Monday, November 23, 2015

The Eden Project | Bipolar Paradise


Background

The Eden Project, who recently switched his alias to EDEN, is easily recognizable for his blend of pop/rock vocals and innovative EDM.  Because of his recent name change, information on him is short, and two tracks from "Bipolar Paradise" (there are five) are the oldest songs up on his SoundCloud, even though the complete discography, which you can download here, he offered before the switch says otherwise.  Supposedly, he received a laptop from Puppet, another electronic musician whom The Eden Project has two collaborations with on Monstercat, which he used to begin producing music.  A year later, he was making enough money from his music to buy his own laptop, and ever since he's been a huge staple in the electronic music community.  In addition to producing his own songs to sing on, he's been featured by the likes of Puppet, Crystal Skies, Reaktion, and more.  "Bipolar Paradise" is one of his later releases, and one where his sound is more refined.

Review

Listen to "Bipolar Paradise"

The Eden Project has used his unique vocal talent to craft a perfect blend of an indie electronic style and alternative popish vocals.  While his production is definitely a work of art and a new, fresh take on the downtempo lo-fi electronic music scene that seems to be gaining ground, his vocals are the real star of all his works.  The Eden Project has massive talent; his voice is clean, articulate, and can sing grace notes and turns with perfect precision.  There's no one to compare his vocal style to, as it's uniquely his own and hard to imitate.  "Bipolar Paradise" starts off strong with a chello melody from "drowning.," the opening track.  It starts off with the filtered vocals that The Eden Project knows and loves, and the dark, depressing song builds to a downtempo, wobbly chorus.  After a short break with a huge wall of block chord sound, we get another verse and chorus, which then builds to a huge electro breakdown which also serves as an outro.  "Fumes" is next, which almost sounds like an Imagine Dragons alternative rock track with hints of electronic hiding between the staff.  Either way, "Fumes" is an upbeat track with a catchy vocal line and a tasty sawtooth breakdown.  With "Jupiter," "Bipolar Paradise" winds back down to the melancholy, dark sound that he's known for.  With some filtered strings and a memorable build into the chorus, we get a minimalistic breakdown which returns to the chorus after some more strings.  The chorus is a melodic mish-mash of multiple lo-fi, cluttered sounds and, with The Eden Project's vocals soaring on top, make "Jupiter" a fantastic track.  As an interlude of sorts, "Soul" breaks up the release as a short purely acoustic track.  It's not particularly unique in any way, but it does serve to break the relentless torrent of dark, heavy music, and it's just a peaceful song.  "Man Down," the last track on the record, almost feels like a continuation of "Soul" at first, but slowly the acoustic intro makes way for a big, offbeat chorus/drop.  It's probably my least favorite off the release, but that's just because every other song is so fantastic; it's no fault of the song itself.  It returns to the acoustic sound to end the song, and the release.

The Eden Project's vocal talent is what makes this record what it is.  Without it, it'd still be a fantastic post-EDM piece that's more creative than an everyday "club banger," and one hundred percent more artistic.  His vocals, however, and as usual, take "Bipolar Paradise" to new heights.  From the slow, dark tones of "drowning.," through the upbeat alternative feel of "Fumes," and to the slow, acoustic sound of "Soul," "Bipolar Paradise really has something for everyone, and the vocal work is way too catchy to be passed up.  8/10.

Notable Remixes

Fumes (Murtagh Remix)

It's technically a bootleg, and not a remix, but that slight technicality doesn't stop Murtagh's remix from being quite good.  It's got a controversial record, but his interesting take is definitely more than "a bit strange," as one YouTube comment describes it.  His remix has great variation, from the heavy drop in the beginning and to the verse.  After a slightly long pause, there's a mostly instrumental, almost neuro chorus, into a melodic, plucky outro.

Fumes (Murtagh Remix) (Arcien Bootleg)

In an interesting take, Arcien remixes what's already been remixed, although the original remix is so close to the original at times that Arcien's bootleg almost just feels like a remix of the original.  Arcien's take is just a melodic drum and bass take on the original remix that overall just feels more coherent than Murtagh's remix.  It's short, but it feels just perfect.  In the end, the drum and bass fix is just what the song needed.

Friday, November 20, 2015

Knife Party | Trigger Warning


Background

As stated in my previous reviews about Knife Party, Knife Party started off as a side project coined by Rob Swire and Gareth McGrillen of Pendulum, but it became their main act.  After a few insanely popular remixes, most notably of "Spitfire" by Porter Robinson and "Save The World" by Swedish House Mafia, they released their debut EP, "100% No Modern Talking EP."  From there, the Australian duo's success is legend: Knife Party is a staple name in EDM and the duo has released multiple EP's and even an album, "Abandon Ship."  "Trigger Warning" is the fourth and most recent of the duo's trend of 4-track EP's.  It was quietly released two days ago (even I didn't know about it until today) and the tracks were revealed a day early via 1001Tracklists.

Review

Listen to "Trigger Warning"

It's strange to me that I didn't even know this EP had released until two days after it had, even though I follow Knife Party on SoundCloud, YouTube, and Facebook.  Stranger still is the minimalistic approach to the cover art, as the duo's logo, the knife in the circle, is not the main focus of the artwork, as it has been for all their other works.  Yet perhaps the strangest thing about this release is the fact that it doesn't really feel like Knife Party.  Sure, anyone listening to this EP could probably nail down their signature sound as distinctly theirs, but it lacks the hard edge that makes their music such a good standard and example of where bass music could and should be.  It's also worth mentioning that this is the first Knife Party release to feature a remix on the release itself, which means that one of four valuable spots on the EP does not feature the classic Knife Party sound, further detracting from the soul of the EP.  That being said, it's not a bad release under the wide umbrella of EDM as a whole.  "PLUR Police," which supposedly stands for "Peace, Love, Unity, and Respect," features catchy robotic vocals based on the song "Bad Boys," with "bad boys" swapped out for "PLUR police" in the actual melody.  The rest of the song is just big room, and, while miles better and more progressive than your average big room track, it's still just big room, which, from Knife Party, is rather below the standard they've set for themselves.  It's got a rather exciting cinematic breakdown in the middle, but it's faded into and out of too quickly and I wish it had been expanded upon.  In what's probably the best song off of the EP, "Parliament Funk" has that classic electro groove that I'd expect from "Rage Valley" Knife Party.  The drop gets repetitive fast, and it's not nearly as funky as the title implies, but the rhythmic bass hits and pounding electro groove do drive the track nicely and the rosk-ish guitar and drums, especially present in the intro and the second build, are reminiscent of Pendulum, which is a nice throwback to the duo's older work.  The last of the originals on this EP is a collaboration with Tom Staar called "Kraken," but the electro and big room hybrid just comes out sounding like another "EDM banger," that is to say, a generic track meant to be played at festivals and not much else.  It is nice, though, to note the lack of distorted kick that usually defines big room house.  The drop is catchy, but it gets repetitive quickly, and not even the toe-tapping beat can save this track.  In a rather ironic turn of events, the hardest track on the EP isn't even Knife Party's.  Jauz's remix of "PLUR Police (Jauz Remix)" takes the catchy vocal line from the original and frees it from its generic big room prison.  His heavy, dissonant wobbles and growls in an absolutely massive dubstep beat are actually the saving grace of what would otherwise be a complete waste of 17 minutes.  The mix feels a little rough around the edges at times, but that's more nit-picky than anything, because it's such a relief to hear something a little edgy on this album.

And, if anything, that's my main complaint with "Trigger Warning:" it's too safe.  It feels like Knife Party made an album to pander to their average festival-goer, but that's never what they've been about.  Knife Party have always been about pushing the boundaries of EDM, going a little harder than the average listener is comfortable with.  More recently, however, their sound has been becoming a little more careful, like they're trying not to offend anyone.  My advice: offend someone.  Jauz had the guts to make a hard track; follow in his footsteps.  I know it was released first, but Jauz's remix has more plays than every other song on the album combined for a reason.  Overall, "Trigger Warning" feels rushed, and a little bit too careful.  I'll still be picking it up, as I own all of Knife Party's discography, and I don't plan on breaking that tradition, but such a generic album is not high on my priority list.  5/10

Wednesday, November 18, 2015

Artist Spotlight | Ninth Parallel


Background

Ninth Parallel may only have 6 songs completed (of which only four are available for download and only three on his SoundCloud), but his limited repertoire doesn't keep him from having 7,000 loyal followers and an official release for none other than Porter Robinson himself.  He put out his first track a little over 2 years ago and, while spread out, has been releasing tracks consistently.  With some fantastic tracks in the works (shown off in a couple of incredible previews no longer up on his SoundCloud), Ninth Parallel is definitely a name to look out for.

