‘Midnight Hour’ is not your typical Skrillex and Boys Noize track. The former’s recent pop-leaning influences are heard throughout the introduction, with Ty Dolla $ign laying down a mellow verse. Boys Noize makes himself heard around the thirty-second mark, with rhythmic percussion laying the foundation for the rest of the track. There is a constant battle between radio-ready hit and late-night anthem throughout ‘Midnight Hour,’ despite both influences never sound out of place – a true testament to Skrillex and Boys Noize’s undeniable production prowess. Perfect for a wide variety of playlists, ‘Midnight Hour’ is a must-listen. Check it out below!

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Switching the direction at its midpoint comes ‘HIGH’ with familiar collaborator Yas. The first half is a tranquil and entrancing trip that fully embodies the project’s namesake. As you begin to feel a sense of serene calm, Troy pulls the rug out from under you as he smashes listeners with some filthy dubstep flourishes. This feeds well into the Skrillex assisted ‘WARLORDZ’ which is tribal and industrial all at once. As familiar guitars put you into a psychedelic trance, you realize you wondered into one of TroyBoi’s most iconic releases ‘Do You.’ The 2015 release still sounds fresh and unique as ever but seems like an odd selection to close out his newest project in 2019.

V!BES, Vol. 3 is a strong effort that shows that TroyBoi never ceases to impress. Stream the project below.

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After hearing it in countless sets over the last few years, Skrillex has finally released two of his biggest secret weapons, sending the electronic music scene into a frenzy. What has gone through several name changes come to fruition as ‘Fuji Opener,’ a hypnotic bass track featuring long-time collaborator Alvin Risk. From its crisp vocal samples, flawless sound engineering and undeniable Skrillex bounce, it’s safe to say that the genius is not done with bass music. The second track, first dubbed as ‘Fuji ID’ before taking its final form as ‘Mumbai Power’ featuring Beam, is an amazingly clean future bass production that speaks to Skrillex’s unquestionable prowess as a creator of any genre.

As there’s a high chance you’ve heard clips of both tracks, we won’t spoil too much so explore them in their entirety below!

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While both need no introduction, it’s been a blessing having Skrillex return to original releases, most notably as of late as part of Dog Blood, showing hints of his roots with eclectic bass concoctions. With the promise of more to come, fans have been eagerly awaiting the next original release until last week’s massive surprise announcement of ‘WARLORDZ,’ a joint work with trap phenom TroyBoi. The latter has been relatively quiet this calendar year, coming off two meaty extended plays in 2018 and slowly yet surely hinting at new material to come. If ‘WARLORDZ’ is any indication into the future arsenal of either producer, bass fans are in for a real treat.

The latest OWSLA release falls nothing short of spectacular, boasting exquisite production from both established artists. A growling synth mirroring the track’s extraordinary artwork kicks ‘WARLORDZ’ into motion, before tribal chants and jungle rhythms quickly bring the track to a panning vocal chop into the drop. Distorted synths and crunchy stabs shine at the forefront, later being met by trap horns and tribal effects to give it a real war-like anthem feel. Both Skrillex and TroyBoi make their distinct styles heard in the heavy collaboration, with the former lacking no expertise in sound design and the latter giving the track a spicy trap undertone.

If the raw energy of the banger wasn’t enough for you, prepare to be mesmerized by the sheer contrasting beauty of the minute-long outro. Don’t miss ‘WARLORDZ’ below!

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I don’t know about you, but after Ekali featured him four times in a single Awakening Mix, I knew it was just a matter of time before the two would cross paths again. It took a while, but good heavens, here we are. Stop wars, stop hate, today we’re kicking off a Winter of Love. Honestly I’m still quite mad about all the criticism and negative feedback the original faced. That extreme need of the community for something more ‘complicated’ really disappointed me, but this is another story. Instead, I’m ready to bet that not a single soul on this planet will have something to complain about with Laxcity’s interpretation of ‘Forever’. Not because I judge myself some kind of authoritative critic, but simply because it’s perfect under every point of view (yes, even the already-infamous transition at 1:01). Let’s be honest, it barely sounds like a remix. If we didn’t know the original, given how perfectly Elohim’s voice match with his chill style, it may seems that this was a long studied collaboration.

