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.

The post Kannibalen Coming Down the Chimney with ‘All I Want For Christmas Is Bass Vol. 6’ appeared first on FUXWITHIT.

There are few artists that stand out from their contemporaries when an artistic movement is underway. They seems to cluster together fostering trends and cultivating a milieu of sundry rankings. Apashe not only stands apart from the crowd of electronic producers and performers, but in music as a whole. No one has mastered the intricate melding of modernity and the nostalgic decadence of the past quite the way he has and continues to.

‘Distance’ embodies Apashe’s original style of silky transitions, dramatic breaks, and plummeting drops, but there are notes of subtle refinery in its sound. Where past tracks have come hard and fast, ‘Distance’ takes a sultry stroll with its rhythm, displaying a sort of calm confidence. Geoffroy’s emotional vocals are interwoven between billowing ambient bass, silvery strings, hearty brass horns, and charging snares. It could be the glossy vocals, or the live orchestra used in the soaring string samples, but what is for sure is Apashe’s flair for theatrical electronic-classical hybrids is attracting attention having partnered recently with GoPro for a short film and the upcoming Fast and Furious Presents: Hobbs & Shaw. It is really no surprise since his music can make you feel like a super hero or a villain- which ever you really prefer.

“This song came to life at my friend Gab Gagnon’s studio called Homy. We’ve wanted to make music together for ages. We messed around for a day then suddenly got these chords that really hooked us. Later on, I sent him a track using these chords and we instantly felt the potential. I figured it would be sick to have it played by the orchestra in Prague that was planned for my album. From there, it became this strange classical hybrid song. Gab thought Geoffroy would be a great fit and I couldn’t agree more. Took some time to make it happen in between tours but we finally made it and considering the love we felt for the song we decided to make it the first single,’ Apashe states about the song’s creation.

Check out ‘Distance’ below and be sure to look for Renaissance in 2020.

The post Apashe’s Unveiles First Single ‘Distance’ from Upcoming LP ‘Renaissance’ appeared first on FUXWITHIT.

BTSM has been not-so-quietly playing festival after festival, and EDM fans’ local favorite venues for the past several years. They have been slowly growing their empire over the heavier, shadowier parts of electronic music, building sincere relationships with their fan base (The Church), and consistently delivering unholy bass bangers. After headlining their Ceremony tour and playing EDC Las Vegas in 2018 they set the bar higher by drawing in new parishioners with their unique yet brutal style. Their latest EP,  Download the Future, is a continuation of their dystopian aesthetics with fresh and fiery tracks.

The first track is called ‘Hacker’. It starts out with flutters of synths and the tension grows as brass horns and electric guitars get tangled with digital effects. There is so much theatrical exploration that goes on in BTSM’s original creations it is difficult not to be swept up by whatever emotion they create. The drops are the best with their blasts of crunchy bass made to head bang to. As if there was not enough excitement already the tail end of the track morphs into a filthy hard style, techno basher, that has serious jungle house feels. It’s an intense, grimy, and absurdly devilish original song.

The second and title track, ‘Download the Future’, is heavy, dark, and nasty. In the opening is an eerie voice sample and then there is no time wasted before the tempo picks up and bass is in your  face. Retro synths guide you through smokey valleys of aggressive snares before the waves of wet, pulsing bass wash over you.  There are a few drops that seem sharper with each crest and tumble. In the heat of it all is an epic synthetic guitar solo that swells with the melody. It feels aggressive, relentless, and wicked but I swear you will want more. It is a fiendish delight fans will be foaming at the mouth to see live.

When FIXWITHIT asked BTSM how they felt about this new project they said, “This EP keeps the sci-fi electro vibe from our last album, but it’s all centered around more of a midtempo style. Collabing with Blanke on Hacker was awesome as we love what he’s been putting out recently!”.

Check it out below.

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Well before they announced their fall 2018 tour, which there are whispers could be announced in the next few weeks, BTSM was busy spreading their dark-electro bass on their Ceremony tour. This past April, as the tour was winding down, they made their way from Texas to Colorado, for the last leg.

Half the state was hunkered down for a powerful prairie snow storm, and authorities had shut down the interstate to protect people from driving into a white out without any warning. Where I was, there was cold rain, and heavy storm clouds hovering over the Rocky Mountains. I had to drive north, parallel to the snowstorm, to Fort Collins. I have been at one of their shows every time they have descended from Montreal to tour the states, and on that dark and chilly ride up north, I got the word that I was going to be able to meet them.

