year since I last talked with Daega Sound and I’m happy to report, they’ve been very busy. This duo from Vancouver showcases powerful tracks in the dubstep realm , an expanded live pa and a string of excellent releases in 2012, into 2013. Extensive interview below..
DD I was just up in Vancouver to see XI, thought about you guys. What are you up to in Canada? I still gotta see one of your shows.
DS Yup we’ve been busy keeping up with our releases and forthcoming releases, as well as writing LOTS of new music for 2013. We have 8 tunes slotted for release at the end of 2012 and early 2013. We are super stoked for our latest releases, our tune “Fonica” and the seriously banging Fonica remix by DJG out on limited edition 10” as well as digital on Crude Records. Also our remix of Longwalkshortdocks “You Berg” out on King Deluxe. Forthcoming we have 2 dnb tunes coming out on Loxy’s CX:Digital label, Mind Like Water. It’s a half time very textured dnb bit and “Flight” which is akin to the older school dnb steppers but with a melodic and layered up Daega sound. Also a 3 track minimal style dubstep EP coming out on Dat Pressure Records. Our collab with HxdB, which has been super fun, will be out on 12” and digital on Crude Records. You can catch the dub of “Spheroid” (Daega and HxdB) being snuck onto SubFM and RinseFM by a select few Dj’s. Also a couple remixes we have done, “Regenerate” by Moldy, a super sick proper tune coming out 12” and digital on Tuba, and a remix of the notorious Mat The Aliens “Hsptl Wobble”..a mad mid bass wobbler we totally daegafied, for his label Really Good Recordings. So keeping that going as well as getting to work other new projects. We are working with vocalist Lady Maroo on a couple tunes, who has worked and released music with DJ Madd, excited to see where that goes, she has a great voice. Outside of the studio we are starting to book in some shows in Vancouver and are looking at the spring for a North Amercian tour. In the immdediate future we’ve got some DJ gigs and some Live PA gigs in Vancouver comin up!
DD Judging by your new productions, I sense a distinct production evolution (the forthcoming “Fonica” on Crude Records is tough!). How do you feel you’ve grown in 2012, and how to you hope to build on that progress?
DS “Fonica” is a culmination of new inspirations within the bass music realm and our new ever progressing experience in the studio. The more time we spend in the studio, the more we learn. New information and skills are very inspiring, the results are in an evolution of the sound. We are also looking at the overall organization of what it is that we do and what we want to do. Looking forward and building on the foundation that we have, we’ll be spending a bunch of time in the studio writing and finishing new tunes, and we also plan to be getting ourselves out on the road more. All the while, we’ll be upping the focus on making ourselves more accessible and organized online.
DD The Daega Sound remix of Longwalkshortdock’s “You Berg” has a sick rhythm. The change up between the intro and drop is very unexpected. How are you connected with Longwalkshortdock, and what did you hope to accomplish with this remix?
DS We had been playing the same festivals as Longwalk for a couple years before we actually met. Always loved his live performances, totally off the hook awesomeness; he can produce, sing, and really put on a show. Once we all met, and nerded out for a bit, we totally got along and now try to catch each other’s shows whenever we can. We liked Longwalk’s version of “You Berg” with the vocals, he sent the stems over, King Deluxe wanted to do a remix pack with a bunch of other producers and it was on. The format of the song is unexpected. This tune kinda just came out like that, we liked the contrast of the smooth vocal lines and build up from the likes of the original tune, then the way it just fell into a very different drop, which is very us, but still heavily influenced by the original. We didn’t really have an agenda with the “You Berg” remix, it was more about getting a project going with LWSD, cause we like him and his music so much.
DD When is this DPR Recordings release happening? I love the fluid, epic quality of “Falsehood”, and “Whirpool” is tight too.
DS Thank you! We were going for a full sound using minimal timbre’s and a stripped backarrangement. Master’s of the tunes are completed and they sound awesome. From this stage the tunes begin their journey to the label to queue up for promo, then onto worldwide distribution on all major online retailers. We are waiting for a release date from distribution for the EP, we anticipate a late 2012 release.
