There are a lot of emotions on ‘Revival’ since it brings so many different elements under the crooning vocals of Jenni Rudolph. ‘Revival’ has a lot of epic sounds like a smoking, smoldering bassline that simmers along with the electric synths lines of the melody. These elements carry the piece, giving it a super 80’s/90’s feel but it’s all contemporary in the drops with a hard bight of bass. The break is theatrically dramatic, first highlighting the electric synths by pairing them with Jenni’s emotional vocals, and then building back the layers with the softer drumlines before getting back to the drop of the sharper, modern bass. This track is built for the dance floor and for a close listen of Birthdayy Partyy’s technique as producers.

The debate of all time, ‘Classic V Future’ is aptly named as it titillates between crunchy hard bass and throwback turntable sound bights, breaks, vocals, and transitions. The dust settles in the meaty middle of the track only to kick up the tempo with dubstep wubbs and dubs as well as bouquets of slicing sirens.

Dread MC spits fierce bars on ‘Handle Ya Business’. His aggressive lyrics give the instruction “You better handle ya business/ Nobody Iller/ Real Killer,” before the thunderous bass lines collide. This dark dankness is coupled with light and fluffy strings and a quick, trim drumline to tease up the tension. ‘Handle Ya Business’ has a crisp groove to it that will get your heart rate up and keep your attention from start to finish.

Lesage.Williams’ vocals are velvety smooth with notes of RnB and sprinkles of catchy, pop beats. It weaves in and out of the track’s flirty-fresh melody. ‘Let Go’ is sure of itself- it saunters like a warm summer’s night with your best friends, in your favorite town. The flow fits like a glove but the bass keeps things juicy with its subtle reverb and stable, steady rhythm. I liked the touch of the soft, nostalgic sound clips like the cartoon TV turning on.

Classic V Future is an EP all electronic fans can find their groove on. Listen to the EP below.

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The two singles from the compilation comes from HVDES x Avance and YMIR x INHUMAN. YMIR and INHUMAN’s track, ‘Outcast’, has serious dramatics comprised of emotional melodies, eerie vocals, and steep drops, while ‘Demons are Like Dogs’ by HVDES and Avance is full of crunchy snares and snarly bass coupled with aggressive tone in vocals. The contrast shows the scale of sound that Kannibalen has been bringing to fans on Christmas once again- it’s dark, disturbing, and drenched in bass.

‘Right to Kill’ by Hairitage opens up the pit of dark electro tracks. It has an aggressive beat paced over what sounds like old horror movie voice samples and theatrical, chilly breaks. This is a song to get hyped to, and rally the troops to, with its big bass sound and ferocious drops. It sets the tone and the stage for the Christmas cheer yet to come.

Newcomers to Kannibalen, TEKNiCOLOR and Kartyparty collaborate on a little bass-house with ‘Rush It’. The spunky piece punches up the energy while still laying the bass on thick. It has got a playful groove and sassy snares that stay rooted in the dank bassline which starts off deep and only get’s deeper. Hopefully this means Kannibalen fans will be seeing more from these two in the new year.

‘On Your Knees’ by WODD x FREAKY, starts out with some trippy voice clips that quickly melt into the rhythm and then morph into several other manifestations. The layering of the samples rushes up to the more slicing dubs and wubs. As the pieces come together, it takes on the shape of a sauntering, dubstep/ techno mix, and the bass rumbles through the whole way. The melody is chaotically spunky and fresh while the soundscape is grungy and loaded with sharp selections.

Check these tracks out and more on the All I Want For Christmas Is Bass Vol. 6 from Kannibalen Records.

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… we decided to write the soundtrack for the end of the world.

Apashe who always has had a talent for creating music that is dramatic, dark, and doomful described how they were inspired to create ‘RIP’ and the symbolic music video, “Met Vladimir Cauchemar at a G7 meeting and we both felt like the world was in a really bad place. After discussing how this whole thing would end we decided to write the soundtrack for the end of the world. This is RIP. The rest is history.”

He further has alluded to another source of inspiration which was the film Koyaanisqatsi, a non-narrative film that is comprised of mainly slow motion and time-lapse shots of natural landscapes in the United States. Phillip Glass composed the music for Koyaanisqatsi, and Apashe stated that the “repetitive, hypnotic nature” of his music was “highly alluring” and an inspiration for the music video for ‘RIP.’ There are some of the same elements in ‘RIP’ which show how Apashe and Cauchemar adopted a similar technique; there’s the quick, repetitive melody, the splashes of chaotic imagery fastened to sharp sound samples, and the complete omission of words or vocalizations.

