This track was originally released on Ponies at Dawn: Limelight along with a whole ton of other excellent tracks. Go give it a listen if you haven't already! poniesatdawn.bandcamp.com/album/limelight
I took some very heavy inspiration from JayB to make this remix of Faulty and Koa's huge banger. Funnily enough, Faulty told me that the original track was also inspired by JayB, so it seems he and I were definitely on the same wavelength! Had a blast constructing the sound design for this. I adore this sort of huge, wall of sound progressive trance style. Thanks to JayB for the preset and sample packs which helped provide a jumping-off point for the project!
This track was originally released on Ponies at Dawn: Limelight along with a whole ton of other excellent tracks. Go give it a listen if you haven't already! poniesatdawn.bandcamp.com/album/limelight
I took some very heavy inspiration from JayB to make this remix of Faulty and Koa's huge banger. Funnily enough, Faulty told me that the original track was also inspired by JayB, so it seems he and I were definitely on the same wavelength! Had a blast constructing the sound design for this. I adore this sort of huge, wall of sound progressive trance style. Thanks to JayB for the preset and sample packs which helped provide a jumping-off point for the project!
The original Summer's Gone immediately stuck with me the first time I heard it. The vibe created by the vocals and overall tempo felt like it was just waiting to be given the proper house remix treatment, and I'm super grateful to Azure and Neko for letting me have that chance!
The sound design for this project was tons of fun. I'm especially happy with the width of the vocal stack that I was able to achieve from only two vocal tracks. It was also a really nice tour of all of my favorite aspects of pop-vocal-based house music with the guitar layers, piano, and pads. I'm actually so proud of the instrumental arranging in this one that I decided to publish the instrumental version of the track as well, with a slight boost in volume and EQ presence of the guitars and piano in their respective sections to compensate for the absence of the vocals.
"Summer's Gone" written by Azure Comet and NekoSnicker, and produced by Azure Comet, NekoSnicker, and Roxby.
Back in early 2023, I made a remix of the Avatar: The Last Airbender main theme for my first-ever official live DJ set at a convention; a small ATLA/LoK convention called CabbageCon. I've been wanting to refresh and publish that remix for a while now, and with the recent release of the ATLA movie, I thought now was as good a time as ever!
The original track was heavily inspired by Tiësto's rendition of Adagio For Strings, with the working title being "Avatar For Strings." You can definitely still hear that influence in the crunchy lead and trance-gated chords. During the rework, I aimed for a more modern cinematic style, taking inspiration from Hans Zimmer's hybrid orchestral work on Blade Runner 2049 for the mid-track breakdown, and some heavier bass layers in the drops. Building the orchestral fills for the drops was also a lot of fun.
Shoutout to @samuelkimmusic. I used the MIDI from their rendition of the ATLA theme as the starting point for my own strings arrangement in this track. Check out their rendition here: youtube.com/watch?v=6N9SS6L0TDU
This track was released alongside a ton of other awesome tracks on Ponies at Dawn: Fusion. Go give the album a listen; it's one of Ponies at Dawn's best yet! poniesatdawn.bandcamp.com/album/fusion
Whirly Tail and I started this track all the way back in 2023. It even survived her PC exploding and tragically losing all of her projects during that time – because she had sent me the stems!
It started with Whirly making the absolute banger breakbeat that appears in the second drop, plus the chords and ambient elements. We built it out from there and expanded the track to begin with a Future Garage section. We agreed that it had the vibe of a water level in a video game from something like Super Mario, so we leaned into that theme and dove into some fun, murky sound design. If the first half of the track is exploring the watery caves, then the second half is when you've woken the deep sea monster and have to flee!
This track was originally released alongside 53 other incredible bangers on Ponies at Dawn: Fusion. Go listen to the album! https://push.fm/fl/pdfusion
Faulty initiated this collaboration by starting with a simple liquid drum & bass beat over a section of Aquatic Ambience from the Donkey Kong Country soundtrack. I was struck with inspiration upon first hearing it, and proceeded to add various elements like the piano, arp, cello, and pads. Spott came on board the track a little later and went ham with the hardcore section in the latter half, followed by further processing my piano and pad layers to create the chilling outro. Faulty also did a spectacular job crafting the jungle drums section in the middle – how could we remix a Donkey Kong track without jungle drums?
