As he does this, however, the album still isn’t a full departure from his signature commanding style, much to the delight of fans. The album comes with the hypnotic vocals and repetition of his previous festival-facing sound, and thus serves as a branch to a new era while still remaining true to the project’s identity for long-time fans.

A few notable features also include heartfelt lyrics by Love, Alexa, and DeathByRomy, which add a haunting element to the already hypnotic trance the album affixes into listeners. 

The album showcases a mastery of sound design in multiple genres within the electronic sphere, pairing signature hard-hitting trap drums with ethereal plinking synths and purposeful vocals from each performer.  The free-flowing nature of the work makes his own growth as an artist self-evident, and the piece is well worth a back-to-front listen. 

Listen to RESET now and find it on your preferred streaming service here.

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The post Party Favor ‘RESET’s His Sound With New Electrifying New LP appeared first on FUXWITHIT.

Stereofox is not merely seeking to overstate its own virtues by featuring women. With this compilation, Stereofox has reduced its label cut to 20%, with 80% going straight to the producers, and any profits from the vinyl campaign will be donated to charity (collectively chosen by the producers), supporting an organization that helps female creators grow and thrive.

In addition to the strong intent of advocacy with the release itself, the project makes for a vibrant listen, a scintillating escapade into waves of gentle percussion and ebbing instrumentation. The tracks, while all thematically serene, all delve into distinctive cultural and idiosyncratic identities. Elements like the Taiko and Shamisen (on a standout track from Miyuki Kuzuoka) take center stage, replaced with harps, saxophones, guitars, and tranquilizing keys. 

With its global scope and ambitious altruism, the compilation satisfies all facets of the listener experience, providing both a meaningful message and a weightless,  pleasureful listen. One can only hope for more compilations such as these, and perhaps even louder voices for the incredible producers who brought this music to the forefront. 

Listen to the compilation now and find it on your preferred streaming service here.

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The post Stereofox Presents: Beat Queens – Season 1, and a Call To Action for All Labels appeared first on FUXWITHIT.

The duo waste no time on introductions or slow builds, and the EP immediately opens with sharp, biting percussion, a distorted bass, and MADI’s voice in both a gravel and a whisper, with a delicate harmony atop. The song, titled ‘BLACK MAGIC’ takes a look at the life of a musician in the digital age, with allusions to internet stardom, Space X, and internet fame that are all written with the spangled pen MADI is so known for in her music. 

“Hey that’s my name / yeah I am somebody’s daughter/ I could tell you things that shock you/ been injected by the doctor/ Pay what you say / yeah it’s money in my face/ I can fake a TikToker/ all the ring lights/ and a timer”. The lyrics serve as a dark invitation to the world of I, as well as the pressures of mind-numbing entertainment facades and the new position of an artist as both musician and influencer. 

This is repeated twice until listeners are swept into a delicate build and pre-chorus, with sober rob placing interspersed keys in between MADI’s delicate vocal, which soon turns to a near whisper at the confrontation of this new industry, in which she says, “It’ll be the death of me/ Oh my legacy.” 

Throughout the piece, which continues to explore the relationship of the mind of the artist and its connection to the digital world, the beat itself ebbs and flows, with just as much attention to the intent as the lyrics. Sober Rob steps in to fill deep spaces, letting MADI’s words hang in the air without shrouding them in synths, and seems dedicated as a producer to the truth in the lyricism. His careful creation of atmosphere is something rarer in the EDM world, full of disconnected topliners who add music after the fact. It makes for a piece that rings with barren truth, and in that, a somber beauty. 

The next track to follow, ‘FUzz,’ employs more synths and percussion, beginning on a distorted synth bass and electric guitar. Again, the lyrics and instrumental are laced tightly together, never neglecting the other in delivery and atmosphere. The piece seems to serve as a comfort from the harsh realizations of ‘BLACK MAGIC.’ 