DD I was sad to see III Cosby, head of Car Crash Set move from Seattle to Washington D.C. He released the “No Northwest Cycle 2 EP #3” in May, 2012. This features your tracks “Legion” and “Winter’s Horse”, along with productions from Kid Smpl and Keyboard Kid. “Winter’s Horse” stood out to me, I would love to include this in a future DJ set of mine. What kind of connection do you feel with your close neighbor, Seattle?
DS Glad you like the tune, of course put it into a mix, that would be awesome! Well, from the few times we’ve been to Seattle, we played with Shackleton there in 2010 and had a seriously good time, we both really like it. We were into all kinds of rock and grunge when we were younger and some our favourite musicians (Chris Cornell, Kurt Cobain to name a few) all come from Seattle, so it was awesome to play there..and think about how many amazing artists have performed or come from Seattle. The influence from all those artist is still very there for us. We’d both really like to be there more and get to know the city better, haven’t made it to Decibel Festival, its been in the plans for a couple years, we’ve heard so many great things about the level of production, and of course the line up always looks so amazing.
DD To wrap things up, what’s the best thing that’s happened to you guys this year?
DS We’re not good at picking favourites, there are certainly a lot of highlights. Some highlights would have to include: releasing a limited edition 10” with an absolute banger of a remix from one of our favorite producers and good friend DJG (aka Grenier), releasing on Loxy’s label is big for us , he has been a sound hero for us since we were teenagers. The success of our new live pa set at this years edition of Bass Coast featuring the debut of a bunch of our new DnB and integration of ipads into our live set up, honing in our production and work schedule (there’s something to be said for time management) and having some space and time to write and prepare for the future.
As you’ll read below, I got the opportunity to talk with a major influence of mine. Alex Bau overseas the evolution of the techno sound, as one of Germany’s most intriguing exports. A few years ago, Alex made his way to my ears with his End Of The Bleep release on Credo. I’ve carried those songs with me ever since, along with the absolutely brilliantRed Chromosomerelease on CLR. When I think of techno that gets me hyped, Alex Bau is at the top of the list. In my interview, we cover clubs to visit in Germany, his huge output of new music in October of this year, why he calls his remixes “repaints” and what “The Holy Bassdrum” means to him. Listen up..
DD Greetings Alex! I’m honored to have you on Disco Droppings. You are my favorite techno producer. I’m amazed by the style and energy of your productions. How’s it going?
AB I am fine, the year comes to an end soon and it was again very exciting, time flies…
DD I’ve never been to your home country of Germany. Where would you send me for good music, if I traveled over there?
AB Hm, tough question. 99% would expect me to probably tell you “You have to visit Berlin…” blablabla… but to be honest, in terms of electronic music there are so many nice places to visit, but also a lot of chances to end up at shitty parties – also in Berlin. I can only speak for myself, and I’ve had amazing nights in lots of places all over the country, but let’s make it short and easy to follow: if you like real techno you can find good nights at Cologne’s “Kunstpark” or “Arttheater” as well as for example at Stuttgart’s “Lehmann”, but of course, also in Berlin at spots like “Tresor” or “Berghain”.
DDDuring this month of October 2012, I see you appearing on 7 releases (many of these are Beatport exclusives). Three of these contain originals (Gamma Connection EP, Unsquare, No Destination EP), one showcases an original collaboration (Brood Techno002 – Brood Collaborations, “Ripples”) and the rest are remixes (Opulence Repaint). Was this huge output of releases in a short period intentional?
ABTo be honest, it went off the plan a little bit! Almost all of the stuff you mentioned was produced throughout the whole year, including some stuff to come, but it ended up being released at the same time in fall. I don’t know if this is good or bad, it’s just as it is. I am 100% behind all those productions, no matter if they’re originals or remixes. Of course, my own label Credo with the Unsquare EP as part of the Credo Black Series is my special baby somehow!
