With the exception of a few vocal-driven moments, huck.jorris lays out a hallucinatory cartography of liminal dubstep, keeping the architectural schemes of the genre while borrowing from ambient and lofi. The result is a mosaic of sub-bass-soaked yet light-handed cuts perfect to listen to while meditating in the early hours of the morning or while admiring the mind-blowing vastness of the cosmos. We have no titles or release dates at the moment, but I could easily see a big portion of this tracklist becoming a full album. Quoting Colin’s Focus Five piece, “I haven’t been as tapped in on the Left Field Bass sound as of late, but stumbling on huck.jorris offered a timely reminder of how good the sound can be when executed at a high level“.

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“MOVADÃO is probably the best piece of music I’ve ever made” the just-turned-18 producer says, “I just went crazy on it and poured my anger in all the songs“. Released on Slow Roast Records, the project is composed of five tracks that reflect KARAN!’s interpretation of various styles of Brazilian funk while encompassing elements and influences from plenty of other electronic music heritages. As anticipated directly by him, the result is a collection of furious beats that take the listener literally by assault.

While ‘MOVADÃO’,  the opening title track, might sound pretty “classic,” at least for those familiar with this genre sound, it’s just a prelude to the madness that comes right after. For example, the insanity of ‘AKITA’, where a massive wobbling bassline combines with hardstyle elements and Portuguese lyrics, or the perforating synth in ‘KELATA’ which makes the tracks sound like a collaboration between KARAN! and Shangai Doom. The broken rhythms of ‘MOVIMENTA’ deliver the most syncopated piece of baile funk I’ve ever heard while ‘ADENTO’ flirts with abrasive sounds that might appeal to even dubstep and riddim fans.

“I always like to do different stuff, taking inspiration from everyone else. That’s always been the main goal of the KARAN! project” adds the producer, who started the alias at the age of 14 years old, after his friend Klean (the mind behind the infamous Rude Boy edit played at Super Bowl) introduced him to the marvelous anarchy of the SoundCloud scene. “Some tracks were made in days like ‘MOVADÃO’. I made this song way faster than everything I’ve ever made in my life. Others, like ‘MOVIMENTA’, are from months ago. It was made last year and it was supposed to be a single release, but since I wanted the EP to be aggressive and represent the different Brazillian funk styles in my style of music, I just threw this track in there.”

As someone who is completely new to this sound and this scene, I admit I had to recalibrate my approach as a listener and writer to get on the same vibe with the widely different production style of KARAN! and most of the other Brazilian producers I’ve discovered so far. It took a while, but then the fun began. Assuming that it may be the same for many of you, I urge you not to be too influenced by the first listen. Do not fall back into the routine of passive binge listening and indulge in the fascination of active, inquisitive listening: it’s worth it. After all, what is more fun than breaking through the wall of our comfort zone and throwing ourselves into the arms of new, challenging things?

Listen to MOVADÃO below or on your favorite platform.

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There are times when words are sensory overload that complicates emotions rather than evokes them. While they can paint a picture of our experiences, words could be daunting to take in. With Gradients, 92elm sought to alleviate that pressure to examine by permitting us to feel. It’s palliative and airy, aiming to use its breezy Lo-Fi aesthetic to lift your mood the same way pilots use the wind for takeoff.

Known for his future bass sound backed by lush vocals, the Philadelphia producer often layers his vocals an octave lower when paired with the main vocalist. The result is a texture that is ethereal alongside dazzling instrumentation. Despite his song’s cheery nature, there are themes tied into the final product to feel for ourselves. On his last project, Patience, 92elm unwound from a slow, organic sound of fear to utilize both his voice and electronic elements more as he overcame them. It’s a reminder that time heals all but only when the effort is there.

His latest project, Gradients, departs from his usual sound, experimenting more with chill hip-hop elements to create a minimalist aesthetic. Composed of instrumentals, Gradients symbolizes the alluring glimmers of the sun to the dazzling sight of the moon with shades of orange and blue.

From start to finish, the sequencing of the album is intentional. A quick examination of the album cover hints at a day and night cycle. ‘Opal’ is misty and damped, with sharp sensory piercing synths role-playing mother nature. The percussion softly pelts the surface like a leaf falling off a branch: slow, meandering its way around the vast to reach the inevitable. It’s a consistent characteristic of the project. It is littered with percussion instruments from snares, high hats, maracas, glockenspiel, and more fusing to provide energy.

‘Radiate’ is a vaporous highlight of the EP that veers into the late morning. Its uplifting chords support the rest of the instrumentation to sail in the environment as if they are clouds. I especially admire how 92elm tucked the saxophone behind the softness of the drums. Its brightness pokes out ever so slightly to remind you of its presence. ‘Suncatcher”s foundation is slippery keys and drums looped together with synths popping in randomly to create an illusion of movement. True to its name, its slower tempo illustrates the joy of basking in the daylight.

