Listeners are probably aware that the title track is a mechanical brute tailored for the darkest hours of the night, but that isn’t the only soundscape present in the project. ‘Edge Of Disaster’ is similar in sound but boasts an oddly satisfying bounce to it, with guttural sound design and meticulous percussion coming together to form another monster of a tune. ‘Purple Foliage’ comes next, and truly exemplifies the last sentence of the first paragraph of this article. The musicality in the track is ethereal, with shimmering synths and angelically processed vocals from Posij himself paving the way for what is a soul-stirring five minutes. Finally, ‘Superlative’ closes out the project with as much energy as the opening, giving listeners a sense of urgency in whatever it is they’re doing.

All in all, the Blood EP is Posij at his finest, and we were lucky enough to connect with the Dutch talent to talk about the collection, as well as a handful of other topics. Don’t miss the Blood EP and interview below.

Welcome, Posij! Let’s kick things off with the obvious – we really love the new project. Tell us a bit more about the Blood EP. How long has it been in the works? What’s your favourite track from the bunch? Why?

‘Blood’ actually started in 2014 and just sorta laid dormant for all those years, until I picked it up to send out as a demo, Mad Zoo selected the four songs that are on this EP from a selection of about nine tunes. It was hard to find the right snare for ‘Blood’ so I tried around five snares until I found the right one. After that the 2nd and 3rd part just came flying out. The intro already had these jungle birds sounds in the intro, and I did not want to go with a drumroll again so I tried to sound design a conversation between two robots and a soldier that get attacked by a creature, that creature morphs into different bass sounds and travels from ground to air and back.

‘Edge Of Disaster’ is also a really old demo, it sounds nothing like the first demo, on the last few days before the deadline I reworked the entire song with freshly made bass sounds and tried to push the mixdown as hard as I could without pumping up the mid-high and highs, so I chose the hard way and tried to get that air pressure in it :D

‘Superlative’ is me trying to create jump-up with a silly sound, but trying to make it sound legit. It’s purposely repetitive and I am in love with the break to the second 16bars after the drop.

‘Purple Foliage’ is probably my favorite, it started out really over the top and melodic and I pushed it all back to the basics to make a more liquid-y type thing. I can usually play any melody I have in my head and translate it into midi, but somehow one day I just could not get my fingers right on the keyboard, so I decided to record myself singing the melody, which turned into the vocals you can hear today.

Why do you think MAD ZOO is the right place for you to showcase this work?

Because Mat Zo is an awesome producer and I wanted to be on his label! As an added bonus it’s awesome to have my music released on a US-based label, this is my first full solo release on an American imprint.

How did these four tracks come together? Was there a concept laid out for the project from the beginning, or did you randomly select these four individual songs for the collection? If there was a concept or an idea behind the Blood EP, can you elaborate on it?

‘Blood’ had a very clear concept – robots in a jungle – and ‘Edge Of Disaster’ puts emphasis on the danger of their situation, ‘Purple Foliage’ is the heavenly type place they eventually end up in, and ‘Superlative’ is the monster from ‘Blood’ celebrating its victory. BUT, I just came up with this on the spot, so no, there was no concept. I just wanted to make good drum & bass music.

You’re no stranger to collaborations, but this project is entirely solo. Was this intentional? How does your workflow differ when working alone compared to when working with another artist?

If you work alone, you have to discuss with yourself which parts you can delete, and where some drastic changes should happen. This can be difficult at times because you can get married to your latest version, and forget there’s a lot of opportunities left untouched. Once I get the feeling I’ve taken 100% out of the tune, I am ready to finalize the arrangement and feel done. That process can be easier when collaborating because there are two brains thinking of ideas instead of one.

Your recent tracks have been quite versatile in terms of genres and styles. Have you been experimenting more as of late? How did you incorporate some of this experimentation in the Blood EP?

Yeah true. I have been trying to get my electro/breaks/house sound out there as well, as I love the genres. I started my own label named OKAY to release some of my more quirky ones, and I will be releasing more in the near future. ‘Purple Foliage’ is more experimental for me because the vibe is more friendly and pretty – compared to the others – so instead of going hard on sound design, actually going hard on songwriting and melody is experimentation for me.

In 2017, you mentioned you “cold-turkey stopped playing video games” and that really helped with your productivity. Is that still the case, or have you found a balance between games and music?

I actually picked up Magic The Gathering: Arena during the pandemic, but nothing close to how much I used to play Quake 3, Battlefield and StarCraft. I actually got into the Mythic rank on MTG: Arena this year, I was very proud of that haha. I also still play Magic in real life with friends too. It’s a lovely game!

What else do you enjoy in your free time? What kept you sane through most of the pandemic?

