While the original is a euphoric, soul-engulfing piece that embodies the essence of melodic dubstep, Rome in Silver’s take is a stripped back and raw manipulation of Lowell’s angelic vocals. Dabin’s original is a mainstage-ready hit that could send any crowd into a frenzy. Rome in Silver’s take is introspective, gentle and emotive. The introduction is drawn out to let the vocals resonate above a minimal soundscape, creating a preface to the outpour of emotions that follow. As the drop hits after the seventy-second mark, goosebump-inducing stabs of future bass hit quickly, with Rome in Silver keeping the minimal aesthetic of the remix alive. And, as the track progresses, listeners will grow even more enthralled by Rome in Silver’s masterful skills as the artist continues to pour his heart into his music. Don’t miss it.

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This is the latest released off of his forthcoming album Wild Youth which has fans excited for his upcoming tour.  The first single, ‘Alive,’ has critics and fans excited for the album. This caused both Los Angeles and San Francisco dates to sell out, but Dabin, sweetly, changed venues to create more ticket availability. It seems like California has not forgotten his epic Coachella performance with Illenium last year.

Dabin is signed with Kannibalen Records, the Montreal based label, founded and fronted by the same members of BTSM, who typically cultivate artists with darker aesthetics, but also has released music with Monstercat, Dim Mak, and Tasty Records. Dabin, who is based in Toronto, is known for his ethereal guitar rifts, epic melodies, theatrical drops, and whipping out an electric guitar during live performances. ‘Rings and Roses’ vocals are provided by Irish singer and song writer Conor Byrne with a velvety voice gives shape, breath and life to poetic words of self reflection and raw emotions. The back drop is layers of shimmering synths, smooth rhythms, and a crooning electric guitar. Dabin effortlessly mixes all these elements into a drop which is a rush of warm guitar harmonics, lush vocal samples, and trappy beats.

Wild Youth will be out on March 22nd, but check out ‘Rings and Roses’ below.

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This year’s addition goes just as hard as last year, including tracks from artists that were featured on the first volume, along with some surprises. The eight track playlist is filled to the brim with plummeting drops, serrated synths, and blitzes of fiery bass.

First up on the list is YOOKiE‘s ‘Escape’ and it sets the sinister tone. Their signature growling bass, meaty drops, and virulent rhythmics open up the pit for the rest of the ranks.

Following close behind is Seek N Destroy with ‘Now I’m Here’. A fervor of stunning synths and a charging tempo are blasted with clanging bass, and swirls of raving synth lines. This track packs a punch with thumping rhythms, and salty snares.

Dabin and Apashe team up to craft a remarkable crossbreed, ‘Lillith’ a Sullivan King remix. The track highlight’s Dabin’s git with organic intrumentals, heavy metal’s overarching influence on Kannibalen’s artists’ sound, and Apashe’s ear for cross genres. An impressive and stunning gem of this group that should not be passed over. Sink your teeth into this one but save room since Carbin’s ‘Bad Habit’- his Kanniblen debut-is the tasty dessert to this hybrid with equal parts nasty dubstep and menacing guitar elements.

Another artist that remains elusive, yet leaves his mark- Karluv Klub‘s  ‘Cult,’ a filthy contribution to this medley is a brooding, dark-electro experiment, dripping with macabre progressions, jangling build-ups, and convulsing bass. The loose-style production creates space for the mix to feel like a journey through a mad scientist’s lab.

Another artist supporting the tradition is Kedzie teaming up with Superwet on ‘Venom,’ a dramatic scream-o sampling banger. Laced with heavy electric guitar riffs, and super-charged drops this one is super to get you hyped.

Banged up from just one listen, watch your neck during any session with Mantis‘ ‘Moshaholics’. The energy on this one is undeniably dank, and menacing. It fits perfectly as the night-cap to this disturbingly dark delight.

Thank you for making the end of our 2017 bass heavy, Kanniblen. Check out the collection in full below.

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It’s been just over two months since Toronto’s Dabin dropped his debut album Two Hearts. We here at FUXWITHIT were instantly in awe at this cohesive creation, and have not yet been able to pick our jaws up off the floor. Whether it’s the use of seven different vocalists, the contrasting bright and dark themes, or the sublime storytelling, there’s little left to be desired. The only way to top the experience that is Two Hearts was to hear more from the man himself, so we connected in hopes of shedding more light on the magical release. Check out the full conversation below.