The subtle transition from day to night makes the project feel evasive. By the time the outro track ‘Ripples’ comes on, you wonder where did all the time go as it’s already morning. It feels a tad cinematic and natural, birds acting as background singers as they chirp alongside pristine chords and staccato of the violins. Yet, the track does something I wish was more prevalent throughout Gradients. Halfway into the record, a robotic vocal mutters a melody, but its words are difficult to discern. What is being said is not significant compared to what it supplies. Its inclusion allows the elements around it to slyly relapse to the beginning, where the birds chirp again.

Is it a sign? Informing us how quickly the days go by as the next spears on ahead. A reminder to live in the moment and enjoy what’s around you. Perhaps this is 92elm continuing his attempt to comprehend the concept of time. In a world where BPM, bar counts, and patterns govern, producers are mathematicians who are able to turn numbers into notes. There could be many meanings or none at all, but what Gradients is anything but lingering.

The post 92elm Boasts Organic Talent in Nature-Inspired ‘Gradients’ appeared first on FUXWITHIT.

Design

From the outside, the design is clean and minimal. The diamond (or rectangle depending on how you look at it) shape is sleek. The main controls are on the top of the unit featuring the power button, large volume buttons, and the input selector. You can easily switch between two separate Bluetooth devices, auxiliary and optical inputs. The rubber strip along the back edge hides the inputs/outputs and also slides out to create a nifty carrying handle. This also helps it attain its splash-proof IPX4 rating. While it’s not fully waterproof it’s nice to know a spilled drink or splash from the pool won’t ruin it. The stamped Ultimate Ears logo on the front corner provides a subtle indicator for ideal positioning.

Where the HYPERBOOM really shines is with what’s on the inside. Clever engineering allows the HYPERBOOM to pack two 4.5-inch (114mm) woofers, two 1-inch (25mm) tweeters, and two 3.5-inch (89mm) x 7.5inch (191mm) passive radiators. It’s a pretty impressive feat that gives the speaker its exceptional sound.

Portability

Clocking in at 14.33 inches (364mm) x 7.5 inches (190mm) x 7.5 inches (190mm) and weighing 13 pounds (5.9kg) this isn’t the most portable speaker around. If you’re looking for something to throw in your backpack, purse, or carry on, this isn’t it. If you’re looking for a high-quality speaker that packs a punch with the ability to easily move throughout the house or bring with you on a road trip, this one is for you. The pull-out rubber handle makes it relatively easy to carry but don’t expect to bring this one on a long hike.

Battery Life

Ultimate Ears rates the HYPERBOOM for up to 24 hours of battery life. This will vary with the use case, but overall I’ve found the battery life to be great. In the month plus I’ve been using it I’ve only had to charge it twice. It comes with its own power supply which will get you to a full charge in just over 2.5 hours. The HYPERBOOM also features a USB out for charging devices off the battery, which is a handy feature if you’re out on a camping trip or at the beach and need to recharge your phone or other devices.

Connectivity

The Bluetooth connectivity is great. After pairing the speaker with my phone and computer I was amazed at how quickly it connects. If I already have Bluetooth on it connects a second after I press the power button. The range is nearly 150 feet (45 m), so you can easily move about the house or outdoors without any connection or latency issues. It remembers up to 8 paired devices with the ability to have two connected at once for easy switching. If you’re looking to further bolster the sound, the HYPERBOOM pairs with the BOOM, MEGABOOM, or other HYPERBOOM units.

Sound

Easily the most important facet of any speaker is how it sounds. In this department, the HYPERBOOM excels. I truly didn’t think a portable Bluetooth speaker could sound this good. The sound is balanced allowing the full range of listening. The bass is powerful enough to truly feel it without it being overpowering and drowning out the mids or highs. In terms of volume, the HYPERBOOM gets loud. When listening in my office I generally keep the volume around 50 percent and crank it up to 75 when working out in my basement. It’s easily powerful enough to fill any large room or pack a punch outdoors. This one speaker could definitely handle being the sound system for your next house party. The speaker also features a mic with adaptive EQ to ensure that the HYPERBOOM sounds great wherever you take it.

Conclusion

The Ultimate Ears HYPERBOOM truly is the ultimate Bluetooth speaker. If you’re looking for one speaker that provides excellent sound quality, great connectivity, and can easily be moved from room to room, outside, or even taken on a trip, this is the speaker for you. It’s certainly not small but once you hear it, it’s clear why. Prior to having the HYPERBOOM I almost exclusively listened to music on headphones. Since picking up the HYPERBOOM, I barely find myself reaching for headphones, as I feel confident I’m getting the full spectrum of sound and quality from the speaker. For a music blogger and DJ this means a lot.

The HYPERBOOM is available now on Amazon.

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