Like every RAC remix, this track is flawlessly produced and beautiful. The tag on SoundCloud for this song is “Pharaoh Dance” and I think they nailed it. The sound of this track is airy and ominous with background instrumentation and chord progression alluding to Ancient Egypt. Very fun. The song starts off with a chopped and screwed sample of vocals which becomes the constant background. I really like when people do that well, especially when it could just be another synth at first listen. Using different vowel noises makes more versatile than just a tone. Enjoy!
Archive for November, 2012
OVERWERK dropped a new EP today called “After Hours” and like most things he makes, it is awesome. Starting with a choppy intro, this song builds into full, engaging, electro house synths. The choppiness remains, with an ambient vocal sample verging on ‘rage’. It’s catchy and mesmerizing. OVERWERK really knows how to make a song build and build, adding piece after piece to make it even more massive. Check out the song below and be sure to download the EP here!
BONUS: And here’s another song on the EP, which showcases some more abstract vocal sounds. This track starts out with the vocals and builds a slightly ominous background with a synth line that builds toward a promising height before dropping out to bring a beat in, slow and swaggering at first before building to a constant house beat to leave the spotlight on more synths. Enjoy!
KJ Hines is ramping up to drop his next project, “Eternal Knowledge”, which is due out at the beginning of the new year. In the meantime, to keep interest simmering, he dropped this track last week. Swaggering over an electro-inspired hood beat KJ Hines, raps celebratory lyrics. He alternates between rapping about parties, rapping, coming from nothing, and the rock star lifestyle. None of it is particularly earth-shattering, but it is all good. Give it a listen and enjoy!
Yeah. More trap. I can’t stop. This was an absolutely sick tune before Bauuer got to it, and I think it might be even better now. I love how the lighter, bubbles, and coughing are seamlessly integrated into the buildup. And the drop POUNDS. Definitely have a decent sub with this tune, you’ll appreciate it.
Have a good break? Hope so. Time to get back into the swing of things. And how better to get back up to the frantic pace than with some electro DnB from Krewella? That’s right. There is no better way. As usual, Krewella showcases beautiful female vocals and tight, catchy production. I don’t have much else to say except, enjoy this to its fullest and blast it!
So I’m headed out to the homeland for a celebration of cultural imperialism and thanks and stuff. But that means I might be too busy celebrating conspicuous consumption by overeating to blog the rest of this week. If that is the case, I’d like to leave you with a bit of a lump post to chew over. So without further ado, I thought I’d drop some trap for you all.
Trap is all over the place these days, and people who like to complain, complain that DJs these days ignore much of its roots in Southern Hip-Hop. Sure they’re right, but that’s what happens when something goes pop, and that’s exactly where trap is headed. I like when genres can pull from so many places under on banner. Yellow Claw and Yung Felix are definitely pulling from reggae, dub, hip-hop. It’s one of my favorites, simply for the part (about 0:54) when the vocals suddenly transform into a synth. It has the potential to be annoying but I find it mesmerizing. Enjoy it!
If you need an example in the extreme of genre mixing, here you have it. CRO¥DON pulls J-Pop into the trap movement (or is it K-Pop? I’m thinking J, but I sure ain’t sure) with the help of some snares, hi-hats, and bass. The sheer incongruity of this remix makes it fun. I don’t think you’d get much cred in the South with this, but it could be a fun party track with the right crowd. Give it a listen.
Here’s one where the remix culture that DJs love (as do certain bloggers of free-to-download music) comes to the fore of trap songs. I believe Grandtheft labeled this remix “shoegaze trap” which has a certain ring to it, despite Crystal Castles, Robert Smith, and trap in general having little to do with shoegaze. But you can definitely pull shoegaze elements out of the quieter moments of the song and the bass and 808s pull this track inevitably toward trap. Check it out!
Keys N Krates remixing Zedd, gives trap a whole new spread of musical genre to draw from. Zedd provides a pop dubstep element and Keys N Krates are known for their work in the moombahton community. Trap has definite links to moombah and I expect that a trap set could follow a moombahton set inspiring a ton of enthusiasm among the dancers. Spotted on the Music Ninja so you know it’s good.
Here’s very EDM based take on trap from Zooly. I absolutely love all the vocal samples that add texture to this track. The synth sounds very inspired by Dutch House but is very clearly being used in the airhorn style that is favored in both hip-hop and rave communities. Together with bass and 808s the track is undeniably trap. Altogether this is one of the trap tracks that holds the appeal of being cool both at a party and on your car stereo. Check it out!
Last up we’ve got a track from Luminox. Luminox uses synths common to EDM scenes but arranges it in a very hood-hop style. I would even say that this is could be considered a trap anthem simply from the way the track demands your attention. Heard this over at Robot Dance Music and wow am I glad I did. Hands down this track deserves the label “epic” and the use of your speakers. Enjoy and have a good week!
Tobacco Pat released his latest album, “Clemintinum” last week and it’s really quite cool. Since I haven’t introduced Tobacco Pat on the site before, I thought I’d let you read the little blurb he likes to share.
Tobacco Pat is singer-songwriter Logan Farmer from Jacksonville, FL. His music has been described as Southern Gothic Folk, with veins of religious imagery and sonic experimentation.
I think the label of Southern Gothic Folk does a lot to cover the emotions that Tobacco Pat’s distinct sound evokes. In “Mercy”, he uses a dark sample (which sounds like looped vocals to me but it could be a synth line) in a very simple repetition to build a portentous background. The sound evokes a choir or an old organ but also a skipping record. Compounded with the evangelical opening sample, the song gets a down-South feeling that has nothing to do with Country and Western, and everything to do with noir and the darker, seedier side of life. Tobacco Pat’s vocals on this track perch gently upon the music and croon a request to “remember, remember this…” I find it hard to find a clear story in the lyrics of this song, but I think that Tobacco Pat enjoys evoking and suggesting as opposed to outright showing and telling. Themes of judgement, love, and, surprise, surprise, mercy, run through the song. Enjoy the song and be sure to listen to and download the new album.
BONUS: And here’s one of my favorite tracks from Tobacco Pat’s previous album, “God Moves on the Water“. “Lawrence Weber” showcases the folkier side of Tobacco Pat. A simple backing drum leads into slow guitar strums and the story of the fictional hero. It’s beautiful and haunting. Be sure to check out this album too and enjoy.