At its core, Two Hearts is about love and loss.

You can have an artist doing something really fresh and unique, but just because there’s not a category or genre for it, people will put the “future bass” stamp on it.

The post Dabin Discusses The Cathartic Release of Two Hearts [Interview] appeared first on FUXWITHIT.

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While I’ve already written about ‘Lilith‘ and professed my love for ‘You & I’ on air, there are nine more sensational productions that are sure to leave you swooning in his future bass brilliance. Dabin, like many others, uses a lot of live instrumentation in, not just his sets, but his productions too. And while there’s a philosophical connection throughout Two Hearts, it’s his guitar that ties all 11 tracks together.

We start with the title track ‘Two Hearts’ setting up the awesome arc of the album, indicating that this is not a collection of singles, but a cinematic story line. It serves as the opening act, raising the curtain as it were, easing us into the near-future landscape Dabin has crafted. However, the first real action comes in ‘Hold’ a track we’ve had since December 2015. Back then it felt like a bit of an oddity from Dabin, who I had considered a hard hitter. ‘Hold’ marked a more refined approach, and while his storytelling never suffered, this made it even easier. Under Daniela Andrade’s guidance the track soars with a solemn pride, punctuated by beautiful plucked strings. Looking back now it strikes me as the quintessential track for Dabin and Two Hearts, both from a production and narrative angle.

As the arc of the story rises so does the energy. ‘Sanctuary’ sees Dabin return closer to his DnB roots with incredible percussion work, driving the track beautifully. His work with Mree’s, at times ethereal, vocals gives me the chills, reminding me of masters Flume and Porter Robinson. From the anthemic and poignant piano, Dabin proceeds to drops down into a more deliberate groove. ‘Hazy’ lives up to its name almost immediately, filling up your aural canal whether through earbuds or external speakers. Dabin’s guitar breaks through as the singular beacon of light, in an otherwise dusky jazz club.

The guiding light that is Dabin’s guitar comes again to the fore, leading ‘What It Was’ out of the fog. Two Hearts continues to progress with more elements and styles added. It is almost as though Dabin has dosed us with a concoction of all of the genres his music has categorized as. And that’s the beauty of not just this track, but the album as a whole. It uses diverse and even opposing sounds, harnessing them in creative and cohesive harmony. But just as we are getting accustomed to this assortment of sounds, Dabin strips that all away.

‘Helium’ lies stark in its calm and calculated delivery. Lexi Norton waxes poetic, describing an unrequited love. It is the kind of track that not only serves an important role in progressing the story-line, but connecting each element. And while it may appear out of place, it is in fact the opposite. Like any good play there is conflict which insights action, and this is it. The protagonist of Two Hearts has been spurned, and leaving their disappointment behind, they fight back.

‘The Fall’ seemingly comes out of nowhere, smashing out of the slumber of ‘Helium.’ It is wild and out of control. It is Dabin’s most free form production of the album and succeeds in shrugging off the malaise of ‘Helium.’ But this is not a single actor play. As I wrote previously, ‘Lilith’ is a merciless mistress. In this case she is the balloon, leaving the protagonist grasping for answers. And as a philosophy student, I know that asking questions only leads to more questions. It is a sad spiral, one that leaves us utterly vexed.

That’s where ‘Worries’ comes in. While I’ve been taken by the philosophical output thus far, this track takes it to a new level. Dabin and vocalist Koda give us the greatest insight into our protagonist. The lyrics illustrate his feelings as cruel and unfair. An unfortunate truth. He must overcome them, be “carefree, stay cold and uninvolved.” Furthering this inner struggle, Dabin’s productions rises and falls as though straining to suppress animalistic urges. A beautiful illustration of the human condition.

Luckily time heals all wounds. And even though the residue of the antagonist lingers, Two Hearts begins to feel more carefree. ‘I Still Feel You’ strikes me as a new awakening, a day long in the future. The wounds have closed, but the scar tissue remains. Musically it is not dissimilar to the early tracks, but painted through much more lighthearted, upbeat brush strokes. Like its predecessors it too soars, yet with more pride and strength, having learned from its past experiences. The scar has now become a badge of honour. However, this is not its final form.

