If the event is anything like last year’s fervent installment, attendees can expect a wallowing wonderland of extinction and bygone friends to be made. Excision will perform an exclusive b2b with Downlink, there will be late night camp parties, and three times as many dinosaurs.
Seattle-based producer Fransis Derelle has released his debut EP, Pixel Paradise, on Flux Pavilion‘s Circle Records. The four track collection is no less than a trap masterpiece with infectious rapping dipping into commanding and intense drops. His sound is reminiscent of trap’s early days, with the focus on vocal progressions leading to the hard club drop.
Seattle Seahawks fans will likely recognize the EP’s second single, “Bang,” as one of the home game songs for the team. The four-track compilation is dynamic and fit for any trap lover, and fans can download the EP for free here.
Never one to mess around, Flux Pavilion is back once again with yet another hair-raising offering for his bass-loving fans.
Currently in the midst of his Around The World In 80 Raves Tour, Flux Pavilion still finds the time to cook up fiery new tracks in his lab. The Circus Records label proves that he is still at the top of his game with the release of two new hip-hop-infused tracks.
In “Stain,” listeners are greeted by vicious bars from Atlanta-based rap collective Two-9. The track devolves into bass-induced madness as thick 808 drums bring this hefty trap track to its climax.
Flux polishes off this two track EP with the manic and sonically eclectic “Saxophone Doom,” featuring Jace & Curtis Williams. With frenetic breaks and Chemical Brothers-style guitar ripping through this tune, it’s easy to imagine Flux sending dance floors into total pandemonium with this one.
These two hectic and heavy tracks serve as the perfect reminder of Flux Pavilion’s vaunted style and reputation as one of the most badass producers in bass music.
It has been eight long months of releases and teasers, but as of midnight EST on September 21, the wait for Illenium‘s sophomore album is finally over. Nick Miller, the man behind the productions, is undoubtedly known as one of the more prolific producers of our era, thanks to his consistent output and meteoric rise. While Miller has carved out the future bass genre and helped define its sound, this LP proves he has the ability to transcend genres and appeal to a wide variety of fan bases. This is no small feat that is becoming an increasingly difficult road to navigate as a producer in a day and age, where electronic music fan bases are becoming more fragmented as the industry continues to commercialized.
Awake will only further his prominence as a producer with its 13-tracks ranging from feel good music to intense bass laced drops. Miller even dabbles within the indie electronic genre, showcasing his ability to diversify his oeuvre while still maintaining his signature style.
There is no stronger start to an album than “Needed You” featuring Dia Frampton. The song, which is opens to flowing vocals that melt into an incredible bass drop, resonates in the listener’s mind far past the song’s close. The track combines Illenium’s mastery of mystical elements and sounds as well as powerful bass juxtaposed with unique vocals. Should there be one song selected to describe the tone for the entire album, “Needed You” could certainly vie for this position.
Five singles from the album have been released this year including the second track “Crawl Outta Love,” whose subtle intro with Annika Wells’ vocals and piano deceivingly put the listener at ease. The track hits listeners in their core with its heightened tempo and all-consuming drop. “Fractures,” “Feel Good” — co-produced with Gryffin — “Sound of Walking Away” and most recently “Leaving” make up the rest of the tracks from Awake that were previously released. Representative of Illenium’s talent and engaged fanbase, these five tracks combined have already amassed nearly 83 million streams combined on Spotify alone.
The third track, “No Time Like Now,” although short, is where we see Illenium begin to swerve from his established style into a more indie electronic sound, with guitar forming the backbone of the song. It is a good segue into the fourth track “Free Fall,” which delves back into the resonating bass intercut with melodic vocals.
“Where’d U Go” showcases a collaboration between Miller and his roommate Said the Sky, otherwise known as Trevor Christensen. The upbeat track immediately draws the listener in with a catchy beat that falls almost immediately into an intense drop. As the track continues, vocal layers of a children’s choir lightens the track before submerging the listener back into the hard drop that would resonate with dubstep, future bass, and progressive fans alike. “Where’d U Go” is one of the more upbeat tracks of the album, so those looking for a workout anthem or night out tune should look no further.
Illenium stars to venture into more commercial territory with the second half of the album, although this is far from sellout as the tracks still maintaining a distinct edge. “Lost” with Emilie Brandt veers into a progressive house vibe, with the catchy vocals carrying the track. As with all of Miller’s version of “commercial” music, “Lost” is still far different than anything one would hear on the radio.