With his trademark orchestral arrangement, the London producer dismantles the pop construction of the original, making ‘Forever’ a musical stream of consciousness where Elohim’s breathtaking vocals can be appreciated even more. Between the piano, strings and voice, the composition elegantly sways like a candle in a dark room, a candle that warms and illuminates us, and at the same time projects and enlarges our shadows and fears.

The post Laxcity Lands On OWSLA With ‘Forever’ Remix appeared first on FUXWITHIT.

‘Mask’ is a moving coalescence of each producer’s individual strengths. The introduction is reminiscent of ‘Movie’, with josh’s haunting vocals at the forefront over a tension-building soundscape. A gradual rise in energy leads to an innovative futuristic trap portion dominated by AWAY’s signature style. Crisp percussion, ominous vocals and barking fills dominate, leaving listeners intrigued and introspective.

‘Mask’ is accompanied by a similarly enthralling video. Check it out below!

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The first time I heard this track, I was so blown away that I literally listened to it on repeat for the entire day, never growing tired of it. Everything from the slow build up with an unmatched rise in tension to the flawless sound effects and orchestral soundscape in the introduction set the scene for a masterpiece. This long – but not drawn out – portion of the track is met by a future bass drop unlike any other. Impeccable production highlighted by ethereal synths and mind-warping pitch bends make the wait worthwhile. The outro is just as powerful as the intro, with Aryay flexing his musical talents in the form of an emotional piano solo. Peep it below.

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Since his Vicious EP, Aryay has remained relatively quiet in terms of productions under this alias. Nonetheless, the few singles such as 2016’s ‘Never Gonna Leave’ and 2017’s ‘Always Wanted You’ have further displayed Aryay’s Midas touch. Although he has not released a track as Aryay this calendar year, he has continued to produce for artists such as Poppy, Anjulie, and more. Here’s to hoping there are more solo releases from the talented artist in the near future!

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The familiar melody leads off the track, with JOYRYDE’s signature drift-inspired samples and heavy-hitting yoinks at the forefront. Wasting no time, the two legendary producers quickly bridge the gap into a bass house drop that is highly unconventional for the genre, as a plethora of quirky yet impeccably timed drum loops take the spotlight. A switch-up brings listeners into more percussion filled madness that airs more on the trap side. And, if you thought the first part of ‘AGEN WIDA’ was wicked, the second half of the track is even wilder than the first. JOYRYDE and Skrillex take the bass house insanity to another level without disrupting the flow, perfectly complimenting the first half of the song.

JOYRYDE’s bass house influence and Skrillex’s flawless production easily make ‘AGEN WIDA’ a contender for track of the year. If this doesn’t have you hyped for JOYRYDE’s BRAVE album out on November 30th, I don’t know what does. Check it out below!

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With the full release of the Crystal Eyes EP boasting a solid six tracks, we were further impressed by the Canadian’s expertise in keeping us captivated for the entirety of the project. ‘Stay Hollow’ with mossy. combines acoustic elements with electronic samples to create a synergistic collision between two usually separate worlds. ‘Forgot How To Dream’ with K.Flay continues this hybrid style that Ekali seems to have perfected, with beautiful guitar riffs taking the lead for the majority of the track. The final, title-track of the EP closes the roller coaster of emotions with a classic future bass touch.

Crystal Eyes is a must-listen for any electronic music fan. Check it out below!

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Jersey Club has gone through an interesting progression over the past few years. It moved from being a regional sound, to one of the hottest genres out. In recent time it seems some of the hype has worn off. What are your thoughts on the evolution of the genre over the past few years?