I was seeing members of The Church sermonizing to newcomers, bringing them into the fold, telling tales of Lost Lands, and prophecies of EDC Las Vegas.

I arrived at the Aggie Theatre just as Lektrique went on. As I was waiting in line, I overheard some conversations. People were saying which festivals they had seen BTSM at, and how they had discovered them at that last Fort Collins show in 2016. No longer was I hearing jokes about their name, or playful jabs at what kinds of music to expect. I was seeing members of The Church sermonizing to newcomers, bringing them into the fold, telling tales of Lost Lands, and prophecies of EDC Las Vegas. It made me realize just how big BTSM has become, and it is a direct result of their passion for music and their dedication to their fans through performances, and their interactions with them. As always, after their set, the three of them, Marc Chagnon, Patrick Barry, and Julien Miranda, were greeting fans, signing autographs, and telling jokes while taking pictures.

Here’s what we had to ask them about that Friday the 13th performance, what it took to get there, their inspiration and vision for Kannibalen, and what we can expect from Black Tiger Sex Machine in the near future.

How has your Ceremony tour been different than your other North American tours?

It was probably the tour we felt the most in control on. We spend hours and hours refining our tour production from a programming standpoint to get the full show just right. We also expanded the production with the additional of 7x “light sabers” on each side of stage. It really gave a different depth and vibe to the stage. that was more fitting to our vision than past tours.

What has been your favorite performance during Ceremony?

Every show was incredible. It’s awesome to see the fans in each city and see just how much they like to get down. Salt Lake was truly special though, it was the first time we sold out a show before doors for 2500 people. The crowd was so rowdy. It was a perfect way to end the tour!

Tell us about what it took to make it to your Friday the 13th show in Fort Collins.

A 4 hour night of sleep, 12 hours of driving, 3 rest stops, going against the recommendations of east Colorado locals, 40 miles on a dirt road and a whole lot of faith!

The Facebook group, BTSM Church, is super active and allows each of us to connect first hand with fans on a personal basis

You are great with your fans. How would you describe your relationship with your fan base and The Church?

Magical. We feel very connected to them. The Facebook group, BTSM Church, is super active and allows each of us to connect first hand with fans on a personal basis. It’s great to see fans from all countries and states get together and form this giant family.

It’s amazing how you draw inspiration from films like the Terminator series. What are you all time favorite movies?

Marc: Lord of the Rings, Shawshank Redemption and Fifth Element.

Patrick: 2001: A Space Odyssey, Citizen Kane and Gladiator.

Julien: Blade Runner, El Topo and Once Upon A Time In The West.

On your latest album, New Worlds, you have the track ‘Madness’ which has heavy metal, scream-o-like influences. How do you keep the balance when hybridizing rock and electronic music?

We are huge fans of Sullivan King. He’s a such a hard working and driven dude. We really wanted to do something with him when working on the album. None of us were heavy scream-o or metal fans growing up so the final result was heavily influenced by Sullivan with a good mix of our own style.

We love artists who don’t care about blending genres and are willing to step outside of the dancefloor formula.

You have signed a lot of very talented artists to Kannibalen. What sound are you looking for when searching for artists?

We’re open to anything. We love artists who don’t care about blending genres and are willing to step outside of the dancefloor formula. Each of our artists now have their own overall style that they apply to different genres which has been key for us.

What is your vision for Kannibalen records?

We are electronics fans and we can’t get enough it. We hope our taste in music is reflected in Kannibalen. As of now, a first goal is to continue the growth its had over the years. As a stand alone business, it has really come together well. The music is also getting used more and more in television, movies and advertising. A second goal is further establishing the Kannibalen family of artists that have progressed so much together. We can only wish that we continue to help them sustain great careers and live the artist life.

Did you always want to be in music?

No! Coming out of high school, it would have a been a big surprise to all of us that this would be our job today. Our studies all focused on law & business. Patrick was the most musically inclined when we were young. He practiced violin for over 20 years. However, things changed in our late teen years and early 20s as we started going to more shows. Electronic music became a magnet that attracted us from our more “typical” training and jobs.