Spotlight

Ninth Parallel's SoundCloud

Ninth Parallel, while his mixing needs a little work, has no shortage of creative ideas and the resulting works that he's come up with in two short years are nothing short of pieces of art.  "Verloren" is the perfect example of this: it's definitely electronic, but there's no sign of the cookie cutter intro-build-drop-breakdown-drop-outro that plagues club scenes and personal playlists alike.  Each section flows to the next elegantly and without the ever-so-common kick and white noise buildup found in almost every EDM song.  The track itself sound like Madeon and Porter Robinson had a musical child (and Ninth Parallel is quick to mention them as musical influences), and the result is a beautiful, synth-heavy epic.  Speaking of Porter Robinson, Ninth Parallel was asked to and did an official remix for "Sea of Voices" on Worlds, and I actually covered it in the afore linked review.  "Sea of Voices (Ninth Parallel Remix)."  Ninth Parallel sites the remix more as a tribute to Porter Robinson and his music than an actual remix.  The remix sounds fundamentally similar to the original, just without the three minute intro and focuses more on making the climax of the original into the main focus of the song, with extra little sound and melodies here and there.  As a remix, it's very similar to the original, but as a tribute, it's a beautiful work that embodies the work that Porter Robinson does, and at the same time also showcases Ninth Parallel's style and the future he strives for.  And that future is bright: in a series of teasers now removed from SoundCloud and only available on Ninth Parallel's YouTube channel is a teaser for his upcoming song "Infinitum."  While it's only a two minute teaser, it holds nothing back and yet leaves everything to the imagination, or at least to the full release, whenever that is.  The bitcrushed chord stabs in the beginning never fail to evoke chills.  The kicks come in, and that and the fluttering windchime-esque sound in the background create a uniquely spacey feel.  The teaser leaves us hanging with a huge bass hit thats foreboding and yet awe-inspiring.  It's like a giant planet looming on the horizon, balancing between the vast expanse of space and the wonder of the starry night sky.

Ninth Parallel has come a long way in his two short years on the scene, and can only head upward from here.  With three self-released singles and an official remix, it's hard to tell what else Ninth Parallel has in store for us, but the answer can be nothing bad.

Monday, November 16, 2015

The M Machine | Metropolis: The B-Sides

And with this we finally conclude the epic that is "Metropolis."


Background

As you may have read in my previous reviews of this Metropolis masterpiece, The M Machine, formerly Pance Party, are an electronic duo (used to be trio) based in San Fransisco, California.  They made their name known when their debut EP "Promise Me A Rose Garden/Glow" was released on OWSLA, and remained #2 on Beatport for an entire week.  A teaser for their "Metropolis EP," now split into two parts, went viral.  The first part, "Metropolis, Pt. I" released in April 2012, with the second installment, "Metropolis, Pt. II," releasing almost a year later in February 2013.  "Metropolis" as a whole is based on the sci-fi film "Metropolis" and tells the story of the dystopian city of Metropolis.  The B-Sides to Metropolis were just released the week of August 11, 2015, over two years after the two part album released and three after the first installment came out.  "Metropolis: The B-Sides" features six tracks in the classic The M Machine style that didn't fit into the two parts of the actual album.  The album artwork for the B-Sides is a combination of the album artworks for all the parts of Metropolis and the album artwork for "Promise Me A Rose Garden/Glow."

Review

Listen to "Metropolis: The B-Sides"

"Metropolis: The B-Sides" may be two years behind the original work, but it lacks none of the creative insight that The M Machine never fail to bring, despite their more recent work being underground deep house.  The B-Sides start off fresh with "Happy Land," which is really anything but, music-wise at least.  It's got a heavy beat and a strange zipping wobble that drive hard and could easily find a place in an underground club scene.  If four minutes of the same chords were your thing, "Diamonds" would be the perfect track for you.  "Diamonds" doesn't really have much going for it; it gets repetitive real quick.  "Specific Hell," though, is the next track, and it's anything but.  It starts off with a rhythmic drum groove that transitions into a crazy, octave-jumping synth riff which builds as the track runs its seven-minute course.  "Radiolight" is strangely vivid in its portrayal of a broken radio shining beacon of hope in some dark cave.  In reality, it's just some majestic, open chords over a spacey drum beat, but it does a good job of presenting an idea an an image.  The song itself isn't that interesting, but it is a nice cinematic song.  Speaking of cinematic songs, "Space Design" is exactly that.  There are no drums to be heard anywhere in the song, it's just the same chords in differing layers with interesting, albeit strange at times, sounds gracing the vast soundscape.  The space dies as the instruments fade out and just a toybox is left.  "When It's Gone," the last song on the B-Sides, is a nice slow house track worthy of a spot on a Madeon record.  It features unaccredited vocals from who I believe is actually one of the members of the group, but I can't find any sources for that.  Either way, the vocals are really catchy, although not perfectly clean, and they sit atop some chords in a really interesting synth.

Even two years later, "Metropolis: The B-Sides" still brings fresh the memories of the massive work that is Metropolis.  There have been six tracks released, and while that's technically the last of them, The M Machine plans to "package it all together with some bonus tracks/extras/instrumentals and give that away as soon as its ready," according to their Facebook page.  It's been two months since they said that, and I consider "Metropolis: The B-Sides" to be completed, as "When It's Gone," the last track on the EP, is the "the last of the soundcloud b-sides," again, right from the members via Facebook.  There's nothing quite like The M Machine's distinct electro house sound, and for the first taste in two years, it's like a sliver of jerky to a starving man.  There are a few gems on the B-Sides, and they really shine through to any fans of The M Machine that put out Metropolis.  7/10

Sources

Wikipedia | The M Machine

Friday, November 13, 2015

The M Machine | Metropolis Remixed


Background

As you may have read in my previous reviews of this Metropolis masterpiece, The M Machine, formerly Pance Party, are an electronic duo (used to be trio) based in San Fransisco, California.  They made their name known when their debut EP "Promise Me A Rose Garden/Glow" was released on OWSLA, and remained #2 on Beatport for an entire week.  A teaser for their "Metropolis EP," now split into two parts, went viral.  The first part, "Metropolis, Pt. I" released in April 2012, with the second installment, "Metropolis, Pt. II," releasing almost a year later in February 2013.  "Metropolis" as a whole is based on the sci-fi film "Metropolis" and tells the story of the dystopian city of Metropolis.  On The M Machine's website is an illustrated story that goes along with the EP, the third part of which lines up with the Remix EP and can be found here.  "Metropolis Remixed" was released later the same year as the second part of the EP, and features a star-studded lineup of remixers, as well as one original from The M Machine.

Review

Listen to "Metropolis Remixed"

The M Machine have held back nothing when it came to filling their remix EP with some of the hottest names in EDM at the time, and those artists left everything on the album.  "Metropolis Remixed" is a wonderful mix of various styles that perfectly concludes the ideas that the first two EP's started.  The Remix EP starts off strong with Digitalism's remix of "Moon Song," which brings none of the heavy dissonant chords but instead is an upbeat, danceable tune.  Kill The Noise reimagines "Ghosts in the Machine" in a futuristic, lasers, wobbly soundscape of heavy dubstep.  Robotaki takes "A King Alone" and turns it into a happy, and almost tropical, progressive house track reminiscent of "The Veldt" by Deadmau5.  "Data Palace" is an original track, but even then, it's technically a reimagining of "The Palace (feat. Blake Hazard)" which appeared on the second part of the Metropolis EP.  It's a snare-heavy remake, and has a tasty filtered lead synth and a heavy wobble at the drop.  Shinichi Osawa's remix of "Tiny Anthem" is rather slow and interesting, with a house-esque beat (although at a much more relaxed tempo) and an interesting melodic climax with overdriven kicks and a classic acid synth.  Tantrum Desire manages an American-style drum and bass remix of "Schadenfreude" filled to the brim with wobbles, growls, lasers, and more on top of that drum and bass beat we all know and love.  Matt Lange takes "Shadow In The Rose Garden" to a whole another dimension in his chilled out remix, in direct contrast with the synth-heavy dubstep of the original.  He's managed to create an eerie, almost wistful remix full of strange sounds and ethereal synths.  Proxy turned the chill house vibe of the original into a warped out trap remix with his vision of "Faces."  The deep rumble of the 808 vibes perfectly with the bright, fluttery synth on top.  "Black (Trifonic Remix)" closes out the EP and is probably my favorite off it, too.  He takes the bass synth from the original and uses it as a deep accent to an otherwise misty swirl of ambient sound.  This, with the chill trap beat, makes for a unique and reflective track.

The M Machine never lack creativity as they took the lead at the front of the EDM world after signing to OWSLA, and this remix EP, while not directly theirs, continues their legacy in the best of way and brings a fresh slew of ideas to their already fantastic EP duo.  The selected lineup delivered in the best way and kept the legacy of Metropolis going strong.  8/10

Sources

Wikipedia | The M Machine

Monday, November 9, 2015

raybaboon | raybaboon

I know I'm supposed to be finishing up my Metropolis series, but it's a rainy day here and this is a perfect rainy day album.


Background

There's a lot of controversy surrounding raybaboon.  Two years ago, he put up a couple of tracks on SoundCloud.  A year later, he released more tracks, which were compiled into "raybaboon," his self-titled album.  After that, nothing; he hasn't been heard from in over a year.  The controversy surrounding raybaboon doesn't come from this, however.  People believe that raybaboon is Joji, an affectionate name for George Miller, the mind behind the insanely popular shock humour YouTube channel "Filthy Frank," which, among other things, started the Harlem Shake craze.  There's no proof, so anyone claiming one side or the other is just rumor, but, regardless, "raybaboon" is a fantastic album.

