‘Watch This’ starts with distant, airy plucks that slowly come into focus as another melody and percussion are layered over it, filling the space and leading into a nasty, wonky halftime drop. The thick, warm, analog-sounding basses that fill your headphones are perfectly placed in the track and give ‘Watch This’ a rough and gritty vibe that you can’t help but lose yourself in. The second drop brings a massive wall of bass into your ears that washes over the whole track and makes ‘Watch This’ a track that is on point.

Check out ‘Watch This’ from Lavier and Subtle below.

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Wtf’s That Sound · Lavier & Subtle – Watch This

The post Lavier & Subtle Bring The Ruckus On ‘Watch This’ appeared first on FUXWITHIT.

‘Angel’s Ghost’ starts with a raining atmosphere, mesmerizing vocals, and a rich, deep bassline that quickly builds with the intent to drop into something epic. When you reach the drop, tearsofmine unleashes a trap-fueled section that blasts through the speakers with huge synths, vocal chops, slapping 808’s, and all the classic trimmings of the glorious 2016 era of trap music. After a small reprise, tearsofmine brings ‘Angel’s Ghost’ into the second drop where he continues his onslaught of the track. ‘Angel’s Ghost’ truly has everything I could ask for in a track, from the lush, beautiful vocals, to the massive, energetic drops, it’s clear that tearsofmine is starting 2022 with some of his best work to date, and we’re going to be keeping a close eye on them all year to see what else they have coming.

Check out ‘Angel’s Ghost’ below, and be sure to follow tearsofmine and The Arcadium Project for more.

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The first track off ZCR’s, IS THERE NO ONE ELSE EP, is aptly titled, ‘WELCOME’, and it’s not your usual warm welcome. It begins as an old record, with a voice welcoming you to the experience, but the track quickly melts away, leaving a large, dark, and apprehensive drop in its place. The arrangement and flow of ‘WELCOME’ is truly something special, and ZCR really goes to work on the second drop, filling the track with energy from a thick static bass that tickles your ears with sub frequencies. The second track, ‘LOST MY MIND’ featuring TrippyThaKid is one of the standout tracks on the EP due to TrippyThaKid’s verses and the switch up on the second drop that is sure to light up dance floors. ‘SCREAM AND HOPE’ is the third track on the EP, and ZCR creates a constantly shifting synth that gets paired with some top-notch percussion, infecting listeners with the groove and pulling them deeper into the EP.

The fourth track on the EP, ‘HELLION’ continues the aggressive assault ZCR has laid out in previous tracks. ‘HELLION’ feels like a descent into a special industrial hellscape where instead of flames, there’s white noise, as ZCR miraculously turns what sounds like a screaming vocal sample into a lead that carries the track. The last track on IS THERE NO ONE ELSE is ‘ABOVE THE LAW’ and is another stand-out track for me. Filled with dark and heavy elements, ZCR gives us his style on a more house-influenced track to showcase that his sound isn’t defined by genres and he can deliver almost anything.

ZCR created a truly cohesive and special experience on his IS THERE NO ONE ELSE EP, crafting his tracks with serious energy and depth, while unafraid of venturing into industrial and experimental lands.

Be sure to check out IS THERE NO ONE ELSE below.

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‘wheel dat back’ begins with a mysterious atmosphere that’s filled with a sense of prolonged waiting until the track builds into a gritty, crunchy, gut-wrenching wubfest. The flow of ‘wheel dat back’ is constantly shifting, building upon itself in new iterations, carried by the warmth of the low-end sub, and it’s an all-around impressive arrangement that keeps listeners eager for more. The second drop of ‘wheel dat back’ is more sound design bliss, as some powerful crunchy sounds that sound like my speakers are getting ripped open come into play.

Be sure to check out ‘wheel dat back’ by sfam below.

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‘Little Bamboo’ begins with JKuch’s own vocals, which I need to say are spot on and to have a producer perform their own vocals really adds depth to the track. The lyrics of ‘Little Bamboo’ are extremely moving and feel very personal, like JKuch is sharing a part of his soul and story, and QUO’s verse and background vocals are absolutely breathtaking and so soft and smooth, the lyrics just melt away from his mouth. The way JKuch manages to mix pop with electronic on ‘Little Bamboo’ is truly magical and creates a special union between the two genres that I didn’t think could exist. The production is typical JKuch; slightly wonky, yet carrying an insane amount of emotion through the melody, and nobody can do it as well as he does. JKuch has once again delivered a track that has me head over heels before I even finish my first listen.

Check out ‘Little Bamboo’ ft. QUO below, and be sure to keep an eye on JKuch in the future.

