Enveloping your body in an opaque shroud of shadows, ‘The Greatest’ opens with the feeling of mist coiling up your body like an anaconda squeezing the life out of its prey. A scintillating synth leads you into an intimidating vocal sample of “one of the greatest bass lines ever created” spikes your adrenal levels to borderline unhealthy levels. Then, WHAM, the wind is knocked clear out of your esophagus as you’re viciously gut-punched by expertly calculated air wiggles. The latter drop is even deeper, practically playing limbo with soundwaves with disgusting ease. A pristine showcase of how to make a subwoofer stretch harder than a yoga instructor, this is assuredly a piece that will find a welcome home bumping and pumping through full-scale sound systems as live music and performances return. If SUAHN has more heat sitting in his belt for the rest of the year, we’re all truly in for a treat. Check out ‘The Greatest’ for yourself below!

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We begin our journey with ‘Codeworm,’ and right out the gate, we’re met with these eerie ambient synths that build off one another to create this creepy and unsettling setting. Throughout the first half of the record, suspense is built perfectly by utilizing ambient sounds and crazy distorted basses that become more frequent as time goes on. These gritty basses are soon joined by a variety of percussion elements and risers before thrown into a drop section filled with some of the wettest basses you’ll hear. After another quick build, those heavily saturated basses are joined by this glitchy high end melody that adds to the contrast of the record.

Moving on we have ‘Push & Pull,’ which starts with glitchy sounds combined with a loop melody that is slowly rising in the mix. Without warning, we’re thrown into a chaotic drop section with huge basses and a lead synth that provides the perfect amount of dissonance to this gritty record.

Next up is ‘Brutalism,’ which is for a lack of a better phrase, a brutally aggressive take on your classic rave tune. The majority of the track is carried by these beautifully distorted analog synths that seem to continuously build the suspense throughout the intro while accompanied by this banging four-on-the-floor percussion pattern. Almost out of nowhere, these huge sweeping basses take over in the drop sections, which are periodically interrupted by some creative sample selections in the breaks. 

Last but not least we have ‘Cosmophobia’. Beginning in true Aphex Twin fashion, Guilt Chip and SUAHN set the scene in the intro with these off-kilter percussion patterns that can’t seem to stay still. From here on out, it’s all gas no breaks, with insane percussion arrangements and more than your fair share of nasty sound-design. ‘Cosmophobia’ is the perfect ending to this hectic project.

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Break out the butterfly stroke folks because ‘There’s No Way Out’ has the depth and consistency of a cavernous pool full of molasses. Thick, rich, and borderline impossible to wade through, you’ll be immediately sucked into the sticky gooey goodness. The distinct feeling of being decked-out in all black attire, adorned with sunglasses indoors, can be felt emphatically by every listener of this piece. A sense of mystique and subtle darkness molds the exceedingly honed aesthetic, a true fingerprint of sound etched into ear canals after listening, the noise emphatically lighting up dopamine receptors like Christmas trees in your brain. Throwing your mind into a thought-blender stuck on spin-cycle for 4 minutes and 9 seconds never sounded better. Check out ‘There’s No Way Out’ for yourself below!

The post ‘There’s No Way Out’ Of Loving Suahn’s Latest appeared first on FUXWITHIT.

Candid Oak

A week ago the iconic Night Owl Collective finished releasing its monumental album Feel Trip, Vol. 4: Reincarnation. It’s a true masterpiece and I highly suggest you experience the full project because within the 75 original tracks you can find so many hidden gems and run into incredibly interesting artists. Personally, one of the most pleasant discoveries was Candid Oak. When his contribution for the album, ‘The Path Forward,’ was released, I still remember Patrick and I going crazy on a group chat about the insane quality of the song. We were damn right! Also with his second release (he was previously producing under the Konane alias) he blends technique and emotions in a majestic music formula that pleases mind, body and soul. His tracks are so rich that they seem to last hours instead of just four minutes, but as soon as they are done the only thing you want is to relive the adventure all over again.
-AA

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cozy kev

When stunning melodic soundscapes unite with pristine knock it’s pure bliss. Carefully perfecting the sound comes cozy kev, a producer who just keeps popping up on our radar. First it was alongside Focus Five alumni Keeth. on ‘SEASONS.’ The collaboration is nothing short of a work art that fuses haunting beauty, exotic energy, serene keys and a trapped out backbone. Then it was a standout cut off OUTSIDER PARIS’ incredible compilation entitled ‘ISO.’ Only to follow that up the following day with the equally impressive ‘Thermo’ on ZenSupremacy. If you’re looking for vibes that still pack a punch, cozy kev is your new best friend.
-C