DD I see you calling many of your remixes “Repaints”. Does your approach as a producer call for this other kind of description? Or is this just for fun?
ABHaha, actually you are the first to ask me this question, and I am really happy that there is someone out there thinking about it! There is a story about it! My label “Credo” stands for techno in a classic sense, which means for me to have always danceable, but at the same time interesting and emotional, colorful music. Simply the sound I believe in – as the latin name says: credo! I ended up with a subtitle for the label which says “Colors. Not Shades.”, so in this respect I always try to repaint others tracks with my personal colors. Call me crazy, but that’s the story behind it.
DDI recently included your “Red Chromosome (Flashback Mix)” track in my set for Decibel Festival 2012 in Seattle. That’s my favorite production of yours, and I layered “Azealia Banks – Fierce” over it. This is a dark, sexy house track with some tough rhymes. Do you step outside techno as well, both as an influence and in your sets?
AB I am kid from the 80’s, my first musical influence is the typical sound of the 80’s, and this includes a lot of early electronic music too of course! Different stuff, from Anne Clark, John Foxx, Nitzer Ebb, Front 242, Tears for Fears and of course also Depeche Mode and The Cure. Very dark music as you can see, but also “exotic” music from Jan Hammer, his soundtrack for Miami Vice was very influential for me. I experienced that the farther you play outside of Germany, DJ’s are more wildstyle, which can be kind of fresh, but sometimes also cruel. I have to check out the track you mentioned, I can tell you afterwards if I consider this to be innovative or cruel :-]. Even though I play techno in my sets, I am always happy when I find good tracks from other genres, though I think house became a little bit boring over the last year, due to the inflational output. All the same grooves, all the same sounds. I love good sound, so… Jack had a groove, in the beginning there was house, but there is a reason why house became techno one day! ;-]
DD I read this quote from you, “The search for The Holy Bassdrum drives me all the time, so be sure, it’s not over until I’ve found it”. How much of this search is a technical one, and how much of it is an emotional/spiritual one?
AB As I said, I am addicted to sound. I love to create my special sound, always trying to make even common samples sound special. The bassdrum is the key, it determines where the track is going to, so there is no general rule, it’s a very emotional thing. On some track you better use a more soft-sounding 808 Kick, on others it has to pound and hit hard with a distorted 909. That’s what makes it that difficult! There is no “holy bassdrum”, there is only one holy bassdrum for one single track.
DD What’s helped you stay focused?
ABI am very focussed on what I try to represent with my music, I am like a little kid as soon as I finished a new track, I can’t wait to play it out – really loud! This music comes from the danecfloor and is done for the dancefloor, so it has to work well on the dancefloor. This is what I keep in mind all the time. I also love dubby techno and even chillout tracks, but there are loads of producers who are much better on this than me. On the other side, I am getting more and more secure with what I do and the way I do it. And this is techno!
DD What’s on the way for Alex Bau?
AB Right now I am working on my second DVD, coming out in December, which includes some new music. It’s about my Australian tour in September. Very exciting film material and a truly authentic insight on the real touring life, not acted scenes, just true life on tour and great pictures from the spots I have been to. The first DVD last year was about Buenos Aires and was anticipated very well. I discovered my love for the movie stuff, so I thought Australia would be a nice opportunity to repeat this. It’s a lot of work, as I decided also to distribute it on my own; no other company involved except the label. This helps me to keep control of everything. There will be a new release on Credo shortly before the DVD, the “Austrapop” EP with two tracks “Sydney Acid” and “Melbourne Dub”. The idea came when I was standing in front of a traffic light waiting to cross the street in Sydney, and the traffic light did some really nice sounds, so… :-]
I am blowin’ thisFriends of Friendsshowcase UP. You’ll notice that below this interview with showcase performer Groundislava, I’ve chosen FoF as THE show to see on the final day of Decibel Festival 2012 (The Baltic Room, 9/30, 21+). Here’s the FBevent, if you plan on coming, invite your buddies. Now onto my conversation with Groundislava; covering theFeel Mealbum art, video game soundtracks and the vibe of his upcoming Seattle show with Shlohmo, LOL Boys, Salva and Lazy Brow.
