‘Follow Me’ fuses decadence with malevolence through haunting instrumentals, driving percussion and an explosive, grimy drop. This multifaceted track is bound to be a hit at live sets with its emotional and dance-worthy elements. Demonstrating the best of all three Canadian artists’ sounds, the track is Adventure Club’s first single since their acclaimed Red // Blue album in 2016. While Snails’ vomitstep is at the forefront of the first drop, Adventure Club take the lead in the second with their emotive melodic dubstep that captured the attention of bass enthusiasts so many years ago.

Don’t miss ‘Follow Me’ below.

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The two young producers recently teamed up for a monstrous collaboration, which they’ve fittingly titled ‘Snailephant’ that depicts the battle cries and mating sounds of a beast unlike any other — half insect, half mammal and ALL bass.

Wooli’s prehistoric bass hits provide the precise enhancement to Snails signature ‘vomitstep’ style, giving the track a remarkable amount of depth while a combined effort of fills and snares brandishes their expertise in sound design. The track comes off Snails’ upcoming Slimeageddon EP, which will be out later this year.

Snails Upcoming Tour Dates:

11/20 – Syracuse, NY – The Westcott Theater
11/21 – Pittsburgh, PA – Stage AE
11/23 – Montreal, QC – Telus
11/24 – Toronto, ON – Danforth Music Hall
11/26 – Portland, ME – State Theatre
11/28 – Buffalo, NY – Town Ballroom
11/29 – Boston, MA – House of Blues
11/30 – Washington, DC – Echostage
12/01 – New York, NY – Terminal 5
12/08 – St Paul, MN – The Myth
12/14 – Dallas, TX – South Side Ballroom
12/15 – San Marcos, TX – The Marc

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‘Magnets’ is all about putting together beautiful melodies and vocals with intense basslines to create a powerful love song. The mix of all our styles complimented each other exactly how we wanted and [we’re] so happy how the song came out.”

-Snails

Snails, Akylla, and Zeds Dead all come together for a romantic ballad, which isn’t something you’d likely associate with a genre like vomitstep—yet is perfect for today’s modern basshead. In a “Making Of” video, Akylla reveals that they worked on some of the synths, chords, and lyrics for the track, right up to the drop, then sent it off to Snails and ZD, who mainly went back-and-forth with bringing the rest of the track to life.

‘Magnets’ is co-released through the Deadbeats and Slugz Music labels, which further proves that it’s a perfect example of Canadians coming together, and showing what the power of love can produce. Listen below, download/stream, and feel its overall compelling attraction.

Snails is also back on the road for The Shell 2.0—a massive 52-date North American tour! Be prepared for him to unleash this banger, as well as tracks from his recent LP, The Shell: Remixes, throughout the last quarter of 2018. The tour is named after the new stage he will be revealing, which is already being called a “holographic bass music experience powered by groundbreaking production”.

The stage is a collaboration with Beama Visuals, who’ve worked with clientele such as Excision and Shambhala, so that alone ensures it’s going to be a mind-melting experience. Check out the tour dates for The Shell 2.0 below, and grab tickets if it’s coming to a city near you!

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The anticipation grew as the remixes came out one by one without any sign of a definite release date. However, when the remaining artists all teased their remixes yesterday, we knew the big day was impending. With today’s big release, the excitement of so much heaviness simply cannot be contained. The Shell (Remixes) sees a combination of established producers and dubstep’s strongest up-and-comers deliver some of their best works to date. Among the madness includes Svdden Death continuing his hot streak with a gut-wrenching ‘Smack Up’ remix, Soltan making his long-overdue 2018 debut with his one-of-a-kind Middle East-inspired drums and synths in ‘Into The Light’, Kompany and Ivory teaming up for the second time this year in the soul-crushing ‘To The Grave’ remix and Megalodon delivering his fourth track of the day in his ‘Russian Roulette’ remix. Space Jesus, UBUR and Mastadon round out the project to conclude the heaviest remix album since Excision’s Virus remixes.

Made for a true bass head, The Shell (Remixes) are a must-listen. Check them out below!