We were very pleasantly surprised with the cohesiveness of the final creation, despite the various directions it takes. We feel that it reflects the sensation of getting lost in one's own mind; of falling so deep into introspection that you cease to meaningfully interact with the world around you. It's both noisy and peaceful down here, but even if it's comforting, you mustn't let yourself get trapped.
"Abstraction" originally released on Ponies at Dawn: Fusion. https://push.fm/fl/pdfusion
Track production done in collaboration with Faulty and Spott.
A song about wishing to escape from all of your worldly stresses — hoping that, one day, you will magically be free of all of your adult obligations.
This song was originally published on Ponies At Dawn: Fusion alongside an incredible collection of tracks. Thanks to them for having me, and go check out the album! poniesatdawn.bandcamp.com/album/fusion
Big thanks to namiimaa for making this with me. Their vocal writing and performance in this song is stellar — their vocal stacks were an absolute joy to get to work with, and they’re just an excellent collaborator in general who I definitely hope to work with again soon!
And thanks to Galen (band leader of The Wonderbolts!) for providing the beautiful guitar solo in the second drop. He perfectly captured the vibe of the track and is a lovely person to work with.
Credits: Lyrics and vocals by namiimaa https://linktr.ee/NamiiVocal Guitar solo by theoneGalen Track produced by Jensen Stiles fanlink.tv/jensenstiles Cover art photo by Guillaume Bleyer unsplash.com/@blrguillaume
Lyrics:
They ask where I’ve been Been a disaster again (again and again and again) I miss the silence Wish to remain hidden (hidden, hidden)
And I can’t sleep I’m countin’ sheep all night (it was only a dream) Wish I may and I wish I might Among the starlight
Couldn’t we just run away? Don’t look back (we’re runnin’, we’re runnin’ again) Opal rain will wash me clean at last (Opal rain, pour down on me)
The endless whispers Calling out to me (they keep callin’, they keep callin’) And the wonder that was hidden Throughout the cosmos, to be found (to be found)
And azure flame, do you thing Set me ablaze (won’t you set be ablaze, oh won’t you set me, oh) Wish I may and I wish I might Among the starlight
Couldn’t we just run away? Don’t look back (we’re runnin’, we’re runnin’ again) Opal rain will wash me clean at last
(Again and again and again) Opal rain, pour down on meI dont know how much time we have left – Jensen StilesJensen Stiles2025-08-22 | Stream/download: jensenstiles.fanlink.tv/time-left
[TW: CANCER]
On January 1st of this year, my mother was diagnosed with terminal cancer. This is a song I wrote the day I found out.
I had actually sat down with the intent to write a track about a completely different topic, but realized an hour into working that I had just been writing about how I was feeling at that moment. My mother didn't share the life time estimate she was given by the doctor, because even that was extremely unsure, and she would rather spare me and my brother the stress. She could have another year, or a decade, or could still live long enough to die of natural causes. But, as she put it, how is that different from our everyday lives? Any one of us could die in a car accident or to a random heart attack, or we could live to be 100. None of us has any real idea of how much time we have left.
I'll conclude this section with something profound that my brother said a couple of months ago: "Death is all around us and can happen to any one at any moment. We just don’t openly speak about it, but the possibility is always there – like white noise."
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Okay, now that the depressing stuff is taken care of, to yap about the track itself a little bit. This came out of a very emotional writing session and, like all of my music that has come out of intense emotional times, I'm extremely proud of it. I've been wanting to make melodic dubstep for some time now, and this felt like a good time to finally do it. And making music in 6/8 is always very satisfying. The different sections were fun to explore and I'm happy with how they all tie together into a cohesive story.
Massive thanks to Koa for the vocal stems used in this track. Her voice really brought the whole track together and I couldn't have gotten it where I wanted it without her. https://linktr.ee/koapony
Elyse and I wrote this track about the incredibly bittersweet feeling of being at a brony convention concert, surrounded by friends in that magical place, having the time of your life... but knowing, in the back of your head, that before long, it will be over.