“When you hit rock bottom/ Here’s an ice pack for your pretty face/ I’ve dreamed for revenge/ yeah it seemed so great/ `Cause I’m an evil woman / But your smile is pretty evil too/ I’ve dreamed for a chance we’d be in the same room/ In the same room.” It’s a devious and loving show of solidarity between the two artists, a song that testifies to the anxieties of the mind and the assurances of the heart. Together, the pair work through soundscapes with the deft knife of a surgeon, exacting in placement and delivery through every phrase. The song ends with immense and whirring sound design, and a peaceful resolve that leads into the even more joyful track that is‘FORMULA ONE.’

This piece is more dynamically contrasted in its verse/chorus structure, more pop-oriented, but it doesn’t depart from the alien-like sounds and metallic percussion of the rest of the EP. Lyrically, MADI explores the anxieties and joys of love, something that is complemented by the cyclical strings that make up the backdrop of the song, endless, anxious, but still warm in feel. 

“Oh my heart is on a sleeve/ don’t cut in I’ll cut you out/” and the delicately placed line, “Can this last forever?” perfectly summarizes these feelings. Fear of being cut out while still remaining vulnerable. The question itself, “can this last forever?” serves as an expression of both joy and the anxiety MADI feels, once again demonstrating her mastery of songwriting. Her signature ethereal vocals on this piece, paired with Rob’s deliberate and nostalgic sonic experiments interplaying behind, create a new kind of romantic banter that serves the piece well. 

The following piece ‘NO SLEEP’ dives deeper into MADI’s anxieties, and clearly delineates her immense struggles with mental health. An outspoken advocate for those like herself with BPD, MADI’s music often champions these conversations.

In discussing betrayal from an unknown hand, she concludes, “that this time I’ll be at war with myself/ toil my health/ send gods with shields of stone/ what follows/ I’m fearful/ this time I’ll be the fall/ lost my wealth/ all I’ve dealt/ this love and so much more/ what breaks me and my core.”  Heartbreaking yet absorbing to listen to, ‘NO SLEEP’  is a glimpse into a macabre yet glistening worldview that captivates listeners at their most raw. The instrumental also attributes to this atmosphere, with echoing horns and more delicate drums that seem to cradle MADI’s fragility. The song is a standout for its haunting beauty and brings listeners into the most intimate sonic crawlspace, the resting base of the EP.  A second of silence sits at the end of the piece, and the next song begins with a sparse synth that allows the listener to add in a bit of recovery from the weight of ‘NO SLEEP’. 

The closing track on the EP, ‘LIGHTS OFF’ is a more uplifting discussion of the manias MADI experiences, along with a more universal tone of resolve in the expectation of life’s disappointments. 

The song is more proclamatory in its production and lyricism, with words that speak to mental decay in the digital age, modern depression, and the desensitization via media. “They call it somethin’ else,” MADI writes. “It creeps inside these heads/ Hide behind the complex,/ We’re just so flicking sad.” Her words are accompanied by a buoyant bass synth and tinny percussion that feels at the same time nostalgic and experimental, the perfect accompaniment to MADI’s reflective state. 

She continues with the chorus “You know when you had lost/ Yeah that feeling when you “felt like God”/ Tiptoeing to the top/ Then it leaves you/ And the lights go off.” The instrumental here shifts into a deeper, more distorted bass that pulls into the weight of the “God” complex MADI is alluding to, and the cycle repeats. The EP ends on a vocal flourish from MADI and a final bout of sound design from sober rob, a voice that transforms into a whirring whisp of smoke, a final swish of keys. The listener is left with both magnitude and purpose to choose from, to go about their own lives in a more meditative state.  

Overall, the EP serves as a dazzling companionship of narrative and imagination, a collaboration well done. The birth of a stratospheric new sound, GLOWSTONE combines the deep mental introspection and darkly delicate diction MADI is so known for, in tandem with the brilliant production of sober Rob. 

With only more to reach on their unparalleled horizons, GLOWSTONE solidifies itself as a vibrant and absolutely unprecedented act in the world of electronic music, leaving listeners ready for more.  

Listen to I now and find it on your preferred streaming service here.

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The post The New sober rob x MADI Collaboration GLOWSTONE Presents Debut EP ‘I’ appeared first on FUXWITHIT.

