Welcome to week four where I highlight producers who I believe deserve more credit for expanding the sound of the artist who hopped on their beat or sample. We have a great volume this week with alt-rock vibes to spacey hip hop. Here are my producer picks below:
The mastermind behind dv4d’s breakout year of 2022 is Dan Darmawan, who produced "Romantic Homicide," "Here With Me," and most recently, “Placebo Effect.” The sound is distinct from anything else in the music industry right now, and the way the chords hit, I always know it is a Dan Darmawan melody. The chemistry between the two is undeniable, and I hope they continue to keep building the sound that has made them thrive as musicians.
If we want to talk about what it means to truly curate a project to scratch with an artist, Carlo De La Garza fits the description to perfection with his work on Paramore’s recent banger of an album, “This Is Why.” He is the only producer credited on every single song on the album, and each song has its own flare of personality. It is evident that De La Garza is a master at his craft and is detail oriented on every aspect of the beat.
I always love seeing big producers like jetsonmade showing love to young up-and-comers like Keysanee. jetson has always been known to work with some incredible sample makers, and this new sound with Highway is a prime example. There is something very addicting about this melody on “Sin City,” and it fits perfectly with Highway’s hypnotic vocals. The trio of Keysanee, 1stclass, and jetson certainly delivered on this track and I hope to hear more from them in the future.
I always talk about how I think the best music comes when a producer and artist build and grow together, and the work from Jay Cribbs and whiterosemoxie can’t be overlooked. Cribbs has produced, mixed, and mastered most of whiterosemoxie’s work including his recent track, “girls die.” The song is filled with emotion and the acoustic ambience fits flawlessly with whiterosemoxie’s vocals. The grand identity to this track is special, and I believe these two should keep building their already excellent chemistry. I mean this track sounds straight out of an action movie.
I just recently saw a clip of brompton playing drums on some kind of drum pad, putting the sticks away, and immediately playing the bass during an Aimee Vant performance. I was immediately intrigued by the talent, and lo and behold he produced her recent song, “Voicemail.” The song has this really sick filtered synth that loops throughout that transitions into this brash chorus with rippling basslines that makes for an innovative work of art. This is one of my favorite beats of the year, and the talent Brompton has needs more recognition.