This track went through a lot of iterations before we settled on what you hear now. I originally made the first drop of this track along with some extremely rough lyrical concepts directly after returning home from HarmonyCon 2024 in February of that year. The chords in the breakdown and melodic drop are taken from a track I wrote all the way back in early 2016 which is no longer listed anywhere online as it's not up to my current standards. This track also originally focused around melody that was from the 2016 track, but I got sick of it and decided it needed a re-write – a mere four days before I needed to leave for HarmonyCon 2025, where Math and I were planning to perform this track live. I spent a good few hours frantically trying several ideas that went nowhere before having a true eureka moment when I landed on the melody you hear in this final version, and I'm so happy that I found it – it might be my favorite melody that I've written.
I held back on bringing on a vocalist for a long time because I wanted someone who I trusted to nail the emotion I was going for, and when I finally brought the idea to Elyse, she was immediately on board. Her ability to tell stories and evoke strong imagery in her lyrics is some of the best in this fandom, and I couldn't think of a better person to make this song with me. The verse (1:15—2:15) also went through a heavy re-write fairly late in the project, with the rhythm and melody changing quite a lot. After all of this arduous process, Elyse and I both landed on a song we are incredibly proud of and is better for all of its evolution.
Lyrics: The energy is filling me excitement to escape reality Chase that high it’s finally time a moment where I get to feel alive
I find my peace in a crowded room the walls all shake though it’s ending soon impending end ignoring it but it’s a little much I can’t forget
I wanna live in the moment but here and now I find I’m frozen the lights are bright I don’t know why I’m picturing returning to my normal life
You catch my eye please don’t see the way I feel even though it’s on my sleeve I’m scared that I might bring you down Can time just pause, can it stay right now
Tell me it's not over As the lights come up And as the curtain closes Say you'll see me soon enough
Tell me it's not over I hope with all my strength You'll still be there come sunrise Before it's time to wake
And when I find myself alone Along the path I take I hope I'll have the memory of that look on your face
And when what's in the hallways is the ghost of all we shared I swear I'll hear you echo like we're all still there
And while the end approaches meet me where I'm at Let's share these final moments and promise we'll come back
I'll freeze this image of us to hold while you're so far So let's just take a moment One more before we partReminisce (Jensen Stiles Remix) – Trey Husk ft. namiimaa & MelodyBronyJensen Stiles2025-08-11 | Stream/download (extended DJ mix available on Bandcamp): jensenstiles.fanlink.tv/reminisce-remix
This originally started as a simple flip of Trey, Namii, and MelodyBrony's track for my set at HarmonyCon with Trey and Sylvver under our live performing alias "Pony House Mafia" back in 2024. I eventually decided to add a bit more of my own spin to it with the new piano chords, polish it up, and put it out there! Not much to say about this one other than that I'm a big fan of Namii and MelodyBrony's vocal melodies in the original and I'm super happy to have gotten to remix this!
"Reminisce" originally produced by @TreyHusk https://linktr.ee/TreyHusk
This track is an homage to "Kisses In The Rain" by Bedroom Lullaby and "Kallista" by Saki Kaskas & Rom Di Prisco – both songs that I listen to regularly while driving at night.
This track has been one of my longest running off-and-on projects, having been started way back in 2021 and getting shelved twice only to be brought out again. Third time was the charm when I finally decided I wanted to buckle down and get it into a state I was happy with, and after much tweaking, I've done it! The hardest parts were getting the drums into the specific flavor I wanted – something with that pseudo-acoustic-but-noticeably-processed vibe – and filling out the space while getting all of the elements to play nice with each other. I waffled a lot on feeling like it was too empty, then too busy, etc.
All in all I'm very happy with the journey that this track takes us on, and designing all of the different elements was lots of fun. I hope to produce more non-EDM electronic music in the near-future.
Exploring a melancholy theme in this song. Simply put, it's about depression, and trying to push through it because you have no choice. Feeling like, even though the world keeps moving around you, nothing changes inside your mind.
Dark thoughts aside, I'm really pleased with how this track came out! I originally set out to make a completely different style of track – melodic dubstep, as a matter of fact – but ended up with a simple piano melody that had a repetitiveness to it which I thought went well with the theme of stagnation and being in a slump. I feel like the evolution of the song gives a glimmers of hope, but still feels like we end up in the same place we started.
Trey and I had initially been working on concepts for our remixes of this track separately, but ended up combining our ideas by putting my melody through his sound design style. He did the design for the drops, and I handled all of the breakdowns for what I think is a pretty cohesive result!