Review

Listen to "raybaboon"

It doesn't matter who's behind the album; raybaboon's self-titled release is a perfectly crafted blend of electronic and indie melodies perfect for a rainy day.  Generally speaking, each half of the album falls into either dominantly indie or electronic.  "Everything Falls Apart," "Landing On Mars," and "Picture Frames," the latter of which is my personal favorite off the album, generally are more electronic in sound, while "The Wind," "Where Did I Go," and "Our Love Remains," are very indie and bordering acoustic.  Of course, they'd just be pretty instrumentals without raybaboon's voice.  His lyrical composition is one of the best things about this album.  Each work is more than just a love song; it's a romantic poem.  "Deep sleep aviations, in conversations with constellations / Midnight trepidations, the detonations of self-deprecation," from "Picture Frames," is a fantastic way of wording what otherwise could have been very simple, but raybaboon has turned a sentence into a work of art.  His ability to weave words into works of art is noted all across "raybaboon."  Naturally, the electronic pieces aren't exactly EDM, but are much more relaxed and could almost be entirely acoustic.  "Everything Falls Apart" is a slow ballad with reversed piano and a wobbly sub bass.  "Landing on Mars" gets almost future-y with its lo-fi beat and brassy synth chords.  "Picture Frames" is a slow ballad that has camera sounds accenting the chill, vaporwave drums and beat.  Everything about "Picture Frames" is brilliant, from the relaxed, reflective feel to the chorus that pulls at the heartstrings.  The indie half is equally good.  "The Wind" is a nice indie track with a driving, almost funky bass and crisp drums.  "Where Did I Go" explores nostalgic feelings and is the most upbeat track on the album, in terms of consistent drums and a standard song structure.  The chorus is busy, but very catchy and unique in its inclusion of mallet percussion.  "Our Love Remains" is purely acoustic, and closes out the album with beautiful harmonies atop a simple, repetitive acoustic guitar riff.

It's hard to put "raybaboon" into words perfectly.  Nothing can really describe the art that raybaboon has crafted with his self-titled release.  I've been listening to it almost non-stop since I found it the other day, and it never fails to inspire melancholic feelings within me.  It's a perfect rainy day album and a true piece of art.  I hope that raybaboon reemerges from his period of inactivity and releases new content soon, but until then, I'm more than satisfied with "raybaboon."  9.5/10

Acoustic

Picture Frames [Acoustic]

In addition to the original, raybaboon also released an acoustic version of "Picture Frames."  It's longer, at 6 minutes, slower, but that doesn't stop it from being incredible.  The tight, dissonant chords are much more noticeable in the more prominent guitar line, and the voice and guitar duo is much more personal and intimate, and adds another layer to the already emotional track.  The acoustic version is absolutely stunning.

Friday, November 6, 2015

The M Machine | Metropolis, Pt. II

This is the second part of this post, but I'm also going to be reviewing the remix album and the B-sides.  Stay tuned!


Background

As you may have read in my previous review of this two part EP, The M Machine, formerly Pance Party, are an electronic duo (used to be trio) based in San Fransisco, California.  They made their name known when their debut EP "Promise Me A Rose Garden/Glow" was released on OWSLA, and remained #2 on Beatport for an entire week.  A teaser for their "Metropolis EP," now split into two parts, went viral.  The first part, "Metropolis, Pt. I" released in April 2012, with the second installment, "Metropolis, Pt. II," releasing almost a year later in February 2013.  "Metropolis" as a whole is based on the sci-fi film "Metropolis" and tells the story of the dystopian city of Metropolis.  On The M Machine's website is an illustrated story that goes along with the EP, the second part of which lines up with the second half of the EP and can be found here.

Review

Listen to "Metropolis, Pt. II"

"Metropolis, Pt. II" builds upon what the last part of the EP started and concludes the two-part EP in an epic fashion.  The sounds that this second part feature feel more refined than the first part, and the ideas presented feel like they flow better.  "The Palace (feat. Blake Hazard)" opens up the second part of this epic with some lo-fi chords and a cutting synth lead, with Blake Hazards's vocals balancing on top.  This makes way for some synth-driven and percussion-heavy dubstep that's not commanded by heavy bass, as is usual of dubstep music.  The rest of the song continues in similar fashion.  "Ghosts in the Machine (feat. pennybirdrabbit)" is next, with a slightly-downtempo house-esque track that features an alien lead and realistic drums.  If there was one thing I didn't expect from The M Machine, it was "Tiny Anthem," a very slow (for EDM, at least), almost relaxed track with unaccredited vocals and a very synthpop sound that belongs on a Madeon record.  "Moon Song" starts off huge with incredibly dissonant, mechanical chords that scream "the moon is right here, right now.  Look at it!"  More mysterious vocals accompany the track as it builds into more chords, and then into a driving futuristic percussion-heavy electro groove.  The moon chords return as the song ends.  "Schadenfreude," which is defined as "satisfaction or pleasure felt at someone else's misfortune" by dictionary.com, continues the trend of unnamed vocalists but this time with all the minimalist electro goodness that I've come to expect from The M Machine, even though technically this has a moombahton beat.  Syncopated machine bass hits riddle this track, and in combination with the strange synth sounds make for an enjoyable, danceable track that also feels a bit more threatening than usual.  If there was ever a 9 minute epic, "Luma," which also closes out the album, is it.  It starts off with a beautiful piano piece, which makes way for a reverb-heavy arpeggio.  This finally leads into the first hint of house music, a spacey plucky arpeggio on top of some spacey drums.  We're treated to a wacked-out drop full of lazy lasers and a driving drum groove.  We get cool chords and a cinematic half-time breakdown, and the song ends with more arps and uplifting chords.

"Metropolis, Pt. II" is a fantastic way to close out the Metropolis epic that The M Machine have created.  There's no doubt that in terms of creative electronic club music, "Metropolis, Pt. II" is at the forefront.  It is curious, however, the slight shift in style from part one to part two, but this can be accounted for by the year gap in release.  It's only natural for an artist's style to evolve as they grow musically.  It's in no way a bad change, though, and the second part of the EP is a perfect follow up to the first half.  With "Metropolis, Pt. II," The M Machine prove that they can finish what they started and conclude not just an EP, but a story.  9/10

Notable Remixes

The M Machine | Metropolis Remixed

Interested in a whole bunch of awesome remixes from Metropolis, both parts one and two?  You're in luck, there's a whole album of them picked by The M Machine themselves, so you know they're quality.  Check out my review of the remixes (linked above)!

Sources

Wikipedia | The M Machine

Wednesday, November 4, 2015

The M Machine | Metropolis, Pt. I

This is a two part EP, so expect the second half Friday.


Background

The M Machine, formerly Pance Party, are an electronic duo (used to be trio) based in San Fransisco, California.  They made their name known when their debut EP "Promise Me A Rose Garden/Glow" was released on OWSLA, and remained #2 on Beatport for an entire week.  A teaser for their "Metropolis EP," now split into two parts, went viral.  The first part, "Metropolis, Pt. I" released in April 2012, with the second installment releasing almost a year later.  "Metropolis" as a whole is based on the sci-fi film "Metropolis" and tells the story of the dystopian city of Metropolis.  On The M Machine's website is an illustrated story that goes along with the EP, the first part of which lines up with the first part of the EP and can be found here.

Review

Listen to "Metropolis, Pt. I"

The first part of this EP starts off with "Immigrants," which begins with a driving drum beat with fluttering hi-hats, but then continues into a mish-mash of sidechained sawtooths.  The second and third drop explore the saw melody a bit more.  In addition to the title, "Deep Search" actually sounds like an exploration into a cave, with water drops, heavy reverb, and other assorted cave-y sound effects.  There's a cool synthbrass fanfare in the middle, like the discovery at the end of the journey, but we're thrown right back into the cave as "Deep Search" closes out.  "A King Alone" sounds rather upbeat at first, but the lyrics are rather sad ("Look at me, look at all that I control / Everything that I need when I'm alone").  The song drives itself along nicely, with the lyrics supporting the happy house feel and overdriven synth lead.  "Faces" is next and rather short, and features unaccredited vocals.  The main focus of the track is the synth arpeggio over a slower house beat, and the arp features some crazy harmonies.  A machine boots up in "Black" with an intro more suited to a soundtrack than a dance floor.  However, as a deep voice says the title, we're treated to the electro that we all know and love as a deep synth crunch drives syncopation into our ears.  The breakdown screams cinematic with strings abound and chimes ringing across the vast soundscape, but the foreboding voice one more brings back the rhythmic bass to close out the song.  The first part of the EP ends with "Shadow In The Rose Garden," which starts off with chanting vocals as the drums build up to the heavily dissonant electro chords balancing on top of sawtooth basses that make up the rest of the song, bar the filtered outro.

As far as electronic music goes, The M Machine have always been at the forefront of creativity, in my opinion, at least.  It's easy to label the overarching genre of this two-part EP as electro house, but there's nothing else out there quite like the imaginative forefront of creativity that The M Machine have been exploring on this EP.  Their unique take on a genre so quick to become stale makes "Metropolis" a fantastic experience.  The only problem with this EP was the year long wait until the second half came out.  9/10

Notable Remixes

The M Machine | Metropolis Remixed

Interested in a whole bunch of awesome remixes from Metropolis, both parts one and two?  You're in luck, there's a whole album of them picked by The M Machine themselves, so you know they're quality.  Check out my review of the remixes (linked above)!

Sources

Wikipedia | The M Machine

Tuesday, November 3, 2015

Arkana | Nihilum EP



Background

Arkana is rather new on the EDM scene; the oldest track on his SoundCloud is only a year old, but he already has 2 EP's and numerous releases, of which "Nihilum EP" is the most recent EP.  He describes his work as his "attempt at sonically recreating the fantasy world in [his] head."