The track begins with icy orchestral elements true to Apashe’s style. ‘RIP’ has that classical sound with a leading organ melody backed by the swelling string trills of violins, upright bass, and cellos that melts into flutes and horns. Every element bleeds with theatrics equal to that of any blockbuster movie soundtrack, crests over the organ melody, and tumbles into a big, booming, house beat. This is what will remind fans of Apashe’s more hard-hitting bass style as well as his tendency to disregard the boundaries of music genres.

Apashe and Vladimir Cauchemar release ‘RIP’ at the end of a pandemic, during the beginning of another war, and the looming chaos of the damaged environment caused by global warming.  The video for ‘RIP’ is rife with symbolism for the most inescapable world issues such as war, climate change, and classism. As it begins, Vladimir Cauchemar is playing the eerie organ melody as the scene is set within a city where people are going about their day when they are interrupted by something in the sky. This scene with its repetitive skyward expressions along with the tension in the music brings together feelings of isolation, universalism, and helplessness. The shadow that falls on each of their faces is cast by a spaceship, an air vessel if you will, which carries Apashe and Cauchemar who look down on the planet. They host on their ship what appear to be the leaders of the world and have an entire team of servants laying a decadent meal for them that is complete with gold silverware and crystal wine glasses- the unphased and in power of the world who are distant from the doom. The climax of the video is when the earth is shown from space being consumed by fire as the elite dig into roasts and cornucopias with voracious ungracefulness. The very last shot is of Chauchemar ceremoniously knighting Apashe in front of a blindfolded orchestra which comes across as more ominous than victorious.

Check out ‘RIP’ and the epic music video.

The post Apashe and Vladimir Cauchemar Release End Of The World Anthem ‘RIP’ appeared first on FUXWITHIT.

After having dreams of being a professional ice skater being dashed by an accident, she’s found her calling through music. ‘CRY’ highlights some of this rising star’s newfound confidence and shows that she’s ready for bigger stages and heavy basslines.

‘CRY’ is a song about being at the end of something that has hurt you constantly. It’s about having no tears, words, or energy left to give to a situation. A situation that has caused you to become stronger by hurt and pain.

‘CRY’ has a heavy lyric loop (“You won’t hear me cry/ Cry”) paired with just as heavy a bassline. WHIPPED CREAM has set out in her music production career to make “music that can be felt by anyone” and this track certainly can get you in the feels, but also in the chest cavity. Its deep rumbles are accentuated by the delicate vocals, and the galloping synths sweep you off your feet. There are smoldering higher-pitched tones that tease up to the drop, where the bass throbs and gnashes its teeth. Each portion of the track is tied into these deep, throbbing basslines, which all come to a peak in the last few moments. It’s an intense ride that is over all too soon.

‘CRY’ will certainly be part of WHIPPED CREAM’s sets in the festivals she is set to appear in. This includes Coachella and Ultra, along with others yet to be announced. Check out ‘CRY’ and be sure to keep an eye out for more from WHIPPED CREAM.

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“Our post-apocalyptic universe is a bleak place where the world is crumbling. In some ways the hardships mirror what we’ve all gone through in the past couple years in real life. With this album we wanted to write from that perspective of coming in and out of hard times while still having some fight and hope left in us.”

In 2021 BTSM headlined a sold out show at Red Rocks, had magical sets at Lost Lands, Bass Canyon, and more. Now they are releasing Once Upon A Time in Cyberworld into our reality, and continuing their mission to push boundaries, collaborate with incredibly talented producers and vocalists, and create music that not only crosses but skips and leaps through genres.

BTSM released quite a few singles from this LP, which fans were happy to see and hear not only at their live sets but online. As a fan myself, going to about a dozen of their shows over the last six years, I can honestly say that going to a BTSM is the way to experience their music since their craft is focused on not just producing sounds, but submerging you into a new world of their creation. This has been part of their artist journey from their early days and has continued to inspire and thrust their career in electronic music forward much to their fans’ delight.

“We really wanted to push everything forward with the LP and tie it together between the next chapter of the Movie Experience, the tour and all of the visual content from artworks, posters and beyond.”