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t1r starts off with the title track, ‘reform’ which begins with large, rich supersaws and a quick arpeggiator that really sets the tone for the track. At the drop, t1r gives us a unique future bass-type beat, and the tiny negative spaces he added into the arrangement of the track really adds to the driving force of ‘reform’. The second track on the Reform EP is ‘iso’, and it’s one of the standout tracks on the EP for me personally. ‘iso’ is filled with energy, ambiance, and shows t1r’s fluidity in production. The gentle, swaying synths, that introduce the track are somehow switched into crushing bass stabs at the drop and it’s that unexpected switch up that I absolutely love about ‘iso’. Then t1r goes a step further and makes the second drop drum and bass out of nowhere and it’s just *chefs kiss*. ‘flux’, a bonus track, is the fourth track from Reform and returns t1r’s trap roots with some bouncing, delayed plucks and thick percussion. The last track on the Reform EP is ‘aura’, and it’s one of the more moving tracks on the EP. ‘aura’ is filled with lifting synths, large percussion, and really unique sound design that cap off the EP magnificently.

Check out the Reform EP below and be sure to keep an eye on what t1r is doing.

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Sliipow sets the stage with the first track of this four-track EP with ‘Mild Magic’. ‘Mild Magic’ begins with swirling vocals and grainy textures that coalesce into a transcendental atmosphere, but it quickly goes south at the drop, transforming the vocals into a mysterious voice, layered with pounding percussion and grimey synths that really fills out the track. The melodic breaks Sliipow puts into ‘Mild Magic’ give you a beautiful reprise and centers you back before Sliipow brings you back into the second drop.

The second track on the Catalina EP is ‘Gaslighting’ and it’s hands down my favorite track on the project. On ‘Gaslighting’ Sliipow ventures into the realm of what I believe the kids today are calling colorbass, and knocks it out of the park. The flow and melodic elements of ‘Gaslighting’ are incredibly moving, and you have to appreciate that wonky, bobbing lead synth in the first drop. On the second drop, you can pick out elements from ‘Mild Magic’ which is a clever trick by Sliipow to really make the EP feel like one body of work.

‘Warfare’ is a collab with Théo and it’s one of the more upbeat tracks on Catalina, giving you a good chance to get up and moving with the fast-paced beat. The last song, and self-titled track of the EP, ‘Catalina’ is where Slippow really mixes it up and starts it off with a hip-hop beat and rapper, Kodah Xavier. ‘Catalina’ is where Sliipow returns to his trap roots and gives us a large banger that will probably set off car alarms if played too loudly.

Sliipow takes us through several different genres on this 4 track EP, yet Catalina feels very fluid when you listen through it, making each piece stronger and more impactful than if they were alone. The atmospheres Sliipow crafted on each track had a unique blend that still felt harmonious throughout Catalina and I think Sliipow really nailed these. The way they were able to reuse sounds throughout various tracks was also an interesting touch and a smart production move. Catalina gives us another look into who Sliipow is, and it’s got us itching for more.

Check out Sliipow’s Catalina EP below on Above and Below.

The post Sliipow Explores Realms Unknown On ‘Catalina’ EP appeared first on FUXWITHIT.

‘Pull Up’ begins with car engines revving in the distance as the track slowly introduces a simplistic trap beat with a small vocal hook, urging listeners to “pull up.” As the crowd gathers, Hearsay and jistix unleash an absolutely torrential force of waving synths and crushing bass that ignites everything within a 2-mile radius. Hearsay and jistix showcase their production skills on ‘Pull Up’ by making this filthy track sound so clean and crisp, it’s difficult to not take a peek into their own releases. The second drop of ‘Pull Up’ uses the rest of the fuel in the tank by never letting off the gas and delivering a high octane energy drop, making listeners get out of their seats and drivers break the speed limit. Hearsay and jistix are sure to get the maximum MPH out of ‘Pull Up’, just make sure your engine can handle it.

Be sure to check out ‘Pull Up’ below and grab the free download straight from Soundcloud.

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‘FAYA’ begins with an ambient atmosphere that quickly pulls you in like quicksand as Pirana and Kazu add a cheeky vocal sample to really build the track. At the drop, Pirana and Kazu release an absolutely impeccable flow of plucks, basses, and drums where you can’t help but start bouncing. Pirana’s bounce style that I mentioned earlier is truly on display here, giving the track so much energy it’s difficult to contain. The second drop on ‘FAYA’ throws you back to the earlier glory days of trap, featuring massive, gliding horns and thick 808’s that almost knock you out of your seat. ‘FAYA’ is a testament to the growth of the trap genre and what made it great, and Pirana and Kazu managed to combine their styles flawlessly.

Check out Pirana & Kazu’s ‘FAYA’ below.

The post Pirana & Kazu Release Nothing But ‘FAYA’ appeared first on FUXWITHIT.

‘Water’ begins with a simplistic percussive beat that is sprinkled with minuscule droplets that ping between your ears, as atmospheric elements come together, rising in intensity and preparing a storm. When the pressure reaches a climax, sfam unleash a wubby lead synth that swirls back and forth like a water bender practicing their craft. sfam really focused on creating a feeling of push and pull on this track, spacing out the wubs with incredibly creative and simply effective fills that are either deep, undulating sounds, or crisp percussion. The second drop of ‘Water’ speeds up the pace a little and adds more variety by switching up the flow, making you feel like you’re on a boat with choppy waves rocking you. sfam truly knows how to craft a unique sound and then build around it, letting it become the centerpiece of the track, like they did here with their main wubby lead.

Be sure to check out ‘Water’ below and follow sfam to keep up to date on everything they have going on.

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