Review


Arkana may be relatively unheard of, but his sound is one of the best when it comes to the new trend in electronic music where the sound design and production is used to create vivid stories and settings, which became mainstream after Porter Robinson released his "Worlds" album a little over a year ago.  It's a new sound that doesn't really have a specific genre name, but genre or not Arkana has created a wonderful work of whatever it is.  "The Oracle" starts off the EP and is an interesting mix between an intro and an actual track.  It's only 2 and a half minutes long and it's very cinematic.  The first half of the track is a driving drum beat with spacey blips and bloops, but the second half introduces a tribal-sounding drum rhythm with spacey string chords added.  It would make a great soundtrack for a space trek across a foreign planet.  The EP ends, though, with the title track and a beautiful piece of the new trend in electronic music in "Nihilum."  "Nihilum" starts off with some basic synth chords and a hi-hat loop, but in a quick turn of dissonance and intense energy a driving kick drum brings a heavily sidechained saw crunch into the mix in epic fashion.  The song returns to the opening with more dissonant chords, but quickly builds back up to the pure frustration with huge bass hits and whirring drums.  String chords take the outro as the EP comes to a close.

"Nihilum EP" may be incredibly short, but Arkana has set a dangerously perfect precedent with the world he's not only envisioned but masterfully transferred from his mind to our ears.  Don't be surprised to hear more of Arkana here around Detour EDM; he's going places.  8/10

Friday, October 30, 2015

Skrillex | Leaving EP


Background

Love him or hate him, Skrillex's name is synonymous with EDM, and more specifically, dubstep.  Coming from the post-hardcore band From First To Last, Skrillex switched to producing electronic music when he was told he had to stop singing or risk destroying his vocal chords.  After releasing his "Gypsyhook EP" under his real name, Sonny More, he released "My Name is Skrillex" for free under his new alias, Skrillex.  It was his next EP, "Scary Monsters and Nice Sprites," though, that rocked the world and not only brought Skrillex to international fame but also popularized dubstep into mainstream media in the United States.  After that, the rest is history.  "More Monsters and Sprites," "Bangarang," and eventually his debut LP "Recess."  "Leaving EP" was a special 3-track EP given out to anyone that subscribed to Skrillex's label, OWSLA.

Review

Listen to "Leaving EP"

As a fun little bonus EP designed to incentivize a subscription service, "Leaving EP" is nothing special, but the tracks themselves are decent and have received decently well.  "The Reason" starts off the short EP and is an interesting electro track with vocal chops of the title's name and a moombahton-y breakdown full of lasers in the middle.  It's got a solid beat and the production is very clean, but it fails to do anything of note and and feels a little lackluster as a result.  It's interesting to note, however, that "The Reason" was produced an hour before release in a hotel room in Miami.  Skrillex returns to his roots with "Scary Bolly Dub," an interestingly grungy dubstep track with a wobble-heavy drop that gets stuck in my head for days.  The second half of the song is a variation on Skrillex's grammy-winning track "Scary Monsters and Nice Sprites," which released on the EP of the same name and has over 216 million plays on YouTube alone.  "Leaving EP" finishes with the title track, "Leaving," which is a downtempo, relaxed atmospheric track more suited to watching snow fall than being the soundtrack for a loud, thumping club.  It's unexpected from the king of dubstep, but it's a welcome change and, if anything, shows off Skrillex's talent and versatility as a producer.

While being a freebie for a subscription service and 2/3 of the tracks were written in hotel rooms, "Leaving EP" manages to produce tracks worthy of a listen and, although it feels more like three singles than a coherent release, is far from a bad EP.  6.5/10

Notable Remixes

Leaving (Sonny Alsalmo Remix)

Sonny Alsalmo takes a chill track and makes it that much chiller with his 8-minute remix of "Leaving."  As it's a trancey house mix, 8 minutes is more than acceptable; in fact, it's traditional.  With a prominent sub bass and spaced out drums, Sonny Alsalmo creates a misty atmosphere that is perfect relaxing listening.

Sources

Rolling Stones | Skrillex Releases New 'Leaving' EP
Wikipedia | Skrillex

Wednesday, October 28, 2015

Porter Robinson | Spitfire


Background

Porter Robinson is a well-established name in electronic music.  He began producing at 12 and was already a famous DJ by 18.  While his newer projects have broken away from traditional EDM, "Spitfire" is the embodiment of a typical club EP; early Porter Robinson was defined by his glitched out electro house, dubstep, and moombahton basslines.  "Spitfire's" success skyrocketed because it was the first release on OWSLA, Skrillex's label, and, naturally, Skrillex himself supported the album.

Review

Listen to "Spitfire"

Porter Robinson is no stranger here around Detour EDM, and for good reason: not only is he my favorite artist, but he's a talented producer with a diverse track record and, in addition to the certain quality needed for tracks to sell, he's found his own niche and his own way to make not just music but art, whether that be in the club scene or the newer, synthpop style that he's made his own.  "Spitfire" starts off with the title track, interestingly enough, in "Spitfire," a mysterious plucky opening that makes way for Robinson's huge, glitchy dubstep basses.  It's a powerful way to open such a massive EP, but it's kind of deceptive, since most of the originals on this EP are electro house.  Speaking of electro house, "Unison" is next up on the EP, and is my favorite electro house track ever and one of the reasons I started producing music myself.  In a perfect blend of melody and classic electro house sawtooth bass goodness, Robinson weaves a catchy, danceable melody intertwined with a grooving bassline which, when combined with the melodic breakdown before and between the drops, makes for an electro house track for the ages.  Robinson offers a humorous song next with "100% In the Bitch," a head-bobbing moombahton 4-on-the-floor beat with vocal samples detailing a Japanese test that needs to be taken and passed with 100%.  Even though the vocal samples are supposed to be funny, it's still a clean, well-produced track, something that a lot of producers overlook when creating a gimmick track.  Coming in at 7 minutes and 20 seconds, "Vandalism (feat. Amba Shepherd)" is the longest track on the EP, but, as a trancey electro house track, the genre more than allows it.  Shepherd's vocals compliment Robinson's energetic track nicely, and the sawtooth melody is enough to get anybody moving.  We get a taste of more dubstep with "The State," and, in typical Porter Robinson fashion, it's dark, moody, and ridiculously heavy.  After deep vocals describing and ranting about "The State," some kind of dictator-type regime, in come the massive glitches, wobbles, and growls that define Porter Robinson's short-lived dubstep career.  The song ends as the bass glitches into oblivion.  "The Seconds (feat. Jano)" ends the dubstep regime with more tasty electro house.  Jano's ethereal voice floats on top of a chopped bassline, which transitions into a beautiful chord breakdown.  Naturally, the beat drops and those glitched saws return, and a traditional drum outro ends the originals on the album.

From here on out, the rest of the EP consists of notable remixes, so, luckily, I've already got my "Notable Remixes" section done for me.  Knife Party kick off the remixes with "Unison (Knife Party Remix)."  In their take, they switch up the beat and, naturally, they bring their classic electro-moombahton bass sound that can be heard on their "100% No Modern Talking EP."  Mikkas also choose to remix "Unison" with "Unison (Mikkas Remix)."  It's still electro house, and while the melody has an interesting chord progression beneath it, the drop is much more focused on a new melodic line in tight, dissonant supersaw synths.  Downlink brings moombahton to a whole new level in "100% In The Bitch (Downlink Remix)."  The original was moombahton, too, but Downlink's beat has a lot more pop to it, and the lasers at the drop go crazy.  "The State (Skism Remix)" is also true to the original, dubstep, but Skism's all-over-the-place crazy bass drops make an appearance in his remix.  The king of the modern American drum and bass sound Kill The Noise finishes off the EP with "Spitfire (Kill The Noise Remix)."  It starts off with a drumstep drop chock-full of all the wobbles and growls you can imagine.  Luckily, the switch between drumstep and drum and bass is as easy as the beats the drums are placed on, and the second drop is the classic drum and bass sound that we all expect from Kill The Noise.  In between the drops is a nice synth solo.  And with that, "Spitfire" ends as it started.

Whether he's making the synthpop of tomorrow or the club tracks of yesterday, Porter Robinson is and continues to define the sounds that he helps create.  "Spitfire" spawned the electro house sound of the early 2010's, and artists today continue to be inspired by the nostalgic ring of "Worlds."  Even though it was a heavy EP designed for the club floor, "Spitfire" manages to walk the line between entertainment and art (a line much more explored in his later works).  "Spirfire" was the sound of club music, and it is and will continue to be a fantastic example of dance music done right.  8.5/10

Source

Wikipedia | Porter Robinson

Monday, October 26, 2015

Barely Alive | We Are Barely Alive

Barely Alive released their debut album today, "We Are Barely Alive," and I'm happy to get the chance to review it.



Background

With multiple releases on Disciple Recordings and 4 consecutive Beatport #1's under their belt, Barely Alive are no strangers to the EDM scene.  The duo, whom apparently have yet to be named, got their start a little over a year ago with "Lost In The Internet EP," which was critically acclaimed and hit number one across various genres on Beatport.  Today, Barely Alive released their debut EP, "We Are Barely Alive," through Disciple Recordings.