I started bouldering with some friends, that really got me excited to do sports again. During this pandemic I also started pushing myself to get music finished and get releases out there, so I really just focused on my music more with all this extra time. That’s also why you could see releases such as the Sun Tracker EP with Former, ‘Fifteen Minutes’ with Tzar, ‘Pink Desperado’ with Andy Smart and my label OKAY come to fruition.

Imagine a world free of travel restrictions. Where is your first destination, why are you heading there, and what are you doing first?

I would go check out our nearest stars for their planets in goldilocks zones that have CO2 gasses in their atmosphere to check if there is life and possibly get some samples. Everything would change!

Let’s hope that’s not too far in the future :)

The post Posij Delivers Enthralling Four-Track ‘Blood’ EP [Interview] appeared first on FUXWITHIT.

Looking to expand his horizons into the North American scene, Posij now makes his debut on the boundary-pushing MAD ZOO with ‘Blood,’ this first single from his upcoming project on the imprint. A mechanical brute tailored for the darkest hours of the night, ‘Blood’ tells a strange story of gore and grunge. In the words on the Groningen-based artist, “I wanted to make a heavy track with a weird intro, the intro is 2 robots and a soldier going through the rain forest, until they get attacked, the bass morphs into different scary animals. ” Take that description as you will, but the one certainty with ‘Blood’ is that it’s downright filthy. From the ominous introduction, to the comical pre-drop vocal, to the spectacular contortions of bass that make up the meat of the track, Posij has concocted something special in ‘Blood,’ and we can’t wait to hear what else he’s got in store. Don’t miss it below.

The post Posij Makes MAD ZOO Debut With Gritty ‘Blood’ appeared first on FUXWITHIT.

After unfortunately skipping the first date, I dusted off my web raver kit and, on Saturday the 5th, I did my triumphant return in the pixeled world of Minecraft. Accustomed as I was to the musical madness of the Open Pit branded events, the first hour masterfully conducted by Nox Vahn with a fine progressive house tracklist was a noteworthy warm-up. Seeing how even softer and more melodic genres are still suitable for this type of event was definitely a nice discovery. Between regular visits to the stage to see people’s reactions to the opening act, I also took the time to wander around the stage and the whole map.
 

When Mat Zo himself took the stage, I abandoned my ambitions as an explorer and teleported right in the middle of the pit, ready to enjoy the show. For the next two hours, it was delirium. While the sublime musical selection and on-point mixing skills formed the foundation of the party’s success, what really made the difference was the positivity of the participants and an exceptional set of visual effects. I understand that you need to be a bit of a nerd to fully enjoy these things, but there really was something for everyone. The more classic Eric Prydz-style lasers and strobe light shows were joined by surreal gimmicks such as sudden gravity variations, heavy screen distortions and even dragons. Dragons flying around the stage, dragons on the console, dragons everywhere. This is exactly why I’m into this kind of event so much. While on Twitch you can “just” watch, in Minecraft you live an interactive experience where you have a certain degree of participation. As in real venues, a lot depends on how the host curates the whole thing, but I can guarantee you that the Mad Zoo team did an exceptional job and took care of every single detail, from the toilets in the lobby to the majestic mainstage. Now do you understand why I wrote the ticket is well worth the price?

While I was enjoying a particularly hilarious visual trip, I imagined the skeptical and disgusted faces of club and festival purists, but then I also realized: whoever said that clubbing has to be a serious thing? History teaches us that everything was born as a form of escapism from oppressive conditions and music basically serves to accompany and improve our lives. There is no “right” way to do this. What I saw in those three hours were many people happy to be able to get together to celebrate something they love. Clearly, everyone would have wanted to be sweating in flesh and blood in front of a real stage, but the real strength lies in not giving up in front of nothing and continuing to perpetrate our passions even against all odds. For this reason, I’d like to congratulate all the staff who allowed the event to take place, from the developers to the admins and moderators who were impeccable and always available throughout the whole show. Like so many other attendees, I admit that now I wouldn’t hesitate a second to buy a ticket to a Mat Zo live show. A further example that makes it clear that this is not just a game.

The next (digital) tour date is scheduled for Saturday 12th December with Fatum as opening act. You can grab your tickets here.

The post Another Night In Minecraft: Illusion of Depths Tour Review appeared first on FUXWITHIT.

As a whole, ‘Inbetween’ and ‘Semblance’ defy genres and encapsulate a plethora of them all in one. ‘Inbetween’ represents “a juxtaposition of shimmering melody, experimental bass, and jazz-inspired rhythmic elements,” in the words of ALEPH. From its serene soundscapes, to its high-energy sections, to its goosebump-inducing future garage bridge, ‘Inbetween’ is as elegant and inventive as it gets, demonstrating Ekcle and ALEPH’s unparalleled musical prowess. ‘Semblance’ is a further exemplification of this statement, with the artists packing a tantalizing amount of sounds, styles and textures into the intricate piece. Playing on everything from future bass to drum and bass, the trio of creatives deliver glistening melodies, groovy basslines, and jaw-dropping percussion to hook listeners from start to finish.

