Bringing the hottest tracks and the future hits every week, Spinnin’ Records return with their Spinnin’ Sessions setup to give us a sneak peak into upcoming releases and current chart-toppers. This week they showcase the incredible talents of Blasterjaxx, a duo that has gone from strength to strength over the last number of years. The Dutch producers first burst onto the international scene through their breakthrough single “Fifteen“, and since then have been catching the attention of both mainstream and house music fans alike, with their distinctive sound and increasingly catchy tracks.
The 212th edition of Spinnin’ Sessions features music from Mike Mago, Tom Swoon, Timmy Trumpet and Joe Stone, to mention a few, whilst the Talent Pool release of the week is Serge Legran’s‘ single “Never Again” – a track which caught Spinnin’s attention after pipping fellow demo-submitters to the top of the chart and making him the latest up and coming artist to get his music on the revered label. Whilst equally impressive is this week’s Spotify track, a spine-tingling bass production entitled “Boom” by none other than Tiesto, teaming up with Sevenn.
With the regular air-time catching on, heads turn to this week’s guest mix from Blasterjaxx. As we could not let this opportunity pass us by so easily, we made sure to catch up with the duo to gain some insights into their music making process, what their musical style entails, and what they have in store for the rest of the year. In conversation, below:
Congratulations on your latest release “Savage”. Can you tell us what the inspiration behind this track was and how it eventually came to life?
We played Savage once in a special edition of Hardwell On Air. We had a few tracks to premiere and Savage was one of them. We were not sure about the set up of the drop, but the crowd really liked the tune. We found a few rip offs online, which made us decide to finish the track.
People often say that the big-room era has passed and even though we clearly see a majority of producers moving to the more ‘trendy’ sounds, you’re one of the few who are staying true to your Big Room sound. Could you give us your perspective on this matter?
This is the sound we chose for, and we stand for our sound. Big room still works. Now we’re one of the few who are making and playing big room these days, that’s true. As always we’re following our feeling with what we make.
Do you think artists need to have a signature sound or should they be more diverse?
Yes, of course, you need a signature sound! Otherwise it’s just like everything else, right? We’re proud of our own sound.
For your latest EP “XX Files”, a lot of tracks were finished as a response from fan interactions and fan’s suggestions. Is this a strategy that you will use more often in the future?
Something fun so we can give something back to the fans. But this is not a strategy for the future.
Your track “Nightfall” from the EP served initially as a bootleg for Evanescence’s “Bring Me To Life”. Why did you decide to release it as an original in the end?
Because it’s dope as hell! Haha. It was too good for a bootleg. That’s why we decided to make an original.