Review

Listen to "We Are Barely Alive"

For their self-titled debut album, Barely Alive left nothing on the table and delivered a high dosage of the medicinal heavy bass that's just what the doctor ordered.  "Hackers (feat. Armanni Reign)" starts off the record strong with the slightly typical but never unwelcome growls, lasers, and melodic glitchy dubstep that features Armanni Reign's angry, rhythmic chanting.  In a bit of an unusual switchup, "Binary" is pure trap goodness with strange, uncredited vocals chopped into oblivion sprinkled on top like, well, sprinkles.  It's not my favorite, but I've always been a fan of the big acid synths in trap music anyway.  It's still well produced, and there's a nice lead synth taking a solo in the middle.  "Windpipe (feat. Ragga Twins)" knocks the air out of your lungs with Ragga Twin's aptly named reggae-style vocals over a wonky, twisting dubstep drop.  "Rough and Rugged" is a mishmash blend of trap and electro and glitch hop and everything in between.  Best part is, its a perfect blend; there are no rough transitions.  I don't even know what "Stomp" is, but it's got enough lasers and filtered chords to make a sci-fi movie a very happy person.  It's certainly a mystery as to what "The Riddler" is.  I think it's a blend of moombahton and trap, but whatever Barely Alive was aiming for, its got a strong beat worthy of a dance floor.  "Pooyoso (Take It Back)" is by all definitions weird, as it has a very eastern tonality and doesn't really fit into any defining genre.  With that the first half of the album is done and Barely Alive breaks up all the bass music with a chiptune interlude with vocal chops of the album's title.  "Over It" brings back the bass in a tasty glitch hop work full of jazz organs, swung beats and a hypnotic FM (likely) bass which bends pitch like it was born to do so.  "Scoop" is an enigma of bass music, it's like glitch hop and trap had a strange bass child, but it's incredibly catchy.  Coming straight out of the 80's is "Poison Dart" which imitates disco right from the start, but transitions perfectly into a mishmash of trap and something resembling hardstyle.  I may be noticing a trend, but "Poison Dart" works perfectly, and it doesn't matter that its a bastard child of a whole bunch of genres.  Luckily, "Fireflies (feat. Ewol and Espired)" is fairly straightforward genre-wise; it's a nice US-style drum and bass beat chock full of reese basses, growl basses, glitchy basses, and more.  You name it, Barely Alive, Ewol, and Espired have already mastered it.  "Elephant" is a dubstep wonderland with all the bass goodness expected of them.  "No Time" closes out the album in a chill, serene atmosphere resembling a tech house infused misty wasteland.  It caught me slightly off guard, but I love every second of it; the scene it depicts is vivid, and it's a perfect way to end the album.

Barely Alive, with their self-titled album, have hit the ground running, just as they did a year ago with their debut EP.  "We Are Barely Alive" is a massive collection of bass music that screams "I don't know what I am, but I'm going to be as huge as possible doing it."  Every track, bar the ones that seep dubstep, is a genre mash of bass music.  From moombah to trap to dubstep to glitch hop to drum and bass and everything in between, "We Are Barely Alive" is a must-listen for anyone who thinks of themselves as a bass music fan.  8.5/10

Sources

Facebook | Barely Alive

Friday, October 23, 2015

Pegboard Nerds | Pink Cloud EP


Background

Pegboard Nerds have been a group since 2005, when its members, Alexander Odden and Michael Parsberg, met.  The name Pegboard Nerds is actually an anagram of their last names, Odden and Parsberg.  They've released a number of EPs and singles, most recently through the label Monstercat.  "Pink Cloud EP," their most recent release which released today, is part of their motion through the month of October to raise money to fight breast cancer.

Review

Listen to "Pink Cloud EP"

It's certainly strange to hear an EP very focused around pop-y future bass from artists so hellbent on heavy glitchy bass music, but while it's a little rough around the edges, "Pink Cloud EP" is a fluffy cloud of happy future music.  "Pink Cloud EP" is the Nerd's first foray into a lighter, more relaxed style of music in a while, and it shows.  It's painfully obvious when their old style seeps through the cracks of the songs, and it somewhat distills pink future world that they were trying to imagine.  This is mostly obvious in "Emoji," the first track off the EP, from which it seems that Nerds cant find the balance between the monster basses that they're used to and the largely unexplored territory that is future music.  Luckily, "Pink Cloud (feat. Max Collins)" is much better in that regard, and, as the title track, I sure hope it would be.  The title track is a bright, upbeat future track with catchy vocals and a tune to remember.  It's cleanly produced and is a much better showcase of what the Nerds can actually do with future music.  Same goes for "Just Like That (feat. Johnny Graves)," which is another well orchestrated future track with the signature gated synth stabs and pitched vocal hits that are so common in the genre.  Taking a break from the future, "Downhearted (feat. Jonny Rose)" is the next track, and it's a melodic blend between big progressive house and slower, more relaxed indie dance.  Whatever the genre is technically called, "Downhearted (feat. Jonny Rose)," with its slow groove and festival sound, is another standout track on "Pink Cloud EP."  In a complete switch-up "End Is Near (Fire In The Hole VIP)" is a return to the Nerds's original glitched out growls, wobbles, and lasers sound layered on top of a drumstep beat with pitched vocals.  Standalone, it's a fantastic electronic track, but, on the future-meets-synthpop album that is "Pink Cloud EP," it has no place.  It's out of line and a strange way to finish off such a relaxed album.

Usually, hearing an artists signature in their tracks is a sign of individuality and uniqueness, but in this case Pegboard Nerds's huge basses and energetic leads don't lend themselves to such a clean, simple, synth-pop-y genre, and "Pink Cloud EP" suffers from this slightly.  But, for such an unexpected venture into the more relaxed side of electronic music, "Pink Cloud manages to produce a few gems.  6.5/10

Sources

Wikipedia | Pegboard Nerds

Wednesday, October 21, 2015

Knife Party | 100% No Modern Talking EP


Background

As stated in my previous review about Knife Party, Knife Party was originally a side project of two members of the drum and bass band Pendulum, but eventually the Australian duo, Rob Swire and Gareth McGrillen, made the project their main act.  After a few insanely popular remixes, most notably of "Spitfire" by Porter Robinson and "Save The World" by Swedish House Mafia, released their debut EP, "100% No Modern Talking EP."  Modern Talking refers to a popular waveform in the synthesizer NI Massive, which has a negative reputation for being so overused in the making of electronic basses, most commonly growl and vocal basses.

Review

Listen to "100% No Modern Talking EP"

Knife Party couldn't have burst into the scene with a bigger debut.  "100% No Modern Talking EP" made waves in the electronic music community, and it's racked up 7 million plays on their SoundCloud alone.  The first track, the mega-famous "Internet Friends" which has over 39 million plays across various videos on YouTube, features a robotic female voice ranting rather crudely about relationship issues.  She gets a little bit too obsessive, and after the famous line "You blocked me on FaceBook, and now you're going to die," the heavy electro drop kicks in after a couple string-like chord stabs.  There's a melodic chord interlude in the middle, and then we're back to the electro until the song ends.  Next up is "Destroy Them With Lazers," and it's more of a gimmick track than anything, although Knife Party is known for those.  Sci-fi blaster sounds serve as the core sound for the song, with the build-up being nothing but.  The drop is interesting, and the breakdown in the middle is well orchestrated, but it's not enough to offset the principle of the track.  However, from here on out the EP is nothing but fantastic, with "Tourniquet" next in line.  With no gimmicks and no bullshit, it's nothing but a hard electro beat with a sizzling ride cymbal and a glitchy, gritty bass-line.  The synth break in the middle is especially tasty, and then the beat drops again with renewed vigor.  In traditional house music style, the track ends with a drum loop.  "100% No Modern Talking EP" ends with  "Fire Hive," which is nothing but heavy dubstep.  It's definitely my favorite straight dubstep track from Knife Party; my friend and I listened to it endlessly for a while.  The gritty wobbles are offset by the 8-bit melody.  The second drop has a swung feel, and the beat is switched up slightly, but it doesn't lose the feel of the track, which is good.  "Fire Hive," with its dubstep beat, is a nice contrast to the heavy electro/moombahton of the first three tracks and is a good closer to the EP.

"100% No Modern Talking EP" has become a staple EP in electronic music repertoire, and for good reason: it's a hard-hitting EP filled to the brim with bass music, and from the psychotic vocals of "Internet Friends" to the deep growls of "Fire Hive," "100% No Modern Talking EP" is here to stay.  8/10

Notable Remixes

Internet Friends (heRobust's Run Da Trap Bootleg)

heRobust, in line with the title, has trapped out "Internet Friends" with 808 kick drums and a warped, gutted version of the song's original drop.  The heavy trap feel behind the completely glitched-out version of the original makes for a heavy trap track.

Tourniquet (Bebop Remix)

While I was expecting a catchy bebop cover of this electro track, Bebop mixes sawtooth basses with the original to create a unique breakbeat feel.  The sliding saws and the heavy glitching combine perfectly and bring a different, old-school feel to the track.

Fire Hive (Flatline Refix)

It's not technically a remix, but the Australian duo Flatline redefine glitching with their edit of "Fire Hive."  While it seems to be a theme of "100 No Modern Talking EP" remixes, Flatline's fix has been completely flipped on its head.  It's now more upbeat, and the only dance I can see going along with this is a zombie on speed.  Whatever mental image you get, there's no denying that the Flatline edit of "Fire Hive" is a fresh take on the original and a textbook example of good glitching.  Make sure to check out the second drop, it's insane.

Monday, October 19, 2015

Nigel Good | Space Cadet



Background

Nigel Good is a real life success story, as he's a teacher by day and a producer whenever he has time, according to his SoundCloud page.  He's released various EP's and an album, and "Space Cadet" is his most recent and was released through Monstercat, with the song "No Way Back Up (feat. Illuminor)" being released beforehand as a single.