Papa Khan

In a now deleted tweet dating back to June 19th, budding producer Papa Khan showcased 2+ minutes of unreleased material that was simply too good to ignore. Having since showcased a shorter clip of a beautiful melodic piece that has gained significant traction, we figured it was due time that the Indonesian up-and-comer received the recognition he deserves. Despite his first work dating back to March 2019, Papa Khan has shown promise in everything ranging from heavy dubstep to lighthearted future bass, weaving between genres as good as anyone right now. Often opting to combine these influences such as in ‘Untill Next Time Instrumental,’ the future looks bright for Papa Khan as he continues to carve his own path in a scene where many are trying to hop on saturated trends. Another personal favourite is his bootleg for Ekali and Yuna’s ‘Leaving,’ where he once again demonstrates his ability to make bass music beautiful and emotional. Don’t sleep on Papa Khan.
-SC

Pep Starling

Brazilian beatmaker Pep Starling has been unleashing bangers for years but somehow just landed on our radar as of late. His Trap Party release ‘Fechou’ caught me off guard with its sunset inspired opening and breaks alongside a killer future knock bounce. Clocking in at just two minutes, it’s the type of slap that’s assured to have you hitting repeat. A deeper diver into Pep’s catalog shows a wealth of releases and sounds. His style mixes everything from hard hitting trap, to future beats, UK drill, rap and Baile Funk. The fusion comes together with ease for a vibe that always brings the bounce. To get a full picture of his depth check out ‘Talento’ below.
-C

SUAHN

Pronounced like a majestic pond-dwelling bird, Baltimore-based SUAHN is well-versed in the production of dark, raw distorted frequencies that have taken shape in the format of solo release expeditions and a trove of tactful remixes. Earlier this spring, SUAHN reconciled forces with SATURATERECORDS for the release of The Gift of Light EP, which featured ruthless sound design experimentation in tracks such as ‘Ghost Tower’ and ‘Well Hello There’ in addition to official remixes from the likes of Guilt Chip, DJ Ride, SKEW, and Dead End. With an arsenal of releases at his back and a few secrets tucked away in his pocket, SUAHN is surely a name to keep an eye out for in the coming years.
-SL

Word by Alessio, Colin, Sam & Steph

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The expedient pace and distinct percussion of ‘Well Hello There,’ coupled with the dark ambiance that mantles the EP as a whole, proved to be the ideal foundation for Lisbon-based turntablist sensation DJ Ride. A distinctly audible acuity is established in even the earliest infancies of the track as enunciated snares bridle a rapidly unwinding digital preamble before launching into precipitous thrusts of bass repudiated with incisive percussion.

DJ Ride meets and exceeds all expectations with his take on ‘Well Hello There’ from SUAHN’s forthcoming SATURATERECORDS EP. Be sure to check out the remix below, as well as the full project as it becomes available on March 20th.

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When artists find a fellow collaborator that they can really build from and smash together off-the-wall ideas, this is when the most monstrous of beats are created. Dack Janiels is definitely the peanut butter to Dubloadz’s jelly, as their sounds and styles just flat-out work in tandem. Harnessing both of their ridiculous arrangements and sound design so crispy you’ll want to take a big honking bite out of it like your morning bacon. ‘Holy Shmo!’ isn’t thunderous in sound, but the wobbles are most assuredly vicious, reminiscent of a neighbor’s dog fiending to finally catch the mailman. Sitting at a prime 11/10 on the “songs sure to make you wiggle” meter, you can expect the utmost alien of dance moves. The end of the track says “that’s one spicy son of a mama”, and this writer couldn’t agree more.

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Next up, Suahn tag teams ‘Dungeon Crawler’ with Nardolilli, an electro-house ode to the 8-bit arcade video game days, making one think of the glory days of hitting the flag at the end of an OG Mario Brothers level or finding a hidden cave in Hyrule as Link in the Legend of Zelda. For the people that are on the fence about house music but frequent rinsers of wubby bass, this would be a great introductory piece as it melds the best of both worlds. Dubloadz’s house productions have so much variety and style included within that it really is a breath of fresh air to the genre as a whole. Paired with Suahn’s unique sound design and creativity, this is a track that will surely get you moving and surprise you along the way.

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Rounding out the EP is a second collaboration with Dack Janiels, ‘Killer Instinct,’ a snug fit of a title if I’ve ever seen one as this track would surely be an absolute maniac if it were a person. The vocal sample “check this out” is slotted right before the build, making sure you brace yourself for the insanity about to be thrust into your ears. This track is one part wonky and two parts savage, as the switch ups leave you constantly wondering what could possibly be coming next. It’s a mental workout just following along and actually focusing on this piece, but in the best possible way. After a massive first drop that leaves you battered and bruised, this pair smash you once again with an insanely clean hardstyle drop at the end, once again showcasing the immense amount of diversity in production in this body of work.

Dubloadz has proven again that he’s one of the most forward-thinking minds in the bass music arena, constantly branching out and challenging himself to push boundaries while still staying true to that original savage wonk that we all know and love. The House of Ghosts EP is a pleasure to listen to, and I hope that you’ll share that same sentiment after a few rinsings of your own. Check out the full EP in all its glory for yourself below!

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