Jersey club has been around for decades. In Jersey we still treat it like it’s new. When the internet got a hold of it everyone went wild. You know how the internet is, they get tired of things and look for the next wave. They don’t have the education so they wouldn’t know the importance of it all. I kind of liked that other people took interest into the genre. It was cool to see what they could do with it. That also made it commercial a bit. Where I am with the genre now is, I’m working with actual artists along with the sound. It’s no more remixing really, only on the side. I want to work with the big artists to change their sound and mine.

Jersey club & dancing goes hand and hand. It’s like peanut butter and jelly.

The ‘Run Ricky Run x Higher’ video centers around some incredible dancers. Can you speak to the importance of dance culture within Jersey?

Jersey club & dancing goes hand and hand. It’s like peanut butter and jelly. The dancers get all of their ideas by how the song sounds & what kind of vibe it has. Like everybody came up listening to Jersey club, if you’re from Jersey then you know what it is. The ‘Run Ricky Run x Higher’ video really captured the things we do in Jersey. It was all homies in the video as well.

Jersey Club is a genre that built upon and known for its wild samples. What’s your favourite club sample or sound?

You’ve been teasing big things coming with Cartel Nation. Can you tell us a little bit about what Cartel Nation is about and what we can expect from you guys?

Cartel Nation is the squad. They are the homies I came up with. We went to parties together, made music together for as long as I can remember. Cartel Nation consists of dancers, DJ’s , Rappers , Producers. A little bit of everything. Specifically I’ve been teasing the song ‘Action’ Stacks Cartel Ft. Classic (Prod. DJ Big O), Executive Produced by me. That’s gonna be a nice one right there. You can expect these guys to flood the game with new music. We have music we have been working on for years.

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You connected with the legendary Fatman Scoop for ‘Higher’ earlier this year. How did that collaboration come about? What was it like working together?

Earlier this year you joined the OWSLA team. How has the experience been so far? What has changed since joining the team?

I love OWSLA , they know exactly what they are doing. They have a great handful of staff that’s constantly working. So far I just think they really opened my eyes and changed my perspective on music. Being around forward thinking people builds your brain up to just be more creative. Music has changed, shows have changed, just everything for the good.

You have the OWSLA logo tattooed on your arm, that’s a pretty powerful commitment. What does that tattoo mean to you?

Yes! This tattoo to me means my first very big shot. I feel like in the past people gave me chances with things but not like this. I felt like OWSLA was just like “you ready, let’s do this!” I feel like some people try to just give you enough of what you need & the OWSLA team is like whatever you need to get things done, let’s do it.

Me making music, my mind wasn’t even on no fashion shit really.

What’s the craziest place that music has taken you?

Craziest place to me was being at fashion shows with Rick Owens & going to dinner with him and his wife. Me making music, my mind wasn’t even on no fashion shit really. Alexander Wang also used my music in his shows as well. Also of course all around the world. I’m actually in Hong Kong right now doing this interview on the way to Jakarta!

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You recently had your SoundCloud page deleted. Do you see yourself continuing to use the platform and rebuilding or will you be moving onto another platform?

I feel SoundCloud has been rubbing everybody the wrong way. I’m sure their numbers have went down. I don’t really care for it, I made a new one (Sliink Official). I just tried to upload ‘Long Minute’ with Brenmar & they immediately flagged it . Lmao it’s my song and they suck. Not sure what future platforms I will be using. Can def hear things on Spotify and all that.

I’m very creative so I think I’m going to surprise myself.

You’d mentioned you’re working on a new EP. How’s it coming along? Can you give us any details (when is it coming out, title, etc.)?

I’m just working on a bunch of music for the past few years. I’m not sure what it will be and what will come from it. Just know I’m working and things will be out.

Where’s the Sliink sound going for 2017?

I’m very creative so I think I’m going to surprise myself. I always do! Thanks for the interview.

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