The grand finale ‘You & I’ marks a triumph for Two Hearts, its protagonist and the track itself. It is massive in its delivery. It beams with beauty, built around future bass vibes, Dabin’s guitar and Jenna Pemkowsky’s vocals. There’s no denying it as the culmination of this 11 track arc. Finally our protagonist has fully come to terms with his unrequited love. The scar has healed, and nothing but the good times are remembered. And isn’t that just the beauty of music? All the bad is instantly washed away. But it too is a journey, that we’re all better for in the end. I know I feel that way after enjoying Dabin’s debut album. It gives me great comfort that smart, cohesive albums can still be created. Musically, thematically and philosophically, Two Hearts is as well put together a piece of art as you could possibly hope.

The post Dabin’s ‘Two Hearts’ Strikes a Chord with Your Soul appeared first on FUXWITHIT.

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After the doors opened Sloane set the scene with smooth trip-hop, and early R&B sounds. He smashed it together with sudden jolts into deep-bass, jamtronic tracks. There were some weird spoken word samples but overall this artist’s style was traditional to electronic musics’ 90’s beginnings. It felt very Euro but sexy at the same time with all his female vocals.Up next was Kai Wachi who entered with presence unfurling bass left and right. His fans clearly were present in the crowd, clamoring at the steep drops, and relishing the new mixes that he shared with them. His rowdy-raucous hype was thrilling and marinated the audience for the next layer.

Dabin stepped up to the plate and delivered yet another crystalline performance. Dabin demonstrated his craft by making his electric guitar sing over “I’m Sorry Miss Jackson” and mixing video-game sound effects with lots of trills and bursts of energy. This chaotic set was topped off with a remix of Queen’s ‘We Will Rock You.’ (Dude, please make me a playlist; I think we are music-ADD twins).

As the clock struck midnight, and the truest darkness fell over the city, Black Tiger Sex Machine transformed the decks into an altar of bass. Hearing taunts rile the crowd reminded me of why this trio is so phenomenal: their stylized presence and unadulterated love of all the deepest, darkest parts of electronic music are a life-blood in this clustered scene. The taunts are encouragement actually, and the waiting becomes immediate gratification, savory satisfaction. Black Tiger Sex Machine delivers a performance that is not just music, but an episode of raw, juicy intensity.

Music on the radio too often is about romantic relationships, and a lot of electronic music is about having a good time and getting down to, and it sure is easy to be angry to heavy metal. What is missing, and what BTSM provides, is a type of musical style that incorporates intensity in a less emotional form and brings it to this elevated level of sheer ferocity. At this height the aggression is less rage and more unclouded declarations of ardor.A lot of the aesthetics that this group utilizes to signify their followers or incorporate into their label art is primal, post apocalyptic, decrepit industrialism which are all thoughts of marginalized progressive thinkers. It’s not overly complicated: the bass, the rhythm, is their religion.  The motto “Music is our religion”, and that every show is a mass at their Church may sound gimmicky, and it could be, but their style of delivering a musical experience is so unique it seems sacred. It also satisfies this deep need to enjoy some fire and brimstone. Their new stage is synced in with their set up and their helmets which are trademarked. The light show is just as aggressive as the beats, and never fail to be intricate and poetic.

They opened with a refreshed ‘DEMONS’ originally created by Kai Wachi. Right away they spread out their new single ‘Hell Motel.’ Without warning, they whipped up an extra creepy version of Mr. Oizo’s ‘End of the World.’ After they gave the Funeral March a make over, the tigers reanimated ‘Bass Cannon’ by Flux Pavilion, and ‘Breathe’ by Prodigy.

During their finale, after removing their helmets, Julien Maranda shouted ‘OPEN THE PIT’ furiously and continuously until the command was obeyed. Then he let all the true believers mosh to a tantalizing clip of a new single never before heard. Hopefully we do not have to wait too long to find out if this means a new album is on the horizon.

Don’t live with your demons. Find a BTSM show and let them loose. Who knows, they might come home with some cool merch.

Photo credit to Jennifer Dref

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