The EP opens with the ethereal track, ‘Q‘, immediately inebriating listeners with deep synths, and gentle, sparse percussion. This calm is then suddenly broken as listeners are dropped headfirst into an eclectic, genreless drop that is filled with vocal chops, dizzying strings, harps, and sporadic percussion that seems to bubble up from under the surface. 

Weightless and full of energy, yet still filled with delicate poise, ‘Q’ is fraught with anticipation. The unique rhythms and changes in the track ends with a flourish of vocal harmonies that feel pulled straight out of a show tune for a more than the memorable start. 

Next comes ‘Alone,’ with a bouncier and somehow even more eclectic drop. Vocal chops repeating the phrase “I go in alone” are peppered throughout the phrases, accompanied by a whimsical synth that floats on top. The adventurous track ends in a slowed down and delicate acoustic moment, a defined guitar and far away vocals reach out past the chaos of the song. With what sounds like a computer mouse click, the song ends, and the following track ‘Everlasting’ jumps in with new vocal chops, this time repeating the phrase “I keep loving you.” This track is definitely more trap-inspired, with a distinctive drop and a flute-like synth that guides the listener down an effervescent escapade. 

The brief, 2-minute-long track ends abruptly with a final vocal chop, and listeners are then ​​introduced to the silken, atmospheric tones of ‘Azure’. An ethereal, classically-inspired female vocal line, drenched in reverb, is on display this time, an angelic chaperone through the stillness. This is soon broken by the chorus of the song. A sharp synth and a thick snare edge build on the lull of the track. On the drop, the drums are rhythmically reminiscent of garage music and trip-hop, while still somehow approaching a lo-fi feel.

The EP closes with ‘Told U So,’ a previously released track that once again relies on a singular vocal chop to bring the listener in (“Say I told you so”). The track is the most structured and also feels the most triumphant of the project. Pulling references from house, club, and trap, the song, and the ‘Faith’ EP, ends on a high, and leaves listeners eager for more. 

When explaining the inspiration behind the work, the title of the EP seems to have directed its focus most of all. “Most of my life I feel like I’ve been wandering without an end or I’ve been feeling like my path is apparently meaningless,” camoufly said. “And there’s a big question that always had me thinking a lot: What do we really control? Enter the concept of FAITH. To me, FAITH is to believe that something has the power to move your life in the direction it is supposed to be moving. And when you do this it’s almost as, automatically, the path for your journey unfolds in front of your eyes. Learning to have FAITH is what guided me along my musical journey in these past months, and this EP is what came out in the process.”

As a listener, one can understand the journey this artist has taken both sonically and emotionally, an expedition laid bare. As a whole, Faith is a testimony to camoufly’s boundary-pushing synthesis: stratospheric in its ambition, and succinct in its execution. 

Listen to Faith now and find it on your preferred streaming service here.

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[youtube https://www.youtube.com/watch?v=videoseries?list=PLurKwJ3mCcuqxH0GV8PZmUoeL7DDB-cpB]

The post camoufly Pushes The Boundaries of ‘Faith’ In Dazzling New EP appeared first on FUXWITHIT.

Fresh off her rousing Coachella performance and other triumphant and boisterous releases ‘Cry’ and ‘Hold Up’ (with Big Freedia, Moore Kismet, UNIIQQU3), this new track reigns in the pomp for something more personal.

Speaking on the track, WHIPPED CREAM says it is, “a song about the little kid inside of you before you were told ‘no.’ The vision behind the record is that of a little kid playing in the rain in puddles, in mud, wearing bright clothes, grateful for every moment and just enjoying the NOW, and nothing matters in their mind. The vision of the song is to get to that feeling as an adult, live in the now, don’t worry about what others think say or do and just be free.”

The music video itself shows an incredibly intimate transition between WHIPPED CREAM’s childhood and adulthood. Born Caroline Cecil, the artist had once trained to be a professional figure skater until a severe injury. While this was what started her career as WHIPPED CREAM, the video shows Cecil enjoying this part of her life in a stunning figure skating video filmed in Lake Louise. 

“This video was months of preparation in training in Vancouver ice rinks to be able to come back out on the ice to give the performance that is CHILD,” she adds.