One slightly funny aspect of this song is that there are two sections that a listener might suspect were designed by one particular person; likely the hard drop being me, and the melodic dubstep breakdown being Trey, as those are things idiomatic of our respective styles. However, the exact opposite ended up being the case, with Trey taking full credit for the idea for the hard drops and me for the melodub section!
Cover art by Fensu: https://x.com/fensu_san/status/1184882130029076480Opium (Jensen Stiles Remix) – Trey Husk & KoaJensen Stiles2024-10-30 | Stream/download: jensenstiles.fanlink.tv/opium-remix
This track was originally released on Ponies at Dawn: Survivors alongside a whole ton of other bangers. Go listen to and support the album here! poniesatdawn.bandcamp.com/album/survivors
Trey and Koa's track "Opium" is one of the catchiest things they've made, in my opinion. For my remix, I wanted to lean hard into the dangerous and suspenseful feeling of the chords, making the song sound truly dark, while retaining its incredible energy. I had originally conceived this remix as a purely breaks/garage track but found that that didn't quite capture the energy I was going for, but you can still hear the garage influence in the second verse drums.
Two of my favorite aspects of this track were total happy accidents; the first being the duet vocals. I had initially planned to have the track follow the original track's form of Trey singing the first verse with Koa backing, then vice-versa for the second verse. However, when I started layering in Koa's vocal along with Trey's, I thought that it sounded incredible as a proper duet - to me it evoked a scene from a musical. So I leaned into that, going so far as adding some bar ambience in the beginning ambient section to hopefully imply the setting I saw in my head.
The second happy accident was the heavier, big room-esque drop in the middle of the track. I was rearranging and distorting the vocal chops from the original to create a new rhythm that I intended only to serve as some movement during the DJ intro, but I ended up liking it so much that I decided to try making a full drop out of that sample. It fell together surprisingly well and I think it serves as a really fun twist to the format of the track.
Big thanks to Koa and Trey for letting me remix this banger. Go check them out and support P@D Survivors!
This track began its life only distantly related to MLP as an exercise for me teaching myself to replicate Archie's sound design. It originally had different chords and a different melody, and even though I was happy with it, it lacked a certain spark to make it stand out. The track sat in my vault in a partly-finished state for almost two years before I was struck with the idea to remix Shine Like Rainbows when Whirly Tail made me aware that clean lead and backing vocal tracks are available for the EQG soundtrack if you know where to look.
This song is one of the very few from MLP:FiM/Equestria Girls that I haven't heard remixed. So I used the sound design from that original project and reworked it with the musical elements from Shine Like Rainbows to pay my tribute to Archie – who, I think it's fair to say, pioneered the mainstream-quality MLP house remix. It's hard to overstate how big of a factor Archie was in me discovering my love of EDM and getting into music production in the early 2010s. Proud that many years after being inspired by his style I've learned to emulate it with my own spin. :D
This track was originally released on Ponies at Dawn: Blossom. Please go support the album and all of the amazing artists there! poniesatdawn.bandcamp.com/album/blossom
This track was a ton of fun to make. I love diving deep into the lush soundscapes possible in liquid DnB. In some ways this is a spiritual successor to my remix of "Flee," incorporating many of the same elements of musical storytelling and pace while taking on a much brighter character inspired by the theme of Blossom.Flee (ft. Koa) [Jensen Stiles Remix] – Whirly TailJensen Stiles2024-08-26 | Stream/download: jensenstiles.fanlink.tv/flee-remix
Huge thanks to Whirly Tail and Koa for letting me remix this song, and thanks to the good people of Ponies at Dawn for featuring this track on Wanderlust.
This track is nearing two years in age, and I recently realized that I never uploaded it to my own channel. This is a very special track to me; it was my "breakout" track in the brony community and still firmly holds a spot in my top three favorite projects I've been involved with. I feel that I grew a lot as an artist and producer over the course of working on this track, and the lessons I learned from it have carried forward to every track I've made since in a big way.
The original track is deeply emotional, and as soon as I first heard it I knew I wanted to dive even further into that emotion. A magical thing happened when I started working on the track in that the pieces simply fell together with ease. The story laid itself out to me while I was arranging the track as if I was discovering it rather than creating it. This remix also played a big part in me becoming acquainted with – and then later friends with – both of the original artists, which was left a lasting impact on me that I'll carry with me forever.