DD Hi Groundislava. What are you up to right now?
GIL I’m watching some movie with Liam Neeson and eating soup, and answering these questions, of course. I’m feeling a little under the weather.
DDCongratulations on Feel Me getting its release. Who designed the rad artwork for this lp?
GIL My brother designed all the art for this album, as well as my last LP and both my EPs. He’s a very talented visual artist. I’m working with him on a new music video as well.
DD I haven’t been to LA since I was very little. If I were to come down to your area, where would we hang out and get food? From reading your Twitter, I take it we won’t be stopping by Whole Foods..
GIL Whole Foods annoys me because it’s really great and convenient, but its absurdly expensive. If you were here I’d probably take you to koreatown and we’d get some korean BBQ or tofu soup. Koreatown is probably my favorite part of LA to hang out in, as well. There’s lots of great places to drink or do karaoke or whatever.
DD I’ve got your Soundcloud going while I play N64. It’s making my Super Smash Bros. battle a lot more emotional. What video game soundtracks stand out to you most?
GIL There’s a lot of great ones that I’ve been interested in. And now, with youtube being what it is, I find so many more great songs and full soundtracks. I really enjoy the soundtracks for Bomberman 64 and Bomberman Hero, Chrono Trigger, Pilot Wings… there’s a lot more.
DD Disco Droppings has chosen the Friends of Friends showcase as it’s top pick, for Decibel Festival 2012’s final night. For those thinking about stopping by your show, what’s the vibe going to be like?
GIL FoF kinda nails it on all fronts, and there’s really something for everyone. We have all sorts of sounds and vibes, but it’s all really fun shit. We never just go up and play whatever the hottest tracks are, and we all have really interesting catalogs. Expect a party :]
I recently interviewed a producer from Australia named Bosstone. During our conversation he mentioned his buddy Lucid, so I headed over to his Soundcloud. After listening through some tracks my thoughts were, “Damn. This dude has some crazy shit”. I hooked up with him, and we decided to talk a bit beforehand, so the interview would move in a more effortless way. The result is the most comprehensive interview I’ve ever done. I’ve followed him around virtually for weeks while he tours Europe, and eventually he will end up over here in America to play some shows! We begin with his early hoodlum days, and move to his love for Nintendo, his mindset towards music and the people that have helped him along the way. So here is Lucid, in-depth. I suggest you hear hisThy Lucid EPon Pelican Fly (“Based” is my fave on here), andThe New Repriseon Nightshifters (“Togo” has been in my recent DJ sets).
DD Whatsup Lucid? Of all the artists I’ve featured for the first time, you’re the one I’ve gotten to know most leading up to an interview. We’ve been talking a whole lot on AIM..
LHello Trevor, I am well! I’m in Brussels, packing my bags cause I’m outta here. I like the fact that I got to know you before doing this interview, it makes it a lot more personal and easier for you to ask me relevant questions, rather than just he same old ” future plans” and ” what’s your top 5 songs?”. It’s also easier for me to answer the questions, because I know how you work and respond to certain things. I much prefer actually talking to the person who is interviewing me, makes me a lot more comfortable and not as under pressure.
DD I wanna rewind things, go back to your early interests with music before you were a producer. What does hip hop mean to you? You’ve been listening to it since 13-14 right?
L I started listening to hip hop when I was about 14, in year 8, when I had no respect for teachers, and I would walk around at school all day with my Walkman listening to “Shorty Wanna Be A Thug”.