It’s a monumental moment of self-reflection that WHIPPED CREAM is willing to share, laying an intimate part of her life bare. It also serves as an homage to fans to enumerate their own personal growth, delve into their own pasts, and seek solitude in the intimate parts of their own inner ‘CHILD’. 

As for the production, the drum n bass production is dripping with nostalgia, from the vintage-sounding snares, distant keys, and arpeggiated synth that explodes at the song’s height. Its lyrics are self-fulfilled and confident in the ways that she has grown, a quiet affirmation. A testament to the ways that power can be heard in small, delicate moments. 

Listen to ‘CHILD’ now and find it on your preferred streaming service here.

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[youtube https://www.youtube.com/watch?v=rk3m86A1LFE]

The post WHIPPED CREAM Pays Homage to Her Inner ‘CHILD’ In Emotional New Release appeared first on FUXWITHIT.

Yet far too many times this sanctuary has been violated. Instances of sexual assault have seemed to become synonymous with EDM and nightlife. Names like STUCA, graves, Space Jesus, Bassnectar, and Billy Kenny are a few acts that have left deep scars within the nightlife scene for sexual misconduct and worse, and the names keep piling up.

A 2018 survey commissioned by the Press Association found that nearly half of female festival goers (43%) under 40 say they have faced “unwanted sexual behavior at a music festival.” Yet, only 1% of women surveyed actually reported sexual assault or harassment to a member of festival staff, either on or after the event. This is also a stark contrast to the 19% of men who did report their experience directly to staff. To make matters worse, according to research done by Musician’s Union in 2019, nearly 1 of every 2 musicians has experienced sexual harassment while working (42%).

What should be a safe and beautiful experience for all is violated on all sides. The time for change is imminent, and Four 4 Consent, an LGBTQ+, femme-identifying-led organization, plans to take a stand. 

With a mission to help event organizers and venues create safer and more positive nightlife culture, Four 4 Consent has launched a new ambassador program called Nightlife Safety Summit for artists, managers, agents, venue staff, and all other industry professionals wanting to educate themselves on nightlife violence prevention in the music industry.

The organization plans to focus on two major areas in North America: the greater Los Angeles area and the Midwest/East Coast. Applicants to the program will be subject to background and reference checks upon consideration, and upon admittance will begin a year-long program, in which, for 8 hours per month (2 scheduled with a group, 6 independent sessions) they will receive industry-specific education and processing via Zoom. 

Accepted ambassadors will be expected to attend 10 of the 12 sessions to complete the course, but additional hours are also available for those who have extra time. Upon acceptance, ambassadors will pay $25 a month to attend, and a portion of these funds will be used for 36 different scholarships. The number of ambassadors will total around 140 this year, a staggering feat for the small organization, and hopefully the beginning of a new age for nightlife and the industry itself. 

With these industry leaders at the helm and a community ready to take back the scene, there is room for hope, and, even more so, real change. 

Learn more about Four4Consent here. Applicants can text “Ambassador” to (313) 367-1228 to apply. Applications for the program will end June 1, 2022 with the program beginning in mid-June. If you don’t have the time to commit, you can also donate to the Night Safety Summit here.

*If you are a survivor of violence, and/or harassment or trafficking and are wishing to contact our organization for support, resources, referrals, or processing, please email survivor@four4consent.org to be set up with a Nationally Credentialed advocate*

The post Four 4 Consent Is Taking Charge With Nightlife Safety Summit appeared first on FUXWITHIT.

For many fans, this has been a long-anticipated collaboration, as one Reddit user described on the Flume subreddit more than 2 years ago “if Flume is Palpatine, Quiet Bison is Darth Vader.” QUIET BISON himself has cited Flume as one of his major musical influences since the beginning of his career. 

The song itself delivers on this long-awaited promise. Beginning with shimmering, delicate bells and KUČKA’s gossamer vocals, the song seats itself within a scintillating atmosphere. This is propelled into a futuristic foray via a soft pad and a sharp, rolling snare. The sweep is peppered with KUČKA vocal chops. A thick, distorted kick drum then comes in on the drop, pulsating and grounded. This change is met with staccato vocal chops and new, buoyant and irregular synth. The effect is shocking and beautiful, propelling listeners into a mesmerizing menagerie of sound. 