The last couple of months have been a rollercoaster of emotions for me. Both some of the happiest yet strangest times of my life. It all results in a weird equilibrium of happy and sad feelings that are overwhelming and hard to describe. This song is my way of venting that feeling.
From a sound design perspective, I came at this track with the approach of: Make a Hillsong United backing track and put a drop in it. I started with the ambient, U2-inspired guitar riff and went from there. The end result is a wall of sound that, to me, feels like crying out in despair and joy all at once.
Koa is an absolutely incredible artist when it comes to just about everything she does. When I handed her the demo for this track I knew she would turn it into gold, but I couldn't have anticipated just how well she would capture the spirit of what I was going for with the instrumental from both a melodic and lyrical standpoint.
This project also scratched the long-time itch I've had to write something with a 6/8 over 4/4 polyrhythm. The piano in this track follows the 6/8 feel as it plays triplets over the shuffle percussion groove. Koa took that, too, and played into it seamlessly with her vocals following the different meters when appropriate.
While we're giving credit where it's due – and to be transparent about my inspiration – this track is heavily inspired both instrumentally and vocally by Direct and Danyka Nadeau's track, "Same Thing," as well as taking strong sound design cues from Mr FijiWiji. Shouts out to both of them for providing pretty much all of the drum samples used in this track via their Patreon.
Last year I proposed a progressive trance concept to Trey Husk with the chords and melody for this track and he was immediately on board. He put his signature sound design sauce on the melodic drop while I made an electro-style intro, and it all came together to make Terminal Velocity. We're both super proud of this and we hope you enjoy!
This track was released alongside 69 (nice) other bangers on Ponies at Dawn's album, "Blossom." Please go give the album your ears and support as there are so many artists doing incredible work there: poniesatdawn.bandcamp.com/album/blossom
noShift came to me with a concept for a dark ambient track with a very spacey, surreal vibe, and I couldn't say no. I proceeded to add some subtle percussion and melody and the track was made.
My part of "Ascension", a remix EP of the absolutely beautiful tune by @khaliber and @TreyHusk. For my take on the track, I went in a firmly progressive trance direction, deciding to lean into the contemplative chord progression to create something intense but also uplifting.
Please go support the main release! The EP is excellent from front to back, with a surprisingly wide range of EDM styles for a 5-track collection. https://www.auralalliance.page/releases/ascension
Check out Khaliber: https://linktr.ee/khaliber Check out Trey Husk: treyhusk.carrd.co
"Ascension" written by Benjamin Kitching, Henry Husk, & Jonathan Kitching. Released on Aural Alliance Friday, December 8th, 2023.[PROG TRANCE] JayB & Giggly Maria – Rain (Jensen Stiles Remix)Jensen Stiles2023-11-23 | Stream/download: jensenstiles.fanlink.tv/rain-remix
This track is very special to me, as it's one I've wanted to remix since long before I even got into music production. The original turned ten years old this year, so I figured now would be a good time to make that idea a reality.
The combination of chords, melody, and vocals in the original track are just an incredible feeling that is both melancholic yet uplifting – the perfect storm of ingredients for a stellar progressive trance track. It was such a joy to work with those pieces to create my own take on the song.
My fellow producer NeighGative_ and I are very excited to debut our first track under our collaborative alias, Set Free! As this duo, we'll be diving into a nostalgic type of trance and downtempo music that falls a little bit outside of our normal style and the current era of EDM in favor of an unrestrained, classic sound evocative of the trance DJs of old.
A collaboration with my excellent fellow producer, noShift, and my first and definitely-not-last dive into future garage. This was a wonderful blending of our takes on ambient music and I feel like we both ended up bringing some great elements to the table that meshed well into a cohesive track. The final result is something that sounds cool and floaty, but still has a comforting kind of vibe. Expect more collab tracks from us in the future (garage [heh)!
Wanted to give this masterpiece the early-2010's progressive house treatment – maintain the energy and vibe of the original track while still remaking it in a considerably different style. Many thanks to Sylvver and Koa for letting me mess with this track!
