Versatile UK producer Vorso unleases a flurry of drumstep on “Commanded”

We are extremely proud to officially welcome @vorso — and his brand new 5 track EP — to @inspected. Release details and date soon. "Commanded" is available now, courtesy of @vorso and in celebration of our 7th year anniversary (...happy birthday to Inspected). www.inspected.co.uk

Standing opposite of future bass, dancehall, and tropical house tunes that’re creeping towards toward pop music conventions is the burgeoning bass scene—G Jones’s space bass, Rezz’s industrial downtempo, and many others. Hailing from higher tempos across the Atlantic, Vorso leads the way for those seeking destructively punchy snares and gritty wubs over drumstep. The track shifts between full-bodied basslines and rapid sections that command every hertz in the frequency spectrum. Between all that he finds places to sneak in vocal samples and tempting melodies. With an impressive set of releases under labels Flexout Audio and Monstercat, don’t be surprised to see Vorso commanding bigger and bigger stages in 2018.

Written by Eugene Cheng

With “Squid Siren” and “Vacuum,” Revazz squeezes in a pair of songs that just might tickle your fancy

Squid Siren / Vacuum

There are two aspects of music-making that Revazz particularly excels in. The first involves the way his low-end grinds against the accompanying kicks and snares—a distinctly saturated bassline that refuses to stay still. The second thing is his song title game. Honesty and clarity are valued by this Washington D.C. producer; what you see is what you’ll hear. “Zipperzz” contains a lead that sounds…zippery. Drum & bass percussion and squeaky hardwood sounds combine to become the track “Floor Racket.” So take a guess: what do you think “Squid Siren” and “Vacuum” will remind you of? Revazz smartly chooses idiosyncrasy over complexity to set himself apart from the rest of the field. You might not think his tracks are catchy, but I bet you won’t be able to get that synth out of your brain.

Written by Eugene Cheng

Lophiile and Freddie Gibbs link up on “Off Top” to create a genre-defying masterpiece

shoutout @gangstagibbs.

Hip-hop and electronic music fans, we are gathered here on this day to celebrate the union of Freddie Gibbs and Lophiile, two artists that—although brief in their shared interactions—walked down similar paths that all but foretold their creative marriage. Both rapper and producer found success off the beaten path. Gibbs toiled in the underground trap scene for years before his rapid-fire found Madlib’s dusty instrumentals and became the darling of music publications. Prior to his solo electronic music career, Washington producer Lophiile was a keyboardist on metalcore band Issues’ world tour. He recently embarked on another tour—this time, supporting Zedd’s Echo Tour. With such unorthodox avenues towards success, it’s no surprise that the product of this marriage is similarly offbeat and unquestionably quality.

Written by Eugene Cheng

Blanke animates “EON BREAK” into the electro ghosts of Porter’s past

"The infinite sky will heal us. Unlimited sky will fill our negligible light... Choose your virtual echo" @virtualself Original -- https://soundcloud.com/virtualself/virtual-self-eon-break Where else to find me twitter.com/blankemusic www.instagram.com/blankemusic/ www.facebook.com/blankemusic https://open.spotify.com/artist/59Yq0xrABEihHANsfo9QMT PS Its pronounced BLANK

When Porter Robinson—sometimes anime master, but at all times deserving of the “most emotional guy in the room” award—dropped his ubiquitous kaomoji and instead surrounded himself with “technic-Angels” and “virtual echoes,” whatever that means, it caused the same type of civil war that came from the Worlds vs. Spitfire divide. His uber-loyal fan base couldn’t decide whether to adore or loathe the DDR cloak Robinson adorns in his Virtual Self side project. Blanke understands your frustrations; this new Porter is great, but you yearn for a reminder of his complextro or future bass tendencies. Compelled to action, the Sydney producer flips “EON BREAK” on its head. Blanke delivers a mind-altering rework that finds suitable spaces to inject biting sawtooth basslines and chirpy synths. The result would make even Porter-senpai proud—okay, we can all stop calling him that, right?

