This track is absolutely gorgeous in every sense. The eerie and magical melody combined with Alison’s blissful range sets the stage in a unique and intoxicating environment. Making you feel the excitement build and build through each second. And while those sporadic shakers going off in the back along with cinematic drums, you get a sense that something monumental is about to show its true colors. Easily sensing MEMBA’s spiritual and earth-shattering presence throughout. Making listeners even more curious and intrigued.

Once the chorus presents itself, everything changes while still harnessing that same insidious energy from the beginning. Now when it comes to MEMBA’s sound design, they hold absolutely nothing back. No matter the piece, they’ll bring down the house in any way they can. It’s the spirit of their mind-bending sounds that make the chorus section very special. The bass line throughout is so refreshing, light in tone yet heavy in execution. Taking center stage with the help of an electrifying vocal lead to bring it all together beautifully. Repeating the same phrase over and over again. Pitched up with a delayed feel to add another layer of rhythmic structure. Hearing both of their styles intertwine is simply breathtaking from beginning to end. Easily making this one a classic for themselves and the label. A festival smasher to say the least. So make sure to show your support by streaming ‘Fight or Flight’ everywhere via FMU Records!

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Dabow & Jon Casey’s connection runs deep. From the iconic ‘Birds’ to ‘Banga,’ and ‘Game Over,’ anytime the pair come together it’s something special. ‘I Surrender’ keeps the streak alive with a gem that perfectly balances their respective styles. Built around an intoxicating vocal loop, it’ll instantly be stuck in your head. The flow on this one is masterful. It’s constantly moving, sliding from pocket to pocket while maintaining an addictive bounce. Despite possessing layers, everything is allowed the proper room to breathe for maximum impact. It’s a banger but it’s not too aggressive. Its bump is fluid and smooth while still remaining potent. It’s the type of track that only the two could craft together.

Dabow showed me this idea in the studio together and I said I have to add my 2 cents on it ASAP. We listened to the song more than we worked on it at the time because we loved hearing it so much. The fact that it’s FMU’s first record is the biggest honour and I’m beyond hyped to get it out. Thank you Alison for believing in us the way you do. Hope y’all enjoy it.
-Jon Casey

‘I Surrender’ serves as the perfect foundation for Alison Wonderland’s FMU Records while setting the bar extremely high. Dabow offers us a deeper dive into how this all came together.

’I Surrender” was meant to be a collab with Jon Casey from the minute it was started, feels special to be part of the first release on FMU Records. We worked on this collab in the weirdest music studio in Austin Texas, it was like a huge warehouse, with a lot of abandoned stuff, but in two rooms they had some nice studios. The whole mgmt team was there, vibing to the track. Jon was adding unlimited sauce to it. Till we were like: “Yo, this is it!” Then the next night we were listening to it in the car with a few other people, and I told Jon: “This track is gonna change our lives.”
-Dabow

Stream Dabow & Jon Casey’s ‘I Surrender’ below and look out for FMU Records in 2023, the future is looking very bright.

The post PREMIERE: Alison Wonderland Launches FMU Records With Dabow & Jon Casey’s ‘I Surrender’ appeared first on FUXWITHIT.

When the pair dressed up as each other for Halloween, it was hard not to see this dream collaboration happening. Alison Wonderland and Valentino Khan have always shown public support for one another over social media and have even done surprise B2Bs over the years. As a matter of fact, the only surprising thing about this is that it hasn’t happened sooner.

With a cute and catchy hook like, “I just wanna do anything with you,” it’ll be hard not to fall in love with this track, especially when it’s by some of the most versatile and well-loved producers in the game. ‘Anything’ showcases both of the musicians’ producing chops plus, we get Alison’s dreamy vocals, as a treat.

The beatmakers play off each other well, and their styles blend seamlessly for this bouncy house anthem. While Alison is more known in the bass genre, we can definitely see that Valentino is in his element with ‘Anything.’ But we think they both definitely shine on ‘Anything’ and we hope to see them spread more light and produce more heat in the future.

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Regardless of what it sounds like, ‘Bad Things’ isn’t just about the bad shit someone goes through. For Alison, it was more letting go of the bad things so that she can start new. She told Hobba and Hing from Triple J:

I usually write about trauma and the things that I’m going through… I think the reason I love this song so much is because it’s about rebirth; it’s not about entertaining bad things anymore, reminding myself why I’m here, being okay with myself. It was really cathartic for me to write those lyrics.

alison wonderland

This song is just one of those addicting tracks to listen to. The tune’s melody is insanely ethereal and uplifting, beautifully contrasting its melancholic words. The lyrics hit home hard, especially since everyone in the world is absolutely going through some bad things right now.

I think we can all relate to the moments where we just want to vent and let all the negative emotions out. It sounds like that’s what ‘Bad Things’ was for Alison. Despite her insane growth over the years, Alison Wonderland proves to be someone we can all connect with, either through her blunt persona on social media or her relatable songwriting.

Accompanying the song’s release is the music video, which gives a trippy visual representation of what it’s like to go through hard times in life. Watch it now and stream the track below.

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Putting aside all expectations, ‘TIME’ begins in a luscious aural sensation, making use of spacious sounds to create a groovy, almost house-inspired elongated introduction. It’s only at the ninety-second mark that the original influence from both producers makes itself heard, with an upping in tempo and added percussive elements driving forward a futuristic sound. A repeated metallic synth shines at the forefront of the drop, never breaking the vast soundscape created in the first half of the track yet increasing its internal chaos. Brief Alison Wonderland vocals bring about an intense final drop accentuated by a hard-hitting sub to round off the track exquisitely.

Alison Wonderland and QUIX have transcended genres with ‘TIME.’ Don’t miss it below.

The post Alison Wonderland & QUIX Team Up In Lusciously Unique ‘TIME’ appeared first on FUXWITHIT.

In perhaps his heaviest solo offering to date, NGHTMRE turns the original trap hit into an all-out dubstep frenzy. With his typical chords added to the introduction layered above additional ethereal sounds, it takes a while to grasp the direction of NGHTMRE’s latest remix. It’s only around the eighty-second mark that one begins to get hints of an impending massacre, before the drop hits and chaos is unleashed. From crisp sound design to a relentless offering of haywire synths, this ‘Lost My Mind’ remix is a quintessential NGHTMRE heater. Don’t miss it below.

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‘Church’ is special in the way that it switches Alison Wonderland’s signature sound on its head. Despite the fact that the song is about a failing relationship and needing more from her partner, the song blooms with the drop. Instead of feeling heavy like some of her other songs from her debut album, ‘Church’ floats through the verses, never detracting from Wonderland’s light vocals or overpowering the vocalizations in the background. When the chorus kicks in and the bass drops, it’s a breath of fresh air, perfectly using drums and synths to brighten the song even more.

While this song is much different than her previous single, ‘Happy Place,’ it shows not only how Alison Wonderland has grown as a producer since 2015, but also as an artist. She’s taking more risks and allowing her sound to grow. The music industry better get used to treating this girl like ‘Church’ as she continues to command and dominate her world.

 Words by Elise Smith.

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