We are bringing our own lighting technician to  a select few festivals for our own twist on their production.

A lot of people are excited to see you return to the festival stage since you announced your performance at Lost Lands. Are you ready for festival season?

Yes we are. We kicked it off with EDC and it was epic. We are bringing our own lighting technician to  a select few festivals for our own twist on their production. You can expect even tighter visuals and lighting effects during our performances!

BTSM seems to like coming to Colorado. Will we ever see you at Red Rocks?

Waiting for the right time. We will one day. We must!

The post BTSM Ride in on a White Out – An Exclusive with FUXWITHIT [Interview] appeared first on FUXWITHIT.

This phenomena of genre mashing has been known to collaborate with the likes of Excision, Dirtyphonics, and Black Tiger Sex Machine. Currently signed to Kannibalen Records, this truly unique artists is closing the gap between the traditional sounds of heavy metal and modern dark-electro. Where other artists have only dabbled, Sullivan King goes full throttle. To get the full experience, King crafted his largest EP, Come One, Come All, to envelope hardcore fans in fitful flurries of ferocious music

A true musician, King kicks off his EP with a dubstep-eqsue rocker, cutting right into the center of the gorge between the genres, frothing the surface with rolling drums, angsty guitar rifts, and brutal wubs on ‘Dropkick’. This appetizer shows off the erratic, impulsive style of King’s dynamic style. Its assaulting, but also a necessary wash to get the palette excited for what is to come.

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‘Step Back’ is another stand out track on Come One, Come All with its speedier tempo, layered drumlines, and siren-synths. It is a flavor fans have seen BTSM tote on their older EPs, but Sullivan King brings a more devilish flare with scream-o vocals and crescendoing synths. The guitar really brings the track back around to its rock-roots towards the end, which seems to come too soon.

One track that has been getting a lot attention is ‘Madeleine Rose’- a sort of twisted power ballad, with tongue and cheek lyrics about modern love. It reminds me of a modern TInder story between a basshead and metalhead- what should be love at first sight. Sullivan King’s vocal abilities are present through this EP but his humor, power, and finesse shine through this one, as he weaves a story we all have heard before, but in a refreshingly dark manner. It is like the ‘Jesse’s Girl’ of our age.

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As unique as Sullivan King’s style is, it is another example of how interconnect rock and electronic music have always been. Rock music’s evolution has been dependent on the advancement of technology since the invention and adoption of the electric guitar was. Even the predecessor to the modern synthesizer, the mellotron, was being used by rock bands in the 60’s to craft new sounds to their productions and performances. Sullivan King has brought it full circle on this EP, which you can check out in full below.

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The post Sullivan King Commands with Biggest EP Yet, ‘Come One, Come All’ appeared first on FUXWITHIT.

This track is hopefully a sign that we can expect not only some killer performances from Apashe, but dare I say, a new album? For now, I will keep my fingers crossed and enjoy his latest treat. ‘Supernova’ breaks out with a spectral flute that melts into fierce bass- but it is not the drop. Apashe weaves in D.O.D’s scorching verse through a plume of sizzling wubs, with the eerie flute resonating off the increasing tempo. Apashe pulls back the complexity of the mix just before the drop for one hell of an ear-gasm. This super-charged headbanger is sure to stir your blood.

Check it our below.

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RIOT TEN x Cyberpunk’s remix is a true banger, with soaring and squealing wubs. It hits hard and fast, like a shot of aged whiskey. Panther’s lyrics are demented into a more demonic anthem, while drop after drop will satiate the bass-junkies who are faithfuls of the congregation.

SUB-Human’s re-consecration of ‘Face Down’ begins with a scratchy mix of the track’s persuasion, before the bass emerges, purring alongside Panther’s vocals. This is by far the darkest of the group, emulating the same dark-electro sound that BTSM is worshiped for. After every lulling break, the onslaught of big bass sound, and quirky, brass synths is over just too soon.

Wrapping things up is Crystalize. Their remix of ‘Face Down’ drew out House elements, creating a incarnation of the hit that is well developed tension and sinister sleekness. Every build up is hyper-dramatic, playing up the billowing and bouncy beat of a classic rave style. It all seems to lead up to Panther’s creep-factor during his whispered verse as the track fades, mysterious and playful, but still nefarious.

Check them all out down below!!

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