The song transitions into its second verse via an even more distorted synth. KUČKA continues with lyrics that seem to fit the inventive atmosphere of the collaboration, as they pen, “Old roads to re-trace, new ideas to embrace. Take hold, watch it translate. Make it easy to relate, to relate….Ex-communicate, I just wanted to escape.”

The song’s final drop is an explosion of sound design battering against a metallic snare, seemingly sharper than before. These two sound design savants attack with synths that are fiercely futuristic and emancipated, yet the song remains steady as if a boat beating itself through a metallic sea. In a moment, the song is gone, and the wild ‘ESCAPE’ listeners are led through disappears, ready for listeners to repeat. It is safe to say that both artists have reached new peaks in this piece. 

Listen to ‘ESCAPE’ now and find both Flume and QUIET BISON on Flume’s US Tour this summer. Also be sure to check out the b-side single ‘Palaces’ with Damon Albarn. 

[youtube https://www.youtube.com/watch?v=lup6uoiet5Y]

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The post The New Flume And QUIET BISON Track Is The Enchanting ‘ESCAPE’ We All Needed appeared first on FUXWITHIT.

‘THE FUNK’ takes on full force as the album runs into its next track (‘BUCK’ with CARRTOONS and Kyla Moscovitch), with cascading synths and rising chords. The moment of anticipation is broken by proud hip-hop drums, jubilant trumpets, and an unmatched beat that only stops for a coo of satisfaction from the alien voice. 

The opening ends, and the next track (‘CATS GROOVE,’ a collaboration with Tony Rosenberg) begins with the same repeated mantra of “don’t force the funk.”  What follows is a funk-inspired instrumental, littered with interesting percussion. The track is subdued, precise, and decisive, as listeners are led down a winding, animated path by flute and piano. The next track (‘HOME.cookin’) is also transitioned in through vocal exclamation, and, over its minute and 16 seconds, creates an even more meditative path for listeners to enjoy. 

The track fades into ‘LIL BIT,’ a standout on the album and a previously released single. A heavier piece with churning 808s and a deep vocal that repeats the phrase “just a lil’ bit not a lot.” Heavily distorted synths pepper themselves in and use the stereo field to his advantage with heavily panned instruments. 

This is also the first track to feature a full verse from Ellis, and his words are tinged with pride, in his heritage, image, and sound. “I’m a funk-soul brotha with an attitude,” he raps. “Got an afro pick with the glasses too/ Making music since the day I came up out the womb/ So write about it now let me introduce you.” Indeed, the entire album feels like a deep glimpse into Ellis’ world, as we are introduced to soundscape after soundscape that is immeasurably intricate and beautiful, pride well-founded.  

‘LIL BIT’ then blends seamlessly into ‘TRIPPIN,’ the next song off the album. Another unique piece, it begins with classical-inspired vocal chops and the delicate vocals from collaborators Max Oakley and Lulu V. The eclectic opening is soon replaced by more introspective, dream-like jazz, tinged by string samples that interplay with an electric keyboard, perhaps an homage to his days as a youth spent playing keys in the church choir. 

This time, the foreman-shifted vocals at the end of this piece tell the listener to ‘SWING IT!’, and then give way to the next track of the same name, a collaboration with Sw8vy. The song is in fact, swung, and is once again peppered with the unique percussion Ellis is so renowned for. Ellis oscillates between calming jazz, soulful hip-hop, and electronic idiosyncrasies that create an almost meditative state for the listener, a state that is furthered by the next few tracks, ‘THE CALM’, ‘SLUMDOG’, and ‘DONT BE LATE’. 

The state is interrupted with the following ‘GET RIGHT!’, a tight and spirited RnB track with impeccable, inventive percussion, and impressive vocals from collaborator C.S. Armstrong. The track is over in a minute and 42 seconds this time, followed by ‘BUSSIN’ and ‘SLANKY,’ more bite-sized morsels of a delectable world Ellis has created. 