If you’re looking for novel electronic music, look no further than ‘Inbetween’ and ‘Semblance.’

The post Ekcle & ALEPH Dazzle In Dual Single ‘Inbetween’ And ‘Semblance’ appeared first on FUXWITHIT.

Since the beginning of his Drum & Bass diet, the quality of his releases have been sublime to say the least and his debut LP, titled Bleach, project the Manchester producer in the 160-BPM circuit with a first class ticket. As I expect from a proper album, Bleach lays its foundations on a core concept and, through the seven tracks, it branches out exploring its multiple declinations. The bind of all the different layers (album’s musical legacy, Rohaan’s vision, our interpretations) shape Bleach as three-dimensional opus that goes way beyond just the dancefloor nature which could be attributed to the LP at the first listen. To dig deeper into the creation of the album and the momentum around its release I reached out Rohaan for some insights. Expect the unexpected!

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This album has come with a specific aesthetic direction. Can you explain how it’s tied to the music and the title?

The project Bleach is both audio and visual, the art doesn’t work without the sound and vice versa.
The project is based around ‘cults’ and me washing away my old sound and starting a fresh, hence the name ‘Bleach’. I went to see the film ‘Midsommar’ and it changed everything for me! I went home and that’s when ‘City of Ezra’ was made. The project then started to embody a cult like feel.

You have always been quite close to its vibes, but only in the last year have you started to regularly release Drum & Bass. Was there a specific episode that influenced this process or it has been just a natural progression of your sound?

It’s been in my routes since I was young, my Mum would introduce me to so much good music. So I have naturally always been in that ecosystem. The main sway point for me was the club. After I played the debut Unchained show in London I could clearly see a path for my new sound, so pushed harder than ever to create some original sounding club music!

Our time is often described as the era ruled by velocity and low attention. Working on a single project for a whole year has been a stressing or refreshing experience?

Great question! This is actually the second LP for Mad Zoo. We scrapped the first one! Then Bleach was born from the ashes hahah. It was a pleasure but also very stressful as I am extremely anal about the visual aspect and feel of releases. It’s SO damn important get it right to make sure the project sticks around for longer! A LOT of hours went into the visual aspect of this release! Big up Pad.mc for being a wizard graphic designer and Melcpics for taking the best damn photos. Also big up to Matan and Andrew at Mad Zoo for being patient! So happy to have the project be released on such a label.

Since I’m a long time fan too I have to ask this: How does it feel to be supported by such iconic players like Drum&BassArena and Hospital Records?

It’s insane man. I actually had a few moments recently where i was in my room listening to the LP just overwhelmed with joy at the fact its getting supported by so many big players. I can vividly remember buying Drum&BassArena compilation albums when I was like 16. And now to be a part of it is something I’m very grateful for. It reinforces the path I am trying to pave.

Let’s see how 2020-Rohaan rates his own track ‘Veteran‘ from 2017 (yes, the one I mentioned at the beginning of the article).

hahaha that damn song. Mate I’m honestly not a fan at all of that track. Back when I made stuff I thought would be big but I was 3 years behind as I was making what was already out there.

In a normal review this would be the moment where I spill my preferences about certain tracks, rating my favourites and why I like them. This time instead, the only thing I can do here is to fairly admit that I think they are impeccable. All of them, without a single exception. Enjoy Bleach on your favourite platform, buy it, play it in your streaming or dj sets and don’t forget to support Rohaan on his channels!

The post Rohaan’s Debut LP ‘Bleach’ Is An Instant Cult Classic appeared first on FUXWITHIT.

Out exclusively on Beatport today before its release on all other platforms later this week, This Is MAD TOO features seventeen insanely produced tracks that will tickled the fancies of all fans of sinister bass. Edging more on halftime and drum & bass compared to the first compilation, this sophomore collection taps a plethora of global favourites to keep you hooked from start to finish. Following the uplifting ‘Wut U Tryin’ from Carpainter and the previously-released ‘Red Puma’ from Gladez and BRUTE, the compilation takes a chaotic turn into insanity. Without trying to ruin the surprise, we highly recommend you stick around until the very end of VARI’s ‘Mercury.’ Kraysh, Chee and Tsuruda come next with three melters of their own, before label-head Mat Zo does what he does best in ‘Blessed Be Thy Name.’

FUXWITHIT favourites Rohaan and Acrillics continue the hot streak with a bouncy drum & bass bop and a knocking trap-leaning beat, respectively. From there, eight more diverse tracks round out the eclectic compilation that showcases why MAD ZOO are not a label to be overlooked. Arguably outdoing what they accomplished last July, This Is MAD TOO is a must-listen. Grab it here and find a teaser below.