The opener to this album, ‘Trailblazer’ ft. Macntaj, is a definite stunner. Beginning with an aggressive, staccato rap verse, and then melting into a crooning Macntaj, the lyrics emphasize standing strong against adversaries and phonies; it quickly descends into a ferocious flurry of slicing dubstep synths that would make any headbanger break their neck to. Staying close to their theatrical style, BTSM peppers symphony samples over big bass sounds, and pushes the thrills with swelling, brassy horns. It’s a perfect palette cleanser and stages the high energy stage for what is to come within this universe of BTSM.

BTSM’s collaboration with famed duo ATLiens is another stand-out track, and single release, from Once Upon a Time in Cyberworld that will immediately hook into you. With extra crunchy effects, aggressive basslines, and layers of futuristic digital chirps and vocal samples. The melody saunters like a robotic beast and the synths tickle at your already chilled skin- it’s like a horror rollercoaster ride at a future cyberworld carnival. Each verse has its own definitive boundaries but the transitions are so silky that they fit together like a blackjack dealer’s shuffle. One break bleeds into another high-energy rendering, and there are a few morsels that show off ATLiens and BTSM’s shared skill and interest in pushing the boundaries of dark electro. Especially when they pump up the rhythm or deconstruct the disk into its raw components. ‘Front Man’ is a multifaceted track that is sure to hold your attention from beginning to end.

Teaming up with Hairitage and featuring Hyro The Hero, ‘Cheatcode’ brings about some classic BTSM sound. Commencing with quick and plucky synths that set an eerie stage, Hyro’s vocal performance unfurls high energy with lyrics like “I will never fold or crumble/ Six feet deep they want me under/… Imma have to show my muscle”– then there is a fanfare of operatic synths, reaching a higher level of vibrating energy before he continues to spit “I’m in attack mode/I’m in beast mode/I’m in attack mode/ I’m in beast mode/I’m in attack mode/ I’m in beast mode/ Bitch I got the cheatcode,” before everything implodes and the chaotic crescendo crumples onto itself and churns into a wicked head-banger riff. This fury is combined with soft flashes of violin-like backgrounds, creepy, Halloween-esque synths, and emotional trills of classic wind instruments. This is the sound that drew in lots of BTSM fans from their inception.

Partnering up with YOOKiE, BTSM brings back diehard fans to their Church days, sampling choir vocals and stitching them together with YOOKiE’s experimental style of production in ‘Deathstalker.’ This track is like a fever dream, starting out with the clear choir vocals and quickly whipping up into YOOKiE’s foamy, rapid-fire effects that are stripped back, bearing only teeth and attitude. Just as quickly, we are back to the steady beat, the pace of a priest coming down the center aisle, just before another lead-up and drop into the meat of ‘Deathstalker’. Here we have crispy waves of digital sound and the whirr of mechanical synths, chopped up finely into the swell of background choral effects, and a menacing rhythm that spurns you on until the very end of this high octane track.

Other tracks on this album that were especially dank were ‘Leaders’ ft. Alborosie, ‘Karma’ ft Dread MC, and Kai Wachi’s collab ‘Prayers’ ft. Wasiu. Check these and all the other gems they have collected on Once Upon a Time in Cyberworld below.

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Marbs crafted Minds of the Run as light and refreshing—a drink of cold water after an arduous journey—but it also has some meat on its bones as it plays with an exotic mix of sound samples and dashes them together in a sort of feverish experiment. And what an honor to have Oscar L featured with remix at the end of this EP. Marbs himself is quite proud being quoted as saying, “I’ve been an Oscar L fan for a long time. When I sent him the music and he said yes, I was really excited to have him on Desert Hearts Black.” 

‘Needed Time’ is the first track on the EP and establishes the flavor of the collection. It starts out with a nearly subconsciously deep bass line, and built up from there there are trills of horns, slinky snares, and crisp effects like the flick of a card deck and the clink of glasses. The delicate vocals keep afloat above the foamy musical scape, but the emotion and tensions are elevated further with the smattering of exciting synths as they rise and crest with the drops. It is a complex sound that does not get overwhelming since the steady tech rhythm keeps it steady. ‘Needed Time’ feels like the perfect track to open up a set as the sun dips below the horizon and the buzz begins; something all music fans have craved since the pandemic limited our opportunity to experience this.