Written by Eugene Cheng

Judge shows off his range of trunk busters on his debut EP “X”

X by JUDGE FEATURING WAX MOTIF (@waxmotif) (twitter.com/waxmotif) X&G (@xandg) (twitter.com/xandgmusic) DYLAN BRADY (@lilbandotho) (twitter.com/dylanbrady) ALEXANDER LEWIS (@alexanderjlewis) (twitter.com/_alexanderlewis) GRAVES (@wearegraves) (twitter.com/wearegraves) ART by MIKEY JOYCE (https://www.instagram.com/mikeyjoyce/)

You know what’s arguably than the resonating sensation of achievement? The feelings tied not only to immediate success, but also to the realization that there’s much more to come. For newcomer Judge, his moment arrived earlier this year when he saw Young Thug rapping over his beat on Instagram—and later on, actualized as the final track on Beautiful Thugger Girls. And after a summer packed with festival runs and major cosigns, Judge confidently trots out his debut EP. Every track is a collaborative effort, and each of them bear fruit in strikingly varied ways. Although originally a hip-hop beatmaker, the Kansas City native feels at home joining forces with both X&G’s low-end capabilities and Alexander Lewis’ signature horns. With neurotic soundscapes paired with pristine mixes that’re guaranteed to knock you out, “X” is Judge’s worthy stride through the halls of the electronic music scene.

Written by Eugene Cheng

Montell2099 drops a number and a new track “jazzy 2099”

Following the footsteps of all SoundCloud greats, mysterious Auckland beatmaker montell2099 introduced his own throwaway account with a new song, “jazzy 2099.” The track name tells the truth—it’s the deepest montell2099 has ventured in jazz instrumentation. You’re going to get a lot of whirling electric keys after an ethereal, deep-bodied introduction. Those expecting montell2099’s signature #Opbounce will have to settle for sparse shakers, and warm cymbals behind the scenes for the majority of the track; fear not, the final thirty seconds grooves like an overinflated volleyball.

Written by Eugene Cheng

Bass enthusiast Darko steps into the limelight with “Definition”

Keeping in line with his producer name, this new up-and-comer has mostly kept any personal details in the dark. Clearly evident, however, is the meticulous sound design and nuanced production choices showcased on Darko’s latest offering, “Definition.” House grooves are paired with dubstep-scented attacks of bass without any fuss—the Goldilocks result is both filthy and bouncy. Darko constantly pokes and prods his sound design throughout the track, keeping it from getting stale. And while low frequency is the name of the game, it’s allowed to breathe within context of other elements—including those subtle, but deadly, snare hits. Despite the obvious preference towards one end of the color spectrum, Darko is poised for a bright future in the bass scene.

Written by Eugene Cheng

Whipped Cream reveals her plight through a bottomless pit of bass

Released through Nest HQ, the bass producer’s newest release is a haunting and powerful ode to trials and tribulations. More specifically, the three-track EP was crafted from a retrospective gaze at Whipped Cream’s rising career. “I want you to know you’re not alone if you’re chasing something right now,” she explained, “and no matter how hard it is if you remain pushing, scratching and trying new things to make it happen…you can get there.” The entirety of Persistence is submerged in a thick air of uneasiness, reinforced by eerie uses of vocal samples and snares that are hard to pin down. Amid the solemnity, Whipped Cream still manages to showcase incredible low-end work at a lumbering pace—drawing parallels to the constant perils of passionate pursuit.