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With an EP boasting such a unique name, it comes as no surprise to see the work accompanied by a coding hack that pushes fans to work a little harder to access the tracks. “The prompt for ‘Nerds Trying To Dance’ began with a tweet from a programmer who was listening to one of my tracks during a coding session. I realized I hadn’t designed the track for coding, ‘But what would happen if I did?’ For the last year I dove into programming-inspired niches and eventually learned to write a bit of Swift, C#, and JavaScript as a result. The EP itself makes use of plenty of programmatic scales contrasted by explorative accidental sounds,” Pedestrian Tactics states about his latest project.

Robotically meticulous with no lack of futuristic undertones, every track from the Nerds Trying To Dance EP is a quirky journey through electronic music. The previously-released ‘matingcall.exe’ is a fun bass house jam that uses mechanical sounds paired with a natural rhythmic beat to create an uplifting aura. The project’s title track follows, where Pedestrian Tactics employs hypnotic looped percussion and a gritty lead synth to drive listeners into a trance in one of the most unique electro-leaning tracks of the year. ‘Where’d My Head Go’ moves fluidly through expansive chords and a grooving bassline, with the repeated vocal title hook providing a trippy interlude throughout. Capping things off with ‘Kernel Panic,’ Pedestrian Tactics simulates an 80’s inspired computer hack through frantic arpeggios and a sharp tempo before wobbly basses shine in both drops.

Don’t sleep on the Nerds Trying To Dance EP below!

The post Pedestrian Tactics Defies Genres In ‘Nerds Trying To Dance’ EP appeared first on FUXWITHIT.

Today marks the full release of Groke’s debut project, as two more tracks accompany the four singles to make the piece a well-rounded six-track body of work. ‘The Friendly Gigantactis’ is perhaps the most uplifting track of the project and sees Groke construct a future bass-inspired aura through ethereal sounds and crisp chord progressions. The real highlight of The Dark Deep, however, is the concluding piece titled ‘Rock Bottom // The Ethereal Snail Fish’ that runs a whopping nine minutes long. Possibly the most intriguing, intricate and invigorating song we’ve heard all year, this final track is an opus. The progression from rhythmic drum patterns, to a section that sounds inspired by Oneohtrix Point Never, to mystical, eerie melodies all tied together with magical interludes are but a few examples that highlight Groke’s insane production talents.

No description can do this project full justice, so dive in below and let us know what you think!

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With artwork that matches the eerie soundscapes rampant throughout his debut single on MAD ZOO, Groke has created a track worthy of nightmares in ‘Twilight Zone.’ A UK-based producer greatly inspired by the natural world, Groke aims to have a musical output that spans many genres and style. In his latest, the talented artist draws from this inspiration to drive listeners in a state a trance through spine-chilling sections reminiscent of the famous media franchise of the same name. Finding a balance between sombre melodies and a hopeful aura, Groke engulfs your mind with the hypnotic introduction before catapulting you into the darkness at the sixty-second mark. Minimal yet intricate, ‘Twilight Zone’ tickles all your senses and doesn’t let up on the tension until the very end of the track. Don’t miss it below!

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Since then, Kraysh has remained relatively quiet, only releasing a few tracks which still sound fresh to this day. The months of anticipation for new material have come to an end today with the release of the Void EP, and boy was it worth the wait. “I’ve been working on this EP for around 2 years now. The 1st song ‘Void’ means a lot to me. Anytime I felt blue in the past 2 years I’d open the song and I’d write something,” Kraysh states about the project and lead single. These feelings of sadness, melancholy, gloom and sorrow are immediately felt in the introduction, but are met with inspiring glimpses of hope as the track progresses. Through persuasive melodies, meticulous sounds and unfiltered emotion, Kraysh brings you on a true roller coaster before fknsyd’s vocal even chime in. As the vocalist makes herself heard, ‘Void’ comes full circle, displaying the talented artist’s ability to make the powerful voice shine without undermining his impeccable production.

Sandwiched between the two stars of the project is ‘Boreal Twilight,’ a brief intermission acting as a bridge between emotions and as an uplifting boost of spirit. ‘Devium’ caps off the tumultuous journey and sees Kraysh return to his gritty, unforgiving sound design that has only evolved since we first got a taste of this sound. Building from the interlude, Kraysh gradually ups the eeriness and intrigue as the introduction progresses, before distant drums lead into the monstrous drop. Again contrasting aural beauty with sheer evil in an unparalleled manner, the musical genius has created a crowd-pleaser in ‘Devium,’ with gnarly synths and untameable flow sure to send any listener into a frenzy.

Kraysh is criminally underrated and the Void EP is a true masterpiece. Don’t sleep.

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