Next is ‘Mental Gymnastics’ which is also carried by a gentle hum of bass that is basted with crunchy tidbits of samples creating a melodic and tangy track. There are some breaks in the bassline where the melody is teased up with some sharper, higher pitched synths, and then it’s layered back in to give the overall satiating experience of dexterous mixing and seamless transitions from one section of the track to the other. It is a pluckier track that has dashes of more pensive sounds to create thoughtful space. 

The title track, ‘Minds On The Run’ starts out like a digital ticking clock and quickly collects sounds from the ambient rhythm it creates. As it progresses, this unique bouquet of sound is pulled together with breathy synths, erotic vocal samples, and the toot of a distant horn that was possibly recorded underwater. It’s a freaky amalgamation that simply works. The sounds feel like they are all standalone yet stitched together, like segments in a centipede creeping along a sweep sand dune- fleeting but together. It is a sensual experience that would be well suited for an inky night and a set’s twilight performance. 

Oscar L’s featured remix of ‘Needed Time’ cinches off this expansive experience. With a punched-up, bolder bassline, no time is wasted getting to the heart of the essence of this track. With the deeper bassline, the synths feel even more sinuous, and the vocals are slightly distorted to create more tension and attention. The build-ups are rapid, initially perceptible, they register and then they are upon you—an exciting, thrilling way to build emotion. As Oscar dials back the bass to reveal the might of the garnishing sounds, he creates anticipation, and like any professional creative, he draws them out, and then the synths are frothed and spun up into a frenzy before blasting back into the bass.

Check this EP out for yourself below. 

The post ‘Minds on the Run’: Desert Hearts Co-Founder, Marbs, Releases EP appeared first on FUXWITHIT.

The duo that make up the mysterious Kasablanca name do not hold back when it comes to infusing their music with their varied influences which includes analog synths and thickly textured soundscapes. Their sound is a stand-out in today’s electronic music scene with its modern yet nostalgic take on analog synths, and they demonstrate their talents with enthralling live shows, like their performance at the famous Red Rocks amphitheater and live from the future for DJ Mag, with their visual experiences. As Kasablanca drops Cronus/Volition it is a challenge not to salivate imaging what a full collection of their creations will be like.

The first track, ‘Cronus’, begins with a high toned synth that carries the melody through a backdrop of beefy bass, sing-song synths, and silky smooth transitions. The high tone is melted down into the break, transforming it into more of a brassy horn sound, before dropping away completely to showcase the steady beat. Blasts of booming rumbles that punch up the energy driving headfirst into the second half of the track. The drop back into the groove is fluid but also dramatically satisfying. It is fresh and flirty but still filthy. 

The second track, ‘Volition,’ has a similar rhythm and sound palette, making it feel like a fraternal twin. There is more focus on the vocal samples, which are classically robotic and repeat the abstracts ‘Emotion, Desire’- aspects of volition itself. This poeticism is splattered on top of the steadily increasing melodic synths, and throbbing, deep bassline. There are flutters of synths that circle in and out, weaving a texture to the sound that feels both metallically clean and raw with emotion. ‘Volition’ is not a track that is focused on opening the sounds up, but more of how they play with each other, leaning into one another, melding into and out of phases; it is as if the sounds are becoming silky as they settle into your ear yet they retain their form against the rhythm. After a near full stop, Kasablanca quickly dashes the bouquet of sound back together, whipping it forward, diving into the meat of the beat, and then it just seems like it’s over too soon. 

Check these out out below.

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As a progressive house track, ‘Better Off Leaving’ is woven with a techno technique that pumps up the emotion without giving up elegance, charm, or grace. The transitions are glossy, smoother than butter, and highlight the closeness of each genre’s soundscape. HNTR fastens in Tribe Alexander’s hypnotic vocals, keeping them in line with the rhythm and letting them hover, floating over the tight bassline. It provides an eerie contrast that simultaneously evokes fury and fastidiousness. The pair have been working together for some time and are pleased to see how fruitful their collaborations have really been.