Written by Eugene Cheng

Enter the world of S. Charles’ “Crime,” come out with déjà vu

Wow, I really dig the rattling percussion at the start. Feels like the background tune leading up to an epic samurai battle. Now the kicks come in; didn’t anticipate these elements working on a house track, but there you go. And here come some interjections of mid-heavy keys making their entrance through a subtle backdoor. Wait…those chords and that vocal sample—sounds like something Sam Gellaitry would throw down in a Boiler Room set. Who is this guy? Diving into his SoundCloud page—don’t his other four tracks all remind you of…oh my god. Sammy G follows S. Charles. Is the reigning Scottish champion of trap making a play on house music’s title belt? Even when (maybe) operating within a side project, Gellaitry’s magical touch shines through.

Written by Eugene Cheng

Verzache finds comfort for all on his new single “Attached”

Mura Masa. Kasbo. Sammy G. Our SoundCloud streams have long withstood an unwavering onslaught of quality tracks from these porcelain-hued, baby-faced youngsters. Toronto producer Verzache—only legally allowed to drink due to kindness from our northern neighbor—continues this ongoing phenomenon on his latest release. “Attached” plays out like the quintessential jam sesh, when you find an irresistible melody out of hours of toying around with keys. The same four descending notes, over and over again, never lose their luster as Verzache places this loop through a gauntlet of varying degrees of warm, percussive rhythms, and filter envelopes. Whatever these guys are doing—maybe it’s age-defying cream or habitually avoiding skin exposure to sunlight—the results speak for themselves.

Written by Eugene Cheng

Tennyson confidently updates their charming, crossover style on new single “Cry Bird”

When Tennyson put out their Like What EP in 2015, they gave the rising “squeaky bed springs” productions, à la Cashmere Cat and Lido, a snazzy facelift: crazier samples, eccentric jazz instrumentation, and quirky as can be. Two years later, the Canadian siblings gives us a new single, “Cry Bird,” for their upcoming Uh Oh! EP. It’s certainly not as unpredictable as many of the duo’s previous tracks. But their attempt at a more organic and ear-grabbing sound isn’t just successful, it’s breathtaking in its glow. Besides, there’s still a nostalgic, whack-a-mole breakdown in the final minute—you know they still got it.

Written by Eugene Cheng

Hidden gems from last Friday’s music haul

Like the final kiss scene of a feel-good romantic comedy flick, the music gods delivered an embarrassing wealth of new releases this past weekend to dull our collective dismay over summer’s end. There’s a lot of songs to parse through—annoyingly, too much from too many. Beyond projects from familiar Rap Caviar faces is a sea of albums and EPs ranging from house to jazz electronic that are equally deserving of a spin. Here’s an overview of the best from Friday:

Daniel Caesar – Freudian

Hailing from the ground zero for this decade’s atmospheric R&B/trap movement, the Toronto-based crooner continues to impress with his debut project. Over the span of ten tracks, Caesar introduces listeners to his creamy vocal melodies backed by gospel-inspired riffs and choral arrangements. One moment you’ll get Blonde-era Frank Ocean, the next Boyz II Men. Placed alongside its contemporaries, with 808s and drug-fueled subject matter, Freudian serves as an worthwhile alternative. 

Source: The Urban Buzz

Troyboi – Left Is Right

No one would have blamed Troyboi if his career path never strayed beyond producing festival-ready trap bangers. He could have remained playing in pocket, dropping his “T, R O, Y, B, O, I” producer tag every couple of months. Left Is Right, Troyboi’s long-awaited debut album, is as ambitious as it is diverse. The twenty tracks on the LP never overstay their welcome—credit that to an experimental palate of sound design and songwriting choices. As a testament to the British producer’s versatility, the best songs—“Wavey” and “Tender Love”—are triumphs in evoking sentimentality, not trap arms. 

Source: FUXWITHIT

BROCKHAMPTON – SATURATION II

For those not aware of this recent explosion of talent and creativity, welcome to the crazy world of BROCKHAMPTON. The second installment of the SATURATION trilogy (released only , their latest offering continues their surge towards hip-hop dominance. Many more words are required to fully encapsulate BROCKHAMPTON’s astounding and far-reaching musical efforts, but we’ll leave you with this: SATURATION II is a massive step up from the original SATURATION. And the latter is already one of the best projects of the year.