The album ends on the song ‘ACT ONE’, which is reminiscent of 90s hip hop with shuffle drums and a detuned piano, and a lead mallet instrument. The end of the song, by choice, doesn’t resolve the tension, as exemplified by the last melody, as if suggesting music to come. Its title (‘ACT ONE’) serves its purpose and will leave listeners on the edges of their seats, for a future act two.

In all senses, THE FUNK WILL PREVAIL is a self-referential and thematic piece of Ellis’ storied career, and a glimpse into the mind of an eclectic, self-motivated artist with few boundaries and many talents. With no song on the album being more than 2 minutes, each piece offers brief glimpses into a vibrant, funk-tinged world Ellis has cultivated for listeners, that feels every bit as careful as it is celebratory. 

Listen to THE FUNK WILL PREVAIL now and find it on your preferred streaming service here.

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The post Kaelin Ellis Ensures, Triumphantly, That ‘THE FUNK WILL PREVAIL’ appeared first on FUXWITHIT.

The track starts off with a calm synth and delicate woodwind sounds, which are quickly upended by a hard trap beat that pulls the listener in. The song then builds, and vocals that repeat the phrase “Poppin It” slowly edges into the forefront of the song, ushering in a drop that is tinged with 90’s nostalgia and youthful energy, a climax of rhythm that feels endless.

ALRT also cites that most of his inspiration “lies within the ’90s core culture” of the electronic dance music scene. This latest release seems evident of that, with synths that feel reminiscent of squelchy sounds of old synthesizers, and a white noise house beat at the beginning of the second drop. 

The song continues to build on this energy, with sleek vocal chops atop crisp, biting snares that command attention. The energy seemingly feels endless, with even the brief repose in between drops carrying immense weight and anticipation. Finally, at the final drop and climax, the song ends on a singular, lofty, flute sound. This is an introspective and reflective end to the nostalgic rampage of the rest of the track. Listeners are sure to be left with this calm, an adventure well explored, and excitement about what’s coming next. With an already storied career, it seems that ALRT only continues to impress with his craft and inventive production, and whatever is “coming next” is sure to be more than memorable 

Listen to ALRT’s ‘Poppin’ now, and find it on your preferred streaming service here.

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The post ALRT is ‘Poppin’ Off on New Release appeared first on FUXWITHIT.

Combining a myriad of elements, from future bass, trap, dubstep, and DNB, the song strikes a perfect balance in between its serene stanzas and defiant drops, for something that’s entirely new.

The track begins with repeated and obscured vocal chops, which are shrouded in deep delays and reverb. Gentle keys accompany and serve as the main percussive element until the drums suddenly build.  The listener is then dropped off into the climax of the piece. 

The drop begins with a drum and bass-inspired interlude and soft synths that crash against suddenly booming percussion and bass. The same vocals now sit atop a storming sea of concocted chaos, a direct contrast to the tranquil scenes shown in the introductory measures of the song. The song continues this trend, repeated phrases and powerful drums that break into the ethereal calm. Bird noises and natural motifs are gently woven into the background. ‘Heart Strings’ peers into a world of both weightiness and levity, and in this contrast lies a pleasant euphoria for the listener. 

When speaking on the release, the pair add that ‘Heart Strings’ serves as “the brainchild of what an emotional, nostalgic, and a beautiful soundscape of controlled chaos would sound like. When I close my eyes, I envision being at a beach with a loved one during sunset. All the bottled-up feelings are released without strings attached. [Our] styles capture what that being in love may sound like.” 

In the span of a few short years, both juuku and Farrah have developed captivating signature styles, and these are only strengthened in tandem. ‘Heart Strings’ is evidence of the growth of both parties. Of Farrah’s signature tight drum programming and juuku’s ethereal, atmospheric sound design. More than an emotional release, ‘Heart Strings’ serves as a harbinger of the duo’s own power. 

Listen to “Heart Strings” now and find it on your preferred streaming service here.

The post juuku & Farrah Pull On Our ‘Heart Strings’ With New Emotional Release appeared first on FUXWITHIT.