‘Lost In Motion’ knocks their audience into the stratosphere with fury. From a cinematic introduction filled with a crispy bassline, dark synths, and an energetic vocal, it’s a fair warning that it’s the calm before the storm. With a quick build-up arising, it leaves the listener with nothing but excitement. When all of a sudden, they hit us with a great amount of sheer force and filth. Using the pleasing atmosphere in the beginning to their advantage, they immediately take their audience off guard with the first chorus. Dropping in hard-hitting drums, groovy percussion and a violent lead immediately melts your face off in the best ways possible. Telling everyone they’re showing no mercy. Right after, they switch it up again and bring back the subtle and gentle atmosphere. Creating a healthy motion within the arrangement. And opening up space for even more possibilities. When then, they close off this everlasting journey with a final chorus. Fit to turn heads. Filled to the brim with bass leads to spice up any time of day. Targeting multiple audiences within the electronic music scene. This is definitely some of their finest work yet.

Make sure to go support this dynamic duo by streaming ‘Lost In Motion’ everywhere via Deadbeats.

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First card revealed, first hit scored. Rohaan really has no chill. The opening tune of the series may sound familiar to most of you since it is the vocal version of the wonderful collaborations with the fellow Norwegian producer Hanz. Originally released at the beginning of the year, with this update, ‘Thorns’ has been elevated from the status of magnificent instrumental ballad, to an extraordinary, emotional anthem about that internal battle of accepting the feelings of loosing a loved one. The delightful voice of Adeline Um gently hugs the original strings, percussion, and melodies, lifting the song to even more celestial vibes.

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The second ace in Rohaan’s hand is another joint venture, this time alongside the duo Duke and Jones. Already tested with a previous release on Circus, this time the team has landed on the iconic Deadbeats with a devilish, sick tune. The trance arpeggiated intro is just here to deceive you, since the devil drop is a chimera with a dubstep soul, but deeply contaminated by trap, vomitstep, and what I’d like to call Jadu-bass.

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Another card down, another attestation of why Rohaan is one of my favourites. As I’ve said many times before, remixing is one of the noble arts of electronic music, and guess what? Mr. Grey is quite a pro in this field. His talent and vision for reworking others’ music is truly stellar. Take this Yunis remix. You can feel the vibes of the original ‘Mitra‘, but that’s not all. He goes beyond that, and after sharing a similar incipient, the remix takes off roaming near UK Bass, Techno and Drum&Bass territories.

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“Welcome to Zewada, the start of a journey,” is how Rohaan unveils the last piece of his hand, and it definitely sounds exciting. “Some new emotion captured in this and a pointer to a new progression I’m developing” are the words chosen by the creator himself to explain the enigmatic preface, but much is still left to fantasy and speculation. The only evident fact in our hands is that, it’s not the sound we’d expect from Rohaan, but is impossible to complain about. ‘Zewada’ is simply so good. It’s like getting hit by the first beams of the morning sun or watching a suggestive the sunrise awaking the senses of the planet from the top of a mountain. Even if you’re not so inspired and it simply reminds you of some Naruto scenes, ‘Zewada’ and its brilliant flute sample will win over your.

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