Portico Quartet – Art in the Age of Automation

Returning from their synth-pop phase with Ninja Tune Records, the London band ventures deeper into ambient electronic territory than ever before—albeit with saxophones and double-bass still alive and well. This is especially noticeable in the percussion elements of their tunes; for example, “A Luminous Beam” sports a breakbeat pattern over swirling synths and a menacing bassline. With their latest record, Portico Quartet keeps alive the often fruitful marriage of jazz instrumentation and electronic music production sense.

Source: Bowers & Wilkins

Apollo Brown & Planet Asia – Anchovies

According to beat maker Apollo Brown, the album name refers to the “niche aspect” of anchovies; “Like the small fish,” Brown explained, “this album is a delicacy that is not for everyone: pungent, dirty, oily and an absolute acquired taste.” If that string of adjectives fails to turn you off on checking Anchovies out, be prepared. You’re about to digest a fifteen-course meal of strictly crusty beats—garnished with muddy funk loops and rapper Planet Asia’s distinct low snarl. It won’t taste sweet, but sometimes bitter is much better.

Source: Polyphone Squad

Written by Eugene Cheng

Both elusive and pervasive, Lido remodels Goldlink’s “Crew” into his own liking

In celebration of many firsts—including his first major label release, first Coachella appearance, and first Billboard Hot 100 single, the D.C. rapper gave his ethereal single “Crew” a collection of varying remixes and covers. Yeah, they’re all really good. Most notable, however, is the handiwork of the Norwegian producer—a whirling dervish of musical styles that shifts with every new verse. Brent Faiyaz may not have considered fulfilling his hook duty over a gospel backbone. Yet, surely he is sitting against a wall somewhere—eyes closed and head nodding—with this iteration of “Crew” in his headphones.

Written by Eugene Cheng

G Jones transforms Chee’s “Get Hot” into an auditory heart attack

In observance of a relatively quiet month for his ongoing B2B tour with EPROM, the reigning champ of head-pounding distortion found some time to drop his rework of Chee and Noclu’s “Get Hot.” With this release, G Jones opted to maintain the core elements of the original that made it his favorite track on Chee’s Fear Monger project; no doubt, the chopped-up shamisen sample must stay exactly where he found it. Instead, the UC Santa Cruz alumni sprinkles small doses of saturated schizophrenia through rising air horns and low-pitched, fully-automatic assault rifle snares and kicks. And if you had somehow forgotten which bass producer is next in line for the crown, the guttural breakdown at the end should serve as a reminder.

Written by Eugene Cheng

AC Slater throws a groovy spin on GRiZ's "Before I Go"

The creator of Night Bass AC Slater returns with another house classic, this time remixing electro-funk king GRiZ's track "Before I Go." Slater makes clever use of Leo Napier's vocals, chopping up those vowels to create a groove that flows fluidly with a fast-paced house drum beat. He even manages to throw in glimpses of GRiZ's notorious saxophone solos, including them in the both the build and occasionally as fills in the drop. One of the most interesting aspects of this song I noticed was it seemed like AC Slater sampled Mario's fireball noises or created a synthesized version of them, taking me back to the innocence and carefree-ness of childhood. In light of all the recent political events, it's comforting to notice GRiZ's message being spread across different mediums/genres, as noticed in the lighthearted, feel-good tone of the music and the inclusiveness symbolized in the art. 

Written by Raghav Thirumulu

Bitbird's duo DROELOE depicts dichotomy on "Sunburn"

Boasting industry leaders such as San Holo, the Dutch label bitbird leaves nothing to be desired when it comes to future bass, demonstrating nothing short of professionalism in delivering consistent and high-quality material. Dutch electronic duo DROELOE, composed of Hein Hamers and Vincent Rooijers, shows no exception to the bitbird standard, releasing their latest single "Sunburn" in preparation for their upcoming EP set to drop next week. While it can be difficult to discern the meaning from electronic music, DROELOE has conveniently left us a description to grasp a sense of where they are as artists and individuals:

"Sunburn is about how turbulent love and success can feel, every passionate positive experience or feeling can make way for its negative counterpart at some point. For us, this track embodies the roller coaster between those two." 