I guess it was more the well known, commercial side, artists like 2Pac, Biggie and Eminem and to some extent Wu-Tang, but not as much as the other 3, I was so obsessed with 2pac. I just found the music to be like poetry to me. I have always thought of him as a musical poet of some sort, and the music just clicked with me. But it wasn’t only hip hop. I used to listen to a lot of punk music, NOFX, Millencolin, Bad Religion, and I even had a brief moment listening to SKA music with the likes of Reel Big Fish, Less Than Jake and Gold Finger. But this style couldn’t compare to how hip hop made me feel. I just had a connection with the emotion that 2Pac would bring out in his music. And yes I was an Eminem fan (no shame) and I still am to this day. His earlier albums “Marshall Mathers” and “Slim Shady” are definitely my 2 favourites from him. I never really got into “Infinite” for some reason tho. I just found his music to be so energetic and fun to listen to, even tho a lot of the lyrics are pretty fucked up. It was fun and dumb.
Hip hop to me, is a big part of my producing now. I get a lot of influences in my songs from it, and I think it can be easy to tell at times. Maybe not so much hip hop from the 90’s and early 2000’s, but a lot of it does come from the genre itself. It’s clear to me, and I think a lot of other people can hear it in my songs too. Eventually, I would like to go into producing it, but not right now. I think it’s something that I would like to do once I’m a bit older, with more experience.
DD Would you bump your hip hop while playing Nintendo? One of the best things you’ve said to me is, “my childhood is an N64”.
L Hahaha you know what, I would rarely listen to music whilst playing, which is odd now that I think of it, considering how much music was the main thing in my childhood (apart from video games). I think I’m going to have to relive those years, play Mario Kart and listen to “All Eyez On Me” for hours.
DD We’ll have to have a Mario Kart showdown when you get over to Seattle. What was your life like when you got interested in dance music?
L You will be embarrassed. At the time when I got into dance music, I wasn’t in a very good place. I was suffering from quiet severe depression, and I was turning to alcohol and drugs a lot of the time. At the time I didn’t really have a purpose, I was working as a carpenter. It’s a odd story, how I got into dance music, I’m sure there are others with similar experiences. But I don’t look back at it and and regret it. If I didn’t go through that phase, I wouldn’t be doing what I’m doing now, and I wouldn’t change that for anything in the world.
I didn’t start listening to dance music till 2007, it was when I first started going to clubs and “partying”. We were all around 19-21, the prime age for going out I guess…? Eventually I got sick of going out just to get drunk and everything else that goes with the club scene, and I started to notice that I was paying attention to the music/the DJ/ the crowd. I would end up just watching the DJ and become hypnotized. Seeing 1 person control a room full of people with music? It really mind fucked me at the time, cause I had no knowledge of dance music, it just really intrigued me.
It’s a very strange how I got into dance music, but as I said, i wouldn’t change it. It’s made me the person I am now, and I like to think that good things can come from something bad.
DDWell we’re kinda similar, 2007 was my introduction to electronic music as well. Before that, I was listening to just indie, some hip hop, christian rock. Probably the only dance songs I knew where “Blue” by Eiffel 65 and “Sandstorm”. Kinda funny I ended up here with this blog and stuff talking with you :]
LHahaha I know, it must be our calling to do this interview. I remember you telling me the story not long ago, that we had very similar introductions into dance music. But It’s obvious to me that dance music is the next logical step in music after listening to stuff like rock and hip hop..the next step up.
DDYes yes. Now as you started paying more attention to the DJ and dynamics with the crowd, you started to become more aware of the intricacies. When I talk to you about music, you’re very aware of what you’re hearing. You’re sharp and critical and what you listen to and what you make yah?
L I am very critical of my own music and others, I’m a perfectionist. A lot of the time I go way into details with my music. I guess it’s a flaw of mine, because there have been numerous times when I have spent HOURS on the smallest, minute detail, cause I could never get it to sound the way it was in my head. I used to over analyze my music a lot to. Its only been in the past 6-8 months that I have actually been happy with my music, not thinking so negatively towards my production, which I used to do A LOT. It was something that I would let get to me, but now I’m still critical with my music, but not negatively. I use my criticism in a positive way (TYBG).