Review

Listen to "Space Cadet"

"Space Cadet" is more than an album.  It's a storybook; we get to follow an astronaut on his journey throughout space.  Interestingly, the whole album is mixed together; one song seamlessly transitions into the next.  This gives a sense of coherence to the record and enhances the story.  "Space Cadet" begins with "It Starts," an appropriately titled into track.  It's an appropriate soundtrack for an expansive shot of space.  "It Starts" reflects the wonder, the vastness, and the excitement that space brings out even in the best of us.  "This is Forever" continues the spacey theme but with an upbeat adventure feel and the first real implications of any dance music present on the album.  "An Adventure (feat. Davek)" is next, and it's a guitar soundscape that could inspire even the best of us.  While the first three tracks could almost double as a movie soundtrack, it's the next track and first released single, "No Way Back Up (feat. Illuminor)" that brings "Space Cadet" back to an EDM album.  Both it and "Disappear (feat. Mango, Andre Frauenstein, & Stefan Ludik)" are the typical happy upbeat melodic trance/progressive house fusion that's expected from Nigel Good and more than welcome.  "Disappear (feat. Mango, Andre Frauenstein, & Stefan Ludik)," however, features a tasty saxophone solo.  The record slows down again with "Stellar," which is nothing but slowed down atmospheric goodness.  It's three minutes of a vessel traveling through empty space, and in it I feel the soundtrack nature of the album peeking out again.  This notion is tossed to the wind with "Cliché Lovesong (feat. Fenomenon)," which brings us back to EDM with a spaced-out deep house feel and heartfelt vocals to match.  "Bastion" is another short interlude, but with a more definite house feel.  It then transitions into "Space Plus One," a wonderfully out there progressive house track that's far from short of creativity.  "Nova," the next track, feels like an extension of "Space Plus One," but the progressive feel has been replaced with a funky complextro beat, the first of its kind on the album and the much needed edge that rounds out "Space Cadet."  "Cloudstepper" is the first EDM track to break the house tempo, instead coming in as an awe-inspiring liquid drum and bass track.  "Space Cadet" closes with "Don't Want To Go (feat. Go Periscope)," which sounds like it belongs on a Madeon album.  Wherever it belongs, the lead-heavy driving with big, spacey chords is the perfect way to end the album.

Nigel Good hasn't just produced an outstanding record.  "Space Cadet" is a work of art, beautifully crafted to invoke the story of a lone astronaut trying to make his way in the world.  From the seamless transitions to the soundscapes perfectly created to present vivid images, it's evident that Nigel Good spent hours perfecting his vision, and with "Space Cadet" has brought a story to life.  9/10

Friday, October 16, 2015

KOAN Sound | Dynasty EP


Background

Another influential electronic artist duo, KOAN Sound have been producing since 2008 and, while they have yet to release a debut album, have released various EP's over the years, all of which were either released on OWSLA or Inspected, two huge electronic labels.  KOAN Sound consists of Will Weeks and Jim Bastow.  While their early sound was majorly dubstep and the like, they've since expanded and now have a very distinct blend of glitch hop, neurofunk, and drum and bass.  Whatever the technical term, it grooves, it's smooth, and it's definitively KOAN Sound.

Review

Listen to "Dynasty EP"

While it's rather short and some of the songs tend to blur together if listening in one sitting, "Dynasty EP" is by all means a fantastic EP, coming in just short of 4 million plays on SoundCloud alone.  They're well deserved; "Dynasty EP" is a wonderful compilation of KOAN Sound's recognizable glitchy, bassy funk groove, with a slight twist at the end.  The EP kicks off with "7th Dimension," a chill funk groove that sounds like if a funk band found a drum machine.  The bass has the perfect blend of crunch and smooth and combined with the vintage 80's sounds brings the funk back to life.  "Dynasty" brings us to the orient with that distinct minor tonality and stringed instruments.  If liquid was a bass, it'd be this track.  It's all over the place; it flows, it swirls, its everywhere and its nowhere.  "Infinite Funk" begins immediately with a jazzy guitar and the super clean, tight snare drum that KOAN Sound is known for.  When the beat drops, everything glitches, switches, moves, grooves, stops, starts, and just generally is all over the place.  KOAN Sound is the master of electronic glitchy funk, but for the last track, "Lost in Thought," he slows it down and instead chills out the beat and offers a reflective track that closes out the EP so perfectly.  While listening to it, I often find myself "Lost in Thought."

Bar the last track, "Dynasty EP" suffers from being too similar.  If listened to all at once, the first three tracks blend together into one big jazzy glitched bass.  I suppose it's a testament to KOAN Sound's continuity and unique style, but without any lyrics to speak of it just naturally occurs.  Yet, each track showcases KOAN Sound's perfect composition and tight mixes.  Each track is a perfect example of how a clean mix sounds and while the EP as a whole feels a little too similar, each track is a world to get lost in.  Whether it's the 80's on an alien planet or a long road through the fog, "Dynasty EP" is a great collection of tracks.  7/10

Notable Remies

Lost in Thought (Alon Mor Remix)

For an EP over a year old, I was surprisingly only able to find one remix, but I'm glad I did.  Alon Mor takes an already chill track and takes it to the next level of chill, with various ambient sounds, before bringing back the beat in a melodic dubstep fashion.  Alon Mor brings his own unique style to his dubstep rendition with his classic glitches and unrelated beats weaving in and out of the bass landscape that he's created.  It's a unique take on a unique song and it's fantastic.

Sources

Wikipedia | KOAN Sound

Wednesday, October 14, 2015

Knife Party | Abandon Ship


Background

Knife Party was originally a side project of two members of the drum and bass band Pendulum, but eventually the Australian duo, Rob Swire and Gareth McGrillen, made the project their main act.  Knife Party gained popularity through a few choice remixes and their EP's: "100% No Modern Talking," "Rage Valley," and Haunted House," the former of which contained their famous single "Internet Friends."  Early in 2014, Knife Party announced their debut album was almost complete.  That album was "Abandon Ship," which released later the same year on November 24th.

Review

Listen to "Abandon Ship"

Time and time again Knife Party bring their signature blend of creativity and bass music and prove to the world that not everything has to be a gnarling bass drop to be interesting.  Interestingly, "Abandon Ship" is even a step further from what's expected of Knife Party."100% No Modern Talking" was pure electro dubstep goodness, and now with "Abandon Ship" spans tech house to pop progressive house back to their electro house and dubstep origins and out again to nu disco/funk, trap, and more.  "Reconnect" begins the album as a sort of intro.  It has a misty dawn atmosphere kind of feel and, combined with the documentary vocals, make the intro into a cheesy attempt at giving the album an overarching theme, although I think without it the record would suffer.  It's after "Reconnect" that "Abandon Ship" sets full sail.  "Resistance," one of the first revealed tracks off the album, is a hard moombahton beat with gritty lasers and a fitting sample.  "Boss Mode" blends strange vocals with a heavy trap beat.  "EDM Trend Machine" is anything but, and features a trick drop.  The first measure sounds like a stereotypical big room house drop, but it switches into a tasty, grooving tech house beat with floating vibraphone fifths and open synth chords.  "404" is an original Knife Party electro house classic with the main focus of the track being various computer bleeps and bloops complimenting the battering bass.  "Begin Again" is one of my personal favorites and is tied with "Superstar" for the most unlike Knife Party's traditional style.  It sounds like progressive house turned pop and is very reminiscent of Swedish House Mafia, a trio that Knife Party has worked with in the past.  Silky-smooth chord sweeps that transition into a bright lead synth and catchy vocals from none other than Rob Swire himself (he is, first and foremost, the lead singer for Pendulum) make "Begin Again" an upbeat festival track to remember.  While featuring the big wobble basses and reggae feel that makes Knife Party's dubstep so, well, them, "Give It Up" has weak, top heavy bass growls and sounds very similar to "Bonfire" off of Rage Valley EP.  It's nowhere near the quality they established with "Fire Hive" on "100% No Modern Talking," and feels rather lacking, making it, in my opinion, the weakest track on the album, and definitely the most out of place as far as continuity goes.  "D.I.M.H." is a strange house track that has a lot of energy but fails to stand out and make its mark amongst all the other fantastic tracks on "Abandon Ship."  On any other record this track would be fine, but from such a progressive duo "D.I.M.H." feels slightly bland.  That doesn't stop me from grooving to it, though.  The crudely named "Micropenis" is admittedly a very catchy blend of various house styles similar to "EDM Trend Machine" and "D.I.M.H.," but the gimmick behind the song is rather crude and detracts from the beat.  The intro doesn't help, either.  The 8-bit breakdown is really catchy, however.  The real odd child of the album, though, is "Superstar," but not in a bad way.  In a throwback to the glamorous 80's, Knife Party treats us to a disco/funk beat with synth brass and a driving guitar.  It takes a turn in the middle and switches up to electro, although I think it would have been better without.  And, in typical Knife Party fashion, they make fun of the absurdity of the disco groove "Superstar" on an EDM album ("Oh my god, what the fuck is this disco shit.  What happened to the dubstep").  The Australian duo brings it back to their roots with "Red Dawn," a classic electro track in the original Knife Party style.  There's not much to say about it; it's just good bass music with a huge chord breakdown worthy of the biggest festivals.  And finally, "Kaleidoscope" closes out the album with a soft, progressive beat driven by tight percussion.