Many prefer not to credit electronic music for simple lyrics of lack of, but a more technical analysis of the song's sound design and arrangement can provide abstract insight: slightly bit-crushed supersaws give their drops a metallic texture and crunch to balance the softer textures holding the body of the synths. The underlying effect still drives an overall uplifting tone to symbolize the beauty of the dichotomy in life they discuss above.  

Written by Raghav Thirumulu

Flume's teacher Naderi flips THEY.'s "Silence"

Source: InTheMix/Junkee

For the first time in music history, it is becoming more and more feasible to bridge creativity with a thorough technical background. With the tools a modern DAW and studio plugins can provide, audio engineers find themselves in a sandbox ready to sculpt a masterpiece. Australian producer/engineer Naderi is no exception to this revolution, handling mix-downs and masters for some of Australia's biggest dance artists while popping out his own tracks on occasion. Today,  he flips an intimate R&B song into an epic festival banger, featuring wide supersaws and minor scales in likeness to RL Grime's collaboration with Miguel "Stay For It." What stood out the most in this track was the arrangement, with a melodic build leading into another build with heavily distorted bass shots, providing a refreshing breather from the typical linear progressions seen in dance music. This marks the second time Naderi has played with vocals from THEY. (signed to Zhu's Mind of a Genius Records), hopefully hinting at a potential collaboration in the future.   

Written by Raghav Thirumulu

Heroless channels inner Flume in remix of "Hotter Than Hell"

Fresh off his stunning remix of Tchami's "Adieu," Norwegian based producer Heroless continues to display his prowess on his latest remix of Dua Lipa's "Hotter Than Hell." The original song is primarily influenced by components of tropical house, containing kicks on the four and poppy major chords that complement Dua Lipa's deeper voice. Heroless takes the vocals and throws a future bass spin on the track, including brass shots and bouncy supersaws that remind us of Party Pupils. Combined with cinematic pads and a warm, saturated bassline that seems to melt into the various components, this song has all the ingredients for a festival anthem. Keep a lookout for Heroless, earning rapid support from artists such as Big Wild after only his second release. 

Written by Raghav Thirumulu

BVNDS slams the throttle on remix of "Fourth Impact"

A hidden gem in the expanse of the Soundcloud bubble, Toronto-based producer BVNDS delivers a face-melting remix of REZZ and k?d's collaboration "Fourth Impact." The original song's eerie melody paints a picture of a barren alien landscape, which is cleverly filled by BVNDS' metallic basses and growls to give the song bite and texture. The effect driven is a vibe reminiscent of a non-existent fusion between Gesaffelstein and Dog Blood, delivering satisfying results to bass-heads everywhere. While this definitely marks one of BVNDS' heavier remixes, this song alone is no testament to his versatility as a producer. Also check out his renditions of What So Not's "Montreal" and Boombox Cartel's "Alamo."

Written by Raghav Thirumulu

Skye Chai sets the mood for summer love

Skye Chai grants us a slow and balmy remix to Rachel Foxx’s sensuous single “Make You Say.” The focus of the remix steers away from Foxx’s velvety vocals to spotlight an electronic instrumental ornamented with plucky and offbeat synthesizers. Imagine the early honeymoon phase of a fresh relationship, where your only concern involves subduing the butterflies in your stomach. Skye Chai encapsulates those breezy, careless, and romantic sentiments of a budding relationship into “Make You Say.” So allow Skye Chai to set the mood, and summon your summer babe.

Written by Kelsey Tang