Original track by Sylvver & Koa: youtu.be/JHkb5dV8FkU Follow Sylvver here: https://linktr.ee/Sylvver Follow Koa here: https://linktr.ee/koapony
This track started its life as an idea from Kraedt which he initially didn't intend to finish, but as soon as I heard the melodic hook I thought, "I can make this into progressive trance." So that's what we did! This is a really cool combination of ideas; the harder electro-style intro was entirely my work, followed by Kraedt's original melodic drop. We were both super pleased with how cohesive the whole project ended up.
One of my favorite time-sinks in the last couple of years has been the game Cities: Skylines. This track is inspired by the deep house tracks that put me in the relaxed but creative head-space where I've done my best work in the game. Deliberately monotonous and unassuming, but with wide pad movements and lush percussion, meant to be listenable as either a focused experience or as background for gaming. I had a lot of fun designing all of the atmospheric layers of this one, just as I did designing the city used in the cover art.
The track comes in two variations: The "Night Walk" mix, which is the original deep house version I first conceived, and the "Night Drive" mix which I made on a whim to see if it would work as an ambient breaks track. I ended up liking each one so much that I decided to release both as a two-sided single. The marching snare breakdown in the middlle of the track actuallly came out of experimenting with the ambient breaks, and has become my favorite little twist that the track brings.
Genre: Ambient Breaks Released Thursday May 18th, 2023 Produced by Jensen David Stiles (statoose)[DEEP HOUSE] Jensen Stiles – Above The City (Night Walk Mix)Jensen Stiles2023-05-20 | Stream/download: jensenstiles.fanlink.tv/abovethecity
One of my favorite time-sinks in the last couple of years has been the game Cities: Skylines. This track is inspired by the deep house tracks that put me in the relaxed but creative head-space where I've done my best work in the game. Deliberately monotonous and unassuming, but with wide pad movements and lush percussion, meant to be listenable as either a focused experience or as background for gaming. I had a lot of fun designing all of the atmospheric layers of this one, just as I did designing the city used in the cover art.
The track comes in two variations: The "Night Walk" mix, which is the original deep house version I first conceived, and the "Night Drive" mix which I made on a whim to see if it would work as an ambient breaks track. I ended up liking each one so much that I decided to release both as a two-sided single. The marching snare breakdown in the middlle of the track actuallly came out of experimenting with the ambient breaks, and has become my favorite little twist that the track brings.
Genre: Deep House Released Thursday May 18th, 2023 Produced by Jensen David Stiles (statoose)[DARK AMBIENT/MIDTEMPO BASS] Jensen Stiles – WasteJensen Stiles2023-03-18 | Stream/download: jensenstiles.fanlink.tv/waste
The somewhat downer contemplation of how much unnecessary waste humanity creates lead me to make a dark ambient track about roaming a post-apocolyptic world. Then, because I am still an EDM enjoyer, I put a drop in the track, lol.
Genre: Dark Ambient / Midtempo Bass Released March 16th, 2023 Cover art photo by Cover art photo by Hans Ripa unsplash.com/@hansripa[LIQUID DRUM & BASS MIX] Immaculate Vibes Pt. I – continuous mix by Jensen StilesJensen Stiles2023-02-24 | Been brushing up my DnB mixing skills recently. Here's a little mix of some tunes that have been stuck in my head as of late!
Track list: 0:00 bank pain & Totalspark – This Too Shall Pass (ft. SDreamExplorerS) [Totalspark VIP] 3:35 Approaching Nirvana – Stillness in Motion 8:50 Keeno – As One 12:52 Lavender – Recollection (ft. Tw3Lv3) 16:22 Tw3Lv3 & Totalspark – Echos of Rain 18:45 Keeno — Isokime 23:10 KRWN – Begin Again 26:50 eksoka – Unforgettable 31:05 PSFMer – Shrouded Soul 35:30 bank pain & Hay Tea – Autumn Ends 39:32 Tw3Lv3 – Deepest Depths 43:35 Whirly Tail – Flee (feat Koa) [statoose Remix][MELODIC HOUSE] Jensen Stiles – When The Snow Finally ArrivesJensen Stiles2023-02-17 | Stream/download: jensenstiles.fanlink.tv/when-the-snow
A song about winter depression and how it's washed away by the magic of snowfall.