When it comes to others music I am critical, and I think it’s because I hear so much music these days that’s just lazy to me. It sounds cheap and rushed, just to have some plays on Soundcloud or make a few $$$. There is simple music, and there is lazy music. I take pride in my work, which I think a lot of people don’t do these days. There are many that do take pride tho. That’s one thing that has led me to being so sharp when it comes to other people’s music, even my close friends, I’m just an honest person. So if I like something I will say I like it, if I don’t, I’ll tell you I don’t, by using constructive criticism. I think it’s better this way, it allows the producers to build on the criticism and become better. BUT in saying that, at first, depending on the person, I don’t take to well to criticism haha. But it lasts for only a few minutes, and then when I think about it, I will more than likely agree (unless your a dick and I don’t like what you are saying, but that doesn’t happen often).
I think a lot of this also comes from Sam Tiba. I’m very close with him, and he has always been super critical with me, and I thank him a lot for that. It’s easier to tell someone “yo this is dope” when you don’t like the song, to avoid confrontation, but he’s always been upfront and honest with me. I get a lot of the GOOD criticism from Sam. Obviously, there are times when we will disagree, but I think there needs to be disagreements and arguments, in order to become better producers.
DD When someone goes this route of being critical it can be alienating. Sam Tiba is one person that’s helped you improve and be in a more positive place. Who are some other people? You’re crew and such..
L The other main one would be DJ Slow. I’ve known him for about a year and a half, and after working with him on my Pelican Fly EP, he was someone who was able to guide me in the right direction. When it comes to music, I will always listen to what he has to say, his knowledge of music is like no one I have ever met. So much diversity and range..99% of the time if I think I have found a really good song that no ones heard, Slow has heard it, and he probably heard it a year prior. He’s always been very direct with me, there are times we disagree, it’s human, we can’t always just say “yes I agree!” it doesn’t work like that. He has always told me how it was, what I should do, what I shouldn’t do etc etc. I think Slow and Sam are my role models in the music world. I look up to them a lot and respect them; for who they are and how they have helped me. I will often turn to them for guidance, even if I don’t want to hear what they’re saying. They will never let me get too far ahead of myself, which is really important. I don’t think I would not be in the position I am right now if it wasn’t for those 2. I’m sure there are other people, but those 2 are the first that popped into my mind, when it comes to this question.
DDThis Triple Lucid Life mix is fantastic. I’ve listened through it many times..
L Thank you! I got a great response from this, a lot better than I thought I’d get, so I’m really pleased with how it went. The decision to do an all Lucid mix for me was really easy, I just wanted to show everyone the work I had been doing over the months. I had mentioned when I talked about the mix, that I think a lot of it won’t get released, not even for free. It gives an insight into the music I have been making. It varies a lot, and that was the point I wanted to get across. I can make a lot of different styles of music. I guess it was a small showcase of Lucid is some ways.
I make a lot of music and I’m very productive. On a normal week, I would start maybe 10 projects. Out of those 10, I think I would finish 1 or 2 if I’m lucky, so it’s a lot of trial and error. I’m sure a lot of other producers do the same as me, it seems pretty natural when it comes to dance music to have so many unfinished songs. But one thing is, I never delete any songs. Many times I have gone through old files and found some really cool ideas that I then used in more recent songs. As it was a promo mix and for myself it was all Lucid material, I would never put that many Lucid songs in a mix for a site/blog.
DD Let’s switch it up and talk R&B. Now if you made a “cry/lovemaking” set, what would it look like?
L
Omarion – Ice Box
The Dream – Ghetto
Jeremih – Birthday Sex
Jeremih – Love Don’t Change
Ciara – Ride
Miguel – Quickie
Brandy and Monica – The Boy Is Mine
Aaliyah – One in A Million
Mary J Blige – Real Love
The Dream – February Love (via Sam)
Ginuwine – So Anxious
Usher – Climax (Jr Blender Remix) (this isn’t R&B, but I had to mention it)
dd 