Tribe Alexander and I worked on a tone of music during the last 18 months or so and I’m so happy to see so much of it see the light of day. Often when you’re writing songs you have no idea where it will end up and most of them never leave your hard drive. We took a lot of inspo from classic progressive house so to have it co-signed by one the greats and released on his label couldn’t be more perfect. – HNTR

With this ‘Better Off Leaving,’ HNTR demonstrated his willingness to go dark and deeper into dance music but does not compromise on his ability to create tension throughout the meat of the track, and then dip the audience into a creeping outro. It’s as if you are being lulled into anticipating what comes next while still lingering on the taste of what just was. It’s an interesting background for the thought-provoking question that lingers in the air.

Check out ‘Better Off Leaving’ from mau5trap below and be sure to stay on the lookout for more from HNTR.

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This throwback to electronic music’s early days, where the dance floors were mostly warehouse cement and the music was what lured fans in- not hype, not laser shows, nor Instagram photoshoots, is refreshing to the veteran fans’ ears. 

First up is ‘Beware’, and it’s aptly named to put the listener on alert to what is about to come their way. This killer track opens up the EP with a steady beat, cold snares, and playful synths that drum up the drama. The vocals are intriguing with their operatic crescendos and spooky, spell-like lyrics. ‘Beware’ is not just the opener, but definitely the meat and potatoes of a playlist or set that can hype up a crowd and set the scene for a big night out. Its classic sound satiates while its more intriguing elements keep it fresh and crisp. 

The title track, ‘There is No End’ goes the hardest with this vibe, pushing the boundaries of rhythm, transitions, and melody. With its hard edges, this track really emphasizes the style of stitching sound but also incorporates the liberty of the digital age of music by collecting sounds that are from either end of the spectrum; both futuristic and animalistic. 

The final track of the EP, ‘The Ritual’ isn’t hard to imagine filling the voluminous cavern of an industrial party, or blaring through a darkened forest where ravers meet up to indulge in sound, beats, and whatever party favors may be on the menu. ‘The Ritual’ has a sooty hum that vibrates throughout the booming bass lines and it dances with the eerie synths that could very well be the sound that flying saucers make before abducting you. It’s an in-your-face sort of sound that any die-hard raver would lean into. 

HELLBOUND!’s There is No End EP shows off his style well and highlights how electronic music producers can still push boundaries in music while calling us back to a different era. It’s like a way of remembering the past, reinventing the future, and keeping the spirit of the genre alive for newer generations. 

Check this EP out below and stay tune for more from HELLBOUND!.

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Lupa is fresh to the scene but got her feet wet in the UK underground before committing completely to her music. It seems to have sucked her in, being an unavoidable outlet for her self-expression and creativity. 

“I was once asked what motivates me to create music and at the time I had no idea how to answer it. I love the music for the sake of art itself, but there was something else deep inside that pushed me even further. When I’m not working on music or art, I’m thinking about it constantly and it’s usually my first waking thought. The only thing I have is this relentless motivation for self expression and it’s the only thing I need. This EP represents that fierce, undefinable feeling in my gut, an insatiable hunger.” – Lupa

With the motivation, honed technique, and burning creativity, Lupa created Insatiable’s fiery five tracks. The first track ‘Along for the Ride’ is a moody soundscape that picks up speed like a train and is coupled with crooning vocals that give the feeling of being swept away by the music, the beat, the sensations of it all. The second track ‘Darkness’ has a bolder bassline, sharper synths, and a tight snare that blossom at the drop into a fervent storm of throwback techno styles that simmer with new flavors; the vocals again share raw emotions of despair but seem beautiful in their starkness. 

The next track brings in more of the raw, industrial, warehouse sounds and is titled ‘Icarus’. “The name comes from one of my favorite stories in Ovid’s ‘Metamorphoses,'” explains Lupa, “the story itself is about a man who goes against the way of nature and the Gods and in return is punished.” The steady techno rhythm is speckled with staccato synths, and it just adds this modern grittiness to the sound. The artful transition from this to the ethereal break, glittering with birdsongs clips, and cloudy effects, is breathtaking and provides the abrupt contrast to the return of the main beat. 

This earthy, industrial sound continues in the final track, ‘The Night.’ This one mixes in the same type of intensity but trusses it up a bit with a meaty bassline and a dramatic pause. The lyrics allude to the overwhelming emotions of an early attraction and are a duet that tells the same story from two perspectives. ‘The Night’ is a brooding love story with a sharp techno setting that emotes both the delicate nature of emotions and also their power. 

Check these tracks out below plus a bonus extended version of ‘Darkness’ below.

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