Genre: Melodic House Released February 16th, 2023 Written and produced by Jensen David Stiles (statoose) Cover art photo by Kacper Szczechla: unsplash.com/@wyroq[PROGRESSIVE TRANCE] Ellie Goulding – Lights (Jensen Stiles Remix)Jensen Stiles2022-11-30 | Ever since I first heard this classic I've wanted a progressive trance version so fit into DJ sets, but have never found one that satisfies that particular niche. Now that has been rectified!
Genre: Progressive Trance Released November 29th, 2022 "Lights" originally performed by Ellie Goulding; written by Ellie Goulding, Richard Stannard, and Ash Howes. Remix produced by Jensen David Stiles (statoose) Photo used in video by Chirsopher Burns: unsplash.com/@christopher__burns[DEEP HOUSE] Jensen Stiles – ExpositionJensen Stiles2022-11-17 | Download: jensenstiles.bandcamp.com/album/exposition
I originally set out to make a long-form, deadmau5-style track with a sort of "businesslike" chord progression – I found reasonable success with that, but didn't think the project was something I liked enough to finish and post. The project sat untouched for a couple of years before I decided to revisit it with a more deep/melodic house approach, and I'm pretty happy with how it turned out!
This is a special project for me; "Evacuate" is one of the first tracks I ever wanted to remix, a couple years before I ever started producing. Baasik was generous enough to provide me with the vocal track, and I kept it safely stored on my hard drive for several years, electing to wait until I felt that I had the necessary skill set to make the remix that I'd heard in my head. All these years later and that remix has become a reality – and, in a somewhat rare event, is *exactly* what I had in mind when I first conceived it. Hope you enjoy, and thanks to Baasik for letting me remix his track!
"Those Places" is inspired by many liquid drum & bass tracks that give me a sense of travel and adventure – seeing sights pass by outside of your train or car window, and of serendipitously finding amazing locations to which you wish to return someday.
A from-the-ground remake of a track I originally published back in 2017. Props to Jordan Hemenway and his work on the phenomenal soundtrack for indie racing title "Distance" which inspired me to remake this track in a similar, dark electro style.
What started out as an attempt at Lo-Fi Hip-Hop and ended up as something more like Downtempo, this track is about staying cozy inside on a cold winter's day. There is a deliberate contrast in texture between the sections with drums and the sections without, meant to evoke the feeling of stepping outside and feeling the cold wind and snowfall before coming back inside to the warmth of a fire and blanket.
A sequel to my track "Lost" which I originally published in the late summer of 2020. I took the chord progression from the second half of the original track and voiced it in a modern trance style inspired by Dash Berlin and Sundriver. The song is about feeling spiritually lost, experiencing the full realization of that feeling and hitting rock bottom, before accepting it and riding out the emotion to see where it takes you.
This is a remaster of a track I originally published on my first album back in 2016. The piano hook is closely inspired by Aivi & Surasshu's track "Atop the Sea Spire" from the Steven Universe soundtrack. The message of the song is about letting oneself feel the emotions they feel, whether positive or negative, as allowing oneself to feel is the only way to overcome. Surrender yourself to that feeling.
The remastered track has been built from the ground up, with entirely new drums, bass rhythm, as well as new piano, flute, and string samples that I have acquired since making the original track. I wanted to give it a colder, more "EDM-ish" texture while retaining the vibe of the original, and I'm pretty happy with the result.
I went through a bit of an emotional fog recently, and did some self-reflection about myself as an artist. And, like all responsible, moody musicians do, I wrote a song about it. As the title implies, this song is about feeling lost – emotionally, physically, or artistically.
When I sat down to write something dark, I actually ended up with what would become the finale of the track – led by that organ-synth. It came out sounding far more content than I had expected, so I elected to use it as an ending section which, to my ears, gives a feeling of resolve. It's coming to peace with being lost, and letting oneself drift until they find their home.
This is a remaster of a track I originally published in late 2017. Primarily inspired by the music of JayB and Sundriver, I composed this with the intent of fitting in seamlessly with the trance tracks I commonly listen to on nighttime highway drives.
I came up with the chords and melody over a year ago and somewhere along the line the track turned into a summery progressive house bop. I had literally no idea what to call it until I was hunting for beach-themed cover art and found this photo, and it seemed like the perfect fit.
Genre: Progressive House Released April 30th, 2020 Cover photo by Vicko Mozara: unsplash.com/@vicko