Soulful, often hip-hop influenced, sample-heavy electronic music. Unique, up-and-coming artists putting the music before the fame and success. A pay-what-you-want downloading system, mirroring Derek Vincent Smith’s ideals since day one. Since its inception in early 2011 Pretty Lights Music (“the record label” as it’s often subtitled to avoid confusion) has embodied these principles and given us some of the best alternative electronica the scene has to offer. Let’s look a little deeper at the artists who comprise PL’s über-label.
Break Science
Much like the original live lineup of DVS and Cory Eberhard, Brooklyn-based Break Science ups the experience of their quality bass-driven productions with full live percussion. Midi-wizard Borahm Lee and seasoned drummer Adam Deitch (also a member of jamtronica band Lettuce) will often also collaborate live with hip-hop acts – Chali 2na (of Jurassic 5) and RJD2 serve as two prime examples.
Eliot Lipp
An old-schooler who just recently found a home on PLM, Eliot Lipp got his start as an electro artist – a far cry from his experimental PLM debut, “Shark Wolf Rabbit Snake”. Another Brooklyner (Brookliner?), Lipp’s been all over the map recently; from trap tracks with Wick-It the Instigator to a 45 minute mix paying homage to Colorado-based producers – PLM alums Michael Menert and Break Science among them.
Gramatik
If PL is the don of soulful sample-laden electronica, than Slovenian-born Gramatik is every bit the same in the realm of hip-hop meets bass-heavy groovy glitchy goodness. From his Beatz & Pieces series of albums – think early 20th century funk and soul supplied with a modern-day backbeat – to the oozing basslines and broken beats of albums like “No Shortcuts” and #digitalfreedom, Gramatik is in close competition with our next artist as my favorite PLM act.
Michal Menert
From co-producing Pretty Lights’ debut full length “Taking Up Your Precious Time” to penning the poem which has provided DVS with album titles up until “A Color Map Of The Sun”, Colorado native Michal Menert is the easy and obvious choice for anyone wanting a first step into the world of PLM. With many similar musical traits of early-years Pretty Lights – the heavy hip-hop sample elements and a more chilled-out bass vibe – Menert’s tunes are taylor-made for PLM. Plus, if you ever get the chance, his live skills on a midi trigger pad are something to see.
Paper Diamond
Alex B – aka Paper Diamond – has come a long way from his early days playing bass in Pnuma Trio. From the first notes of his debut on the label, “Levitate”, it was clear to me this was something entirely new. Not quite dubstep, not quite downtempo, Paper Diamond had carved out a niche of his own with intricate drum patterns and sultry, effortless synths. Since then he’s forayed into other genres (trap being a prime example) but with a perfected original sound that makes his tracks instantly identifiable. Note: Paper Diamond left Pretty Lights Music last year for Mad Decent.
Paul Basic
Much like Michael Menert, Paul Basic’s connection to DVS goes way back – he played drums in a band comprised of himself, Menert, and Smith for most of high school – so it’s no surprise that he’s gotten into an electronic groove very similar to that of his labelmates. Every PLM artist has a defining characteristic, something setting their sound apart from the pack, and for Basic it’s his drummer’s background. His tracks feature plenty of heavy backing beats, layered underneath the electro-hip-hop riffs that put him right at home on PLM.
SuperVision
Last alphabetically but probably top three in my heart (and my ears), Texas native SuperVision isn’t necessarily PLM’s most prolific artist – his most recent EP, “Telekinetic” being only his second release in his two years on the label – he’s vying for the spot of most unique. With a sound I’ve struggled many times to describe to friends (“You know, it’s bassy but it’s not dubstep, it’s funky but it’s not glitch-hop, it’s got high hats but it’s not trap…”) SuperVision brings his nearly two decades of turntablism experience to bear on his productions. The result? A scratchy, bass-laden, pigeonhole-defying blend of electronica, hip-hop and soul that initiates immediate foot-tapping and uncontrollable grinning.
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