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https://www.facebook.com/EverAfterMusicFest/videos/698457416993092/

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I had never been to this venue since I have only come back to my home town last year, and have not seen anything worth attending, or checking out there. I had heard that the space was attracting a lot of locals, and tourists, to a part of downtown Buffalo that had become run-down, and a waste of lake side property with a lot of potential. This show changed a lot of those prior conceptions. Driving up on Silo City, and the Labatt Six Pack, through the old industrial steel plants, the echoes of the 90’s rave scene splattered over my mind. This was the first time Riverworks has had an electronic show of this size, and there was ample security, even leading up to the venue itself. Inside, the crowd was encapsulated in steel, garnished with a beautiful LED screen stage set-up, and starving to rave. Each ticket holder had a comfortable seat at Safe in Sound’s table, and we all were happy to make to the bass-feast.

Terravita took the stage first, and served a meaty set. They took their savage bass, sawed through viscera with vicious drop after drop. As they showered the crowd with machine-gun fire synths, all the thirsty bangers thrashed out in sync. The duo’s mixing style is definitely energetic, and they work the crowd sufficiently. There is a rough edge about how they flowed through the set, but any untamed beast will be that way. The delivery of this ear hole infestation of rhythmic chiseling was completely satiating.

After you wiped your chin off, Dirtyphonics banged up to the head of the table. Their spread billowed out like a heavy thunder-head, hot and humid. Phonics chokes you with frenzied, fast-style mixes. Their bass is not the kind that pounces, but takes more pleasure in lurking deeper, peering at you from the shadowed in-betweens of the leaves and branches. Fans will know that Phonics was a foursome; the pair that remain from the bloody dubstep-stump have taken the flailing limb, and made it writhe all on its own. It was a sentimental moment for one fan I spoke with who said Phonics had not been to Buffalo in four or five years. With this joyous return, they made the bass breathe by providing intermittent slivers of silence, while still mixing fervently. The crowd was nourished as they kept the bass raining down on them all the way through the set. I appreciated their MC-ing, laying down some organic verses, and providing inspirational words just before a bass drop funneled ragged vibrations down my throat, into my thoracic cavity.

Snails sloshed in after Dirtyphonics. The hyped bass, anthem like vocals, and sticky, sinuous mixing of Snails’ style made this an incredible set. Snails seems to create a tenuous situation between the synths and bass, and forces them to resolved their issues in therapeutic slime. The ability to mix a track that’s so twisty, it trails up the stem of the bass line, rising to the actual bud, then blooms with syrupy centers, attests to Snails popularity, and longevity in such a dynamic sub genre. His choice in songs to mix was also gummy-good and included ‘Better Off Alone’ by Alice DJ, and ‘Let the Bodies Hit the Floor’ by Drowning Pool.

Lastly was Borgore. He entered strong, blazing-chariot-style, showing off his dub-step roots, but still came through with more traditional hip-hop elements. This especially happens where it counts which is with his choice in vocals. As for his sound, Borgore’s bass drops are preceded by simple mixes that morph into complex colossi. Rich, luxurious, frothy metallic wubs built up on the thickened mix of ‘100’s’. Then in the next release a slick, sweet female vocal tongues at your ear as the 90’s-like synth thumps and ruptures into more fleshy futuristic bass drops. The blended fury brings on the warm and fuzzies, liking listening to old-school, Golden Age hip-hop tracks while wrapped up in your favorite dub-step tracksuit. The child-like innocence of remixing ‘If You’re Happy and You Know It’ into a shadowed, robotic synth-droid captures his nostalgic theme wonderfully, and the choice of an Alien Lisa Frank kitty-cat imagery behind him could not have been more appropriate. Cheekily, Borgore slams you, reminds you, why it’s called Trap, since that’s what he did with this savage-psycho-cute, chuckle set: He trapped me and now I might always call him Daddy.

Safe in Sound should not be missed if it is coming to a city near you. The prices are fair for the banquet of bass-music you will be able to gorge on. What really should stand out is the fact that this tour is trying to recreate, and incorporate aspects of what made electronic music unique in the first place, (longer shows and sets, good sound systems, and better venues to appreciate the huge sound), and that should be welcomed by hungrier fans. If you want to support artists who are taking risks with their music while still cooking up sizzling, crowd pleasers I implore you to hit up this tour, and these artist’s websites.

A few gripes I had about this event, that I feel I need to mention, were most likely glitches that can be attributed to this being the first electronic event at this venue of this size. That being said, there was no information on the parking situation (which was cash only), their system for checking tickets was whacked (left many people waiting in the rain, and cold), and there was no post about the event’s super tight security.

Check out Safe in Sound Festival’s website for city dates, and to purchase tickets.

Photos are thanks to Kainan Guo from the UB Spectrum.

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