“Taking Me Higher” wouldn’t be out of place on Passion Pit record. The track is an interesting juxtaposition of sounds, synths, and styles that melts into a perfect tune for a relaxing afternoon.
Prized vocalist MAX — who has recently collaborated with Rain Man, 3LAU, as well as Flux Pavilion — is featured on Awake‘s penultimate entry,titled “Beautiful Creatures.” Guitar once again is used as the foundation for this track and paves the way for MAX’s vocals to be the centerpiece of the song. It can only be described as melodic with a hint of mystical, and is likely to be a radio hit.
Illenium finishes the album on “Let You Go,” a collaboration with Ember Island. An orchestra compliments the vocals on this downtempo affair, and serves as a beautiful, fitting ending for a beautiful album.
While many call albums an outdated form of releasing music, we can only be thankful that Illenium ignores this and decided to create a masterful full-length in Awake. The producer has left another imprint that further solidifies his prominence in the electronic music community. It is no secret that Miller is a breath of fresh air within a genre that is receiving increased skepticism for turning pop, to say nothing of stale, and, indeed, his music has the unique ability to be played on a radio without compromising its integrity.
Known for his diversity in production, Luca Lush releases music that reflects his creativity and passion for pushing the envelope by experimenting with an array of sounds and styles. His last hit, “O BB,” was made popular for its gentle vocal samples layered on top of downtempo beats that are juxtaposed with hefty, growling synths.
The producer has chosen Flux Pavilion‘s classic “Bass Cannon” as his latest “lift,” transporting the original to ominous depths by featuring snarling, dense layers of synths, provocative weighty climaxes, and melancholy mysterious beats to create a hybrid bass sound.
Luca Lush’s rendition of “Bass Cannon” dramatically strays from the original; the only remaining similarity between the two versions are the vocals, though even this element is somewhat deviant from Flux Pavilion’s production. With bold execution, Luca Lush’s interpretation of “Bass Cannon” is not for the faint-hearted.
It was just six months ago that bass music heavyweights NGHTMRE and Flux Pavilion released, “Feel The Love” featuring Jamie Lewis, which racked up over 1.4 million plays and was named as one of the heaviest collaborations of 2016. Now Circus Records has released the remix package that features six well-crafted songs from both established artists and promising up-and-comers. With genres ranging from dubstep to house to future and trapstyle, make sure to be on the look out for these hard-hitting tracks as festival season draws near.
Touring artist, ANGELZ, who has played with Tchami and Dr. Fresch, dishes out the first remix with a heavy-hitting bass house track loaded with energy and a driving synth. It’s no wonder this artist has racked over 50,000 followers on Soundcloud, as this artist clearly brings something new to the table in the bass house genre.
Making her breakthrough from Mexico City, Jessica Audiffred curates a bass heavy hybrid. Audiffred makes some serious creative moves here, pitching down the vocals and finding the perfect blend between heavy dubstep growls and energetic trap drums before spinning the second drop into a powerful hardstyle beat.
Up and comer CYRAN delivers a high-energy track with a moombahton beat that will easily become a fan-favorite. The second drop nods to the song’s bass-heavy roots while also maintaining a spacious, pliable rhythm.
AXEN delivers another heavy remix with a rising trap lead that parallels NGHTMRE and Slander. The track is jam-packed with explosive switches between festival trap and house, before the second drop takes a more bass-heavy turn. AXEN has skillfully pulled off an all-inclusive experience in this innovative three minute and thirty second hit.
LATE brings something new to the table with a bouncy hard house remix that is sure to draw attention from around the world. Though it starts off with a four on the floor beat, the fast paced rendition drops into eight bars of festival trap in a daring switch of energy. The second drop then takes a bold risk and follows the genre-bending graces of Kayzo in a stimulating beat that mixes trapstyle, hard house, and drum-step.
Lastly, Dommix does something different from the rest, giving his own future-spin on the bass-heavy track with massive saw waves and a melodic, chill-out vibe. If you like Flume, Wheathin, and San Holo, then Dommix’s remix will feel right at home.
Flux Pavilion and Snails team up for what is quite possibility the heaviest hitting bass release of 2016. The dubstep pioneer and the vomit-step creator must have spent months (or a few amphetamine-laced nights) in an underground lab to concoct this sonic tonic. There’s definite aspects of 2011 Flux Pavilion on “Cannonball” but guttural drops clearly come from the mind of Snails. There’s no subtlty here, just visceral grinding synths and ribcage rattling bass lines that reverberate with sickening glee. Another impressive mayhem inducing output from two of bass musics best, this track stays true to its name and “hits like a cannonball.”