With "Abandon Ship," Knife Party proves that they're nothing to be messed with, but the fact of the matter is that the second half of the album just doesn't deliver the mix of creativity and heavy bass that the first half of the record is so happy to deliver.  However, for what it does do, it does really well, and with a supposed EP releasing soon, Knife Party show no signs of letting up, and even though they release a few lackluster tracks every once in a while, I'm glad they won't be.  7/10

Notable Remixes

404 (Grabbitz Remix)

Grabbitz, the renowned artist with multiple releases on Monstercat, reimagines "404" with 808's.  The trap beat is slightly muddy, but the production is fantastic and the snare is to die for.  Grabbitz did a great job leaving his imprint on Knife Party's track.

Red Dawn (Deficio Remix)

Deficio is a popular Swedish DJ who brings a fresh, Melbourne bounce feel to contrast the heavy electro original.  Tight production and bouncy drums with accented upbeats make for a beat perfect for a club.

Sources

Wikipedia | Knife Party

Monday, October 12, 2015

Artist Spotlight | S H I N D I G

I'm trying out something new.  For artists that I like in general but have no albums or EP's to speak of, I'll instead give them a spotlight, where I review their sound in general and comment on my favorite tracks of theirs.  Enjoy Shindig!


Background

Shindig is a rather new artist on the scene, making his debut only five months ago with a remix he did with Twine.  Since then, he's amassed nearly four thousand followers and a feature on MrSuicideSheep, a prestigious promotion channel with three million followers.  With nearly 250,000 plays on his SoundCloud already (and 500,000 more via MrSuicideSheep), Shindig's future looks bright.  If you ever see his signature cartoon ghost, you know you're in for a good track.

Spotlight

Shindig's SoundCloud

Although Shindig is rather new to the scene with only five months beneath his belt (and who knows how many before he adopted the alias Shindig), he already has three massive tunes and shows no sign of letting up.  His style is hard to nail down definitively, but it's close to future bass, especially with his most recent track, "Hiccup," his latest and first completely original track.  "Hiccup" is a great upbeat track, and in typical neon future style, is full of samples, from babies laughing to water drops to mouse clicks to a squeaky toy, and everything in between.  At the first drop Shindig's signature crazy melodic synth lead comes in, and along with the filtered jazzy synth chords and trap-esque beat couldn't be any more definitively future.  "Nothing Yet (Shindig Remix)" is a remix of Skrillex's unreleased track and is arguably Shindig's most popular release because of the promotions and Skrillex's fame.  Shindig takes Skrillex's vocal chops and breathes new life into the track (that's likely to never be released) with supersonic high-hats, fat, tight supersaws, and a huge synth lead-solo.  "Ignition (Shindig x Twine Remix)" was Shindig's first release, and definitely my favorite work of his.  He remixed R. Kelly's song with Twine, the popular DJ who has had releases on major labels such as Firepower, Monstercat, OWSLA, Never Say Die, and Disciple, to name a few, and has collaborated with the likes of Excision, Datsik, Barely Alive, Trollphace, and more.  In addition to pitching up R. Kelly's voice so much that I thought he was a girl, the duo combined tasty filtered chords with one of the most insane leads I've ever heard, which glides, flutters, rips, and bends across pitches like a butterfly on LSD.  It's interesting to note that this is out of Twine's signature style, which usually involves dark gritty basses in a heavy dubstep feel.  Either way, their remix of Ignition is deliciously perfect.

Even though Shindig has only existed for five months, he's wormed his way into my heart with his tasty lead synths and catchy future sound.  I often lose myself in his songs and I always turn up my speakers as loud as they go when his leads kick in.  If you haven't heard of Shindig, you're missing out on a fantastic artist.

Friday, October 9, 2015

Kill The Noise | Occult Classic


Background

Kill The Noise, the New York based DJ has finally, after numerous EP's released his debut album, "Occult Classic."  Kill The Noise has been producing since 2008 and has worked with the likes of Skrillex, Dillion Francis, Feed Me, AWOLNATION, and more.  He's been a pivotal part of the developing EDM scene.  Since then, he's had multiple releases on OWSLA, Skrillex's label, and even co-founded his own label, Slow Roast Records.

Review

Listen to "Occult Classic"

For a name so deeply embedded in heavy bass music, it's strange to see so much experimentation on "Occult Classic."  Kill The Noise journeys through dubstep, trap, house, and more on his first LP, and while it feels somewhat different from that sound that he's developed over the years, it's by no means a bad album.  It's just strange to think that this is from the same person that released "Kill Kill Kill EP" and "Black Magic EP."  The most positive difference between the two is the production quality.  "Occult Classic" has overall a much cleaner mix and presentation of ideas.  The production is tighter, too.  As mentioned, the other huge change between old and new Kill The Noise is how diverse this album is.  His previous EP's were laced with the hardest bass music around, from dubstep to electro to drumstep.  However, it's clear that "Occult Classics" won't follow through with the trend, as right from the starting track "Kill It 4 The Kids (feat. AWOLNATION & R. City)" is instead a thrilling blend of moombahton and trap.  I love the way that Kill The Noise has approached most of these tracks; it's hard to fit any of them into one single genre.  "Mine (feat. Bryn Christopher)," "Without a Trace (feat. Stalking Gia)," and the closing track "All In My Head (feat. AWOLNATION)" all blur the lines between future bass and dubstep, and the former of which sounds like it belongs on a Flux Pavillion record.   "Spitfire Riddim with Madsonik (feat. twoton)" is a throwback to the typical drumstep sound of old style Kill The Noise, with a reggae-infused beat.  Additionally, "Occult Classics" features some club beats, in the form of "FUK UR MGMT," "I Do Coke" with Feed Me, "Louder (feat. R. City)" with Tommy Trash, and "Dolphin On Wheels" with Dillion Francis.  "Dolphin On Wheels" is especially interesting, as the drops consist entirely of dolphin and monkey sounds over a moombahton beat.  It probably doesn't help that the track was done with Dillion Francis, who is known for his tracks that push the boundaries between music, jokes, and social commentary.  "Lose Ya Love," a trap-heavy track that's tied for my favorite off the LP with "Mine (feat. Bryn Christopher)," features fat 808 kick drums which switch up to a double-time feel at the second drop, and pitched up 80's sounding vocals.

Kill The Noise's debut LP is a diverse release that has something for everyone.  From his defining original sound to the unique edges of genres that he explores, "Occult Classic" is a solid release that could, given Kill The Noise's stake in EDM, become just that, and occult classic.  7.5/10

Notable Remixes

Be on the lookout for a remix EP.  Kill The Noise is known for releasing them, so it's likely that "Occult Classic" will get a remix EP, too.

Sources

Wikipedia | Jake Stanczak

Wednesday, October 7, 2015

Kasbo | Umbrella Club EP


Background

Kasbo has been producing for 2 years, and got his big break through a number of releases, most notably on the powerhouse electronic label Monstercat, Every Day Matters, and Bass for Autism Vol. 2, the latter of which the proceeds support autism research.  "Umbrella Club EP," his first EP in a while, was released for free on his SoundCloud yesterday.

Review

Listen to "Umbrella Club EP"

For an artist with nearly 60,000 followers, releasing an EP for free is a bold move on Kasbo's part and it, along with the tracks that he's provided, proves that "Umbrella Club EP" is all about the music.  "Umbrella Club EP" features a diverse track lineup spanning all things Future and Love Trap.  From the wobble basses of "Not Over," through the beatless floating landscape of "I Don't Get," to the high-strung "The Tension," there's a little bit of the Electronic spectrum here for everyone.  "Not Over" is the EP's lead track and most notably features a prominent wobble bass along with a plucky arp and spacey drums.  However, after a tear-jerking piano part, the wobble bass is replaced with sidechained synths in the same rhythm as the track builds to the synth-heavy climax.  "There's Something About U" sounds like something off a KOAN sound album, with a funkier beat and tight snare drums.  Kasbo's thrown in some addictive cowbell hits and crisp high-hats to tie together this song.  "I Don't Get" is the slow song of the EP, and actually how I first found out about this EP.  It starts off with dissonant chords and a haunting vocal howl.  The interesting part about this track is the lack of drums, with nothing but a muffled kick and distorted clap driving the beat.  Aside from that, "I Don't Get" is nothing but a trip down a winter lane at night.  "Fuck Love" brings back the upbeat future feel that's prevalent throughout the rest of the EP.  The lightning-fast synth arpeggios combined with the tight chords and square-saw lead lay the frame for the standard Future Bass track.  As far as Future Bass goes, this track brings nothing new to the usual outline, and on an EP so diverse and full this track feels a little cut-and-paste.  "The Tension," however, ends the EP on a brilliantly high note.  The uncredited vocals and tight production really bring the track together and push a clean mix.  "The Tension" is a mix of Future Bass and Love Trap (I get the two confused sometimes), it builds with massive energy, and the drop is cloud nine.  Arpeggios fly and high-hats flutter like butterflies.  The break after the drop is fantastic, too.  "The Tension" ends as the beat slows and the pitch lowers, and all in all ties together a well-rounded album.

Kasbo's signature Future Bass meets Love Trap sound is more than apparent on this EP, but it's the out of place tracks that really turn "Umbrella Club EP" into something else.  While I'm still unclear about exactly what the Umbrella Club is, and the album artwork doesn't help any, it's still a fantastic EP by all means and definitely something worth checking out if you like this side of EDM.    7/10

Monday, October 5, 2015

Stan SB | Anyone Out There

Yes, I know this album came out three years ago and the artist changed his name.  I'm reviewing it anyway because it's so good.


