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

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

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

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

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.

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

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

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

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.

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

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

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.

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