Background

Stan SB, who now produces under the name Fox Stevenson, is mostly known for his simplistic yet energetic tracks that feature his own voice.  "Anyone Out There" was his debut EP and his only release larger than a single before making the switch to Fox Stevenson.

Review

Listen to "Anyone Out There"

"Anyone Out There" is nearly 3 years old, but it's stood the test of time well and is still a fantastic blend of energetic club bangers and pop vocals.  Similar to a trend appearing currently in electronic music, complex production and a clean mix weren't necessarily the focus of this EP and they took a backseat to pure musicality and creativity.  In addition, the real gem of this release and the one thing that stays constant is Stan SB's satisfyingly deep lyrics and creative vocal melodies.  "Dead" is the EP's opening track and starts off "Anyone Out There" with a high energy drum and bass (D&B) beat and bright chord stabs that support Stan SB's melancholy vocals.  "Flat Foot Face" follows suit, although with a half time feel its technically Drumstep, not D&B.  Still, its catchy vocal lines, gliding synths, and huge sub bass never fail to bring boundless amounts of energy.  Stan SB proves that he can swing in "The Process," another high energy track, this time in Glitch Hop flavour.  The drop is a tasty mixup of jumping saws and sliding basses, which are joined by Stan SB's vocals, which sit on top of the mix nicely.  As if he couldn't stay away from 174 BPM, the song speeds up at the end and finishes on a drum and bass beat.  With "Anyone Out There," the EP's title track, Stan SB returns to the tried and true D&B that he loves so much .  Similar to "Dead," this is another melancholy D&B track with a head-bobbing, glitchy melody that support Stan SB's vocals.  "We're Alive" is another different song, feeling the most EDM-ish of all the singles.  It features a simple vocal hook that leads into a bass-heavy dubstep drop, the first and only of its kind on "Anyone Out There."  While it doesn't sound like traditional dubstep by any means, but the sliding top-heavy wobbles and sparkling lead synth are well within Stan SB's comfort and anything more "normal" would feel out of place on this EP.  "Stratosphere" closes out the album with a, you guessed it, uplifting D&B track.  It's very pop and almost sounds like something off an Owl City album, but it is noticeably more energetic.  One of the more interesting allures of this track is the break, where Stan SB messes with the vocals to create a lyrical melody that isn't actually comprised of any words.  To this day I can't figure out exactly how he got that sound, but it's probably a combination of vocal glitching and cutting out vowels.  No matter how he did it, "Stratosphere" is a nice, happy way to end the EP.

The mix is a little quiet on Stan SB's EP, but luckily, that's fixed with a slight tweak to the volume fader.  Aside from that small note, "Anyone Out There" is a drum and bass storybook narrated by Stan SB's soothing voice.  Stan SB manages to, with this release, combine the traditional EDM that we all know and love with a softer, more pop-based style thats refreshing to hear in a world of overplayed club bangers.  It's truly a creative notion that would take a few more years before people tried experimenting with this idea.  All in all, a fantastic album to listen to if you like vocal driven, high energy tracks.  8.5/10

Fox Stevenson

Stan SB eventually changed his name to Fox Stevenson to bring a more mature name to his image and to break away from the D&B that he was so commonly associated with.  Under Fox Stevenson, he's released a handful of EP's and singles, and has even gone on to create his own record label, CloudHead records.  He's branched out from so much D&B and explores a wide variety of genres now.

Notable Remixes

Stan SB | Anyone Out There (yh remix)

It's hard to remix Stan SB (or Fox Stevenson, for that matter) properly, as his style is so uniquely his own that it's hard to get his vocals to match anything else, but yh manages to bring the same energy and style in a new and unique way.  The vocals are slightly desynced from the track in the middle break, but aside from that his remix is fantastic production wise.  The heavy bass hits combined with the melodic strings of the verses make for a diverse, rich track that's a joy to listen to.  Two years with a download lick "coming soon," though.

Stan SB | Anyone Out There (Maduk Remix)

Maduk, while still keeping it in D&B territory, takes the track and makes it slightly more chill.  Strangely enough, he manages to retain the energetic feel as well, but it works, and the big, dissonant chord drop is enough to breathe new life into the track.  It's chill, and not chill, and energetic, and not energetic, but that's characteristic of D&B. and Maduk has done a fantastic job of reimagining the song.

Interested in doing your own remix?  Stan SB released all the stems for "Anyone Out There."  You can find the stems to all six tracks on his FaceBook page.  So go ahead, and remix to your heart's content!  I know I will be.

Friday, October 2, 2015

Porter Robinson | Worlds (Remixed)

Today, my favorite album, "Worlds," had its official remix album released.  I am incredibly happy to be able to review it.


Background

As anyone who has read my review of "Worlds" would know, Porter Robinson released "Worlds" a little over a year ago, and its reception was incredible.  It was well-received by critics and fans alike, hailed as a creative genre-breaking release, and became my favorite album ever in the process.  And now, a year after its release, Porter Robinson continues to bring his vision of Worlds to his fans, with this album of remixes hand-picked by Robinson himself.  Not only does this add on to the World that he has created, but it also allows him to showcase some of his favorite artists.  And I'd just like to mention I love the symbolism behind the one hand on "Worlds" and the two holding hands on "Worlds (Remixed)."  Its an image of alone versus together; its the image of an artist who broke away from the traditional sound to create art versus the collaboration with artists who share the same vision; its an image of trust and strength; it's an image of Worlds.

Review

Listen to "Worlds (Remixed)"

With remixes hand selected to fit the "Worlds" theme, Porter Robinson breathes new life into his debut album almost a year later.  And trust me, no one is complaining.  "Worlds (Remixed)" is absolutely gorgeous reimagining of the original.  "Every place you've ever imagined... its real," goes the iconic quote that practically defines the album, "There is a fictional city in your mind and you know every corner of it. Your mind is a world. Each of us is a place."  The remixes on this record are the remixer's visions of the places Porter Robinson created.  We, the listeners, can follow them as they wander down the streets, climb the skyscrapers, trudge across the deserts, and swim across the oceans that Robinson created when he created the album.  The remix album is structured the same way as the original album: one for each track, with the same track list, in order.  ODESZA is first with his remix of "Divinity (feat. Amy Millan) [ODESZA Remix]."  One of the few tracks to be released before the album came out, ODESZA opens the album with lo-fi drums and a toybox arpeggio that build into a sweeping, sidechain-heavy chord heaven that swells and flows like a ribbon.  One thing that's noticeably different from the original is that the vocals sit on beat 1 instead of beat 3, and it throws me off a little.  I think, though, that as I listen to it, it'll grow on me.  Speaking of future bass, in addition to ODESZA "Sad Machine (Deon Custom Remix)," "Hear the Bells (feat. Imaginary Cities) [Electric Mantis Remix]," Natural Light (San Holo Remix)," and "Sea of Voices (Galimatias Remix)" are all variations on future bass.  San Holo and Deon Custom both bring the tight, supersaw chords that they're known for, while Galimatias and Electric Mantis both took a chilled, spacey, beat-driven approach.  If a club beat is more your style, "Fresh Static Snow (Last Island Remix)," Polygon Dust (feat. Lemaitre) [Sleepy Tom Remix]," and "Lionhearted (feat. Urban Cone) [Point Point Remix]" have got your back, albeit each in their own style.  Last Island reimagines "Fresh Static Snow" in a Nu-disco beat straight out of the eighties, and ends it with elegant chords. Sleepy Tom chooses a tech-ish house beat, and Point Point prefers an upbeat moombahton.  Some of the outliers genre-wise among these remixes are "Years of War (feat. Breanne Duren & Sean Caskey) [Rob Mayth Remix]," "Flicker (Mat Zo Remix)," and "Fellow Feeling (SLUMBERJACK Remix)."  Rob Mayth begins his remix with a beautiful piano and vocal duet, and while not necessarily the original chords, fit perfectly and, interestingly enough, builds to an energetic hands-up beat.  Mat Zo, known for his crazy rhythmic intricacies and creative tracks, is a perfect fit for the driving "Flicker."  He's done everything possible to it; chopped, cut, filtered, glitched, and its a wacked-out crazy track full of energy.  SLUMBERJACK took "Fellow Feeling" and turned the song, which was already harder than the rest of the original album, into a bass heavy trap track, with an intro fit for a scary film.  The humming is a nice touch, the production is tight, and overall I love the direction he took.  It's certainly a fellow feeling if your fellow is a serial killer, but that's SLUMBERJACK's style and, I guess, his World too.  And finally, in a fitting fashion, the remix album comes to a close with Chrome Spark's remix of "Goodbye To a World (Chrome Sparks Remix)."  Structurally, it's very similar to the original, but with the strange synths and more lighthearted feel there's no doubt that it's Chrome Sparks's creation.  And while the end of the end doesn't feel like as much of the closure that the original album got, Chrome Sparks's remix isn't, in a sense, the end, but opens up possibilities for the future.

It's not easy to manage a project that sticks to the original artistic idea when so many new people are introduced, but the artists that Porter Robinson chose were well picked keep the sound of "Worlds" alive.  While not flashy or over-technical, these remixes do a great job of painting the corners of our imagination that we may have forgotten in our lives.  Listen to "Worlds," listen to "Worlds (Remixed)," and let yourself fall away into your mind.  9/10

Sources

Broadway World | Porter Robinson Announces 'Worlds (Remixed);' Out Today