The fusion of gaming and electronic music is not a new topic, but the two industries are seemingly melding in new ways every other week. Electronic music labels have released labels specific for gamers, and others have provided streamers with free music to pair with content as long as the audio is cited. What we have not seen much of yet is a gamer creating their own album, and few people have the following and connections to make a project like that actually materialize. Tyler Blevins, ex-Halo pro-turned-streamer named Ninja, is one of the few who does.
Ninja will be releasing an album in partnership with Astralwerks, aptly titled Ninjawerks featuring tracks from acclaimed electronic music artists, who will be soundtracking Ninja’s gaming world. The streamer spoke about the new partnership, saying,
“I’m stoked about this project, first because I truly love the music, but also because I think this is another big step towards bridging the gap between music, artists, and gamers. Our worlds keep getting more and more connected, and this feels like the next step. Hopefully this can become the soundtrack to gaming. It’s also amazing to partner with Astralwerks and Capitol Music Group, because they bring so much credibility to the album. I mean. Come on. Get your ears ready.”
We have seen ESL partner with Universal Music, and Monstercat partner with Rocket League, but the idea of an individual gaming influencer coming out with their own album is new ground. Given Ninja’s documented friendship with EDM superstar Marshmello, the forthcoming Ninjawerks will likely feature his helmeted producer pal. Ninja’s partnership with Astralwerks, puts him in the company of the likes of Illenium, Jonas Blue, and Alison Wonderland in addition to pre-existing ranks with artists like Axwell Λ Ingrosso.
A single key to the meteoric rise of Marshmello, 2016’s “Alone” continues to make its impact known well into 2018. The upbeat number just garnered its one billionth view on YouTube — producing a comical sense of titular irony, since Marshmello is certainly not “Alone” in the context of the “one billion views club” or in terms of fan counts. The song’s achievement of the landmark one billionth view positions Marshmello among the likes of PSY, who garnered one billion views for “Gangnam Style,” Wiz Khalifa and Charlie Puth, who achieved the same feat via “See You Again,” and Luis Fonsi & Daddy Yankee, with their collaborative Spanish sizzler, “Despacito.” “Alone” notably went platinum upon its release on Monstercat, marking a milestone for both Marshmello and the label, as “Alone” signified Monstercat’s inaugural platinum record.
Marshmello’s newfound admission to the illustrious one billion views gang follows his recent victory at the 2018 American Music Awards, where Marshmello took home the award for “Favorite Electronic Dance Music Artist.” Marshmello went head to head with formidable fellow nominees, Zedd and The Chainsmokers.
Known for their intense drops and bass dubstep fusions, Australian duo Slumberjack have diverted directions with newest collaboration, titled “Daggers.” The track is not at a loss for intensity, thanks to a commanding electronic framework, but the vocals are the focal point of the track. Rising Australian talent Machine Age linked up with the duo for the release.
The single is from Slumberjack’s forthcoming SARAWAK EP, which will be released via Monstercat. One half of the duo wrote on Twitter how surreal this release and the upcoming EP is for them. “I used to listen to Monstercat releases with awe when I was just starting out – I entered their remix competitions and looked up to their artists so much. I never imagined I’d be releasing an EP with them one day.”
“Daggers” is the first single from the album, and it’s certainly giving fans a lot to look forward to for the releases yet to come.
Classically trained musician-turned-electronic-artist, Noisestorm has released his newest track “Breakout” featuring omnipresent electronic dub/hip-hop faction, Foreign Beggars. The release is out now on the esteemed, Canadian Monstercat. Growing up in Dublin, Ireland, Noisestorm was trained in classical piano and flute, which ended up being a blessing in disguise as it served as a catalyst for his love of production. Those skills have since launched him into dance music notoriety–his productions speaking for themselves with their crossover hip hop/electronic appeal.
Noisestorm owes much of his success to Monstercat itself, which provided him with a permanent platform since answering an email from the label in 2011. “Breakout” juxtaposes the Beggars intense rapping with high-pitched synths and steep drops. The track is not for the faint of heart, and is best featured during a set when the artist is looking to wrangle a crowd that’s hungry for raw intensity.
Crankdat returns to Monstercat with his newest release “Wobble,” this time teaming up with UK bass producer Tisoki for the track. His last release on the label featured heavy metal band Asking Alexandria, and following this with bass track “Wobble” shows just how diverse his productions can be.
“Wobble” blends commanding bass drops with monstrous synths that could find the perfect home in the peak of a club set. Stylistically, the track could be mistaken for a Jack Ü release with its live performance-ready sound and blend of hip-hop elements. Crankdat has been teasing on his social media channels that his next release would be “hard,” and the song certainly lives up to this promise.
“It was great working on this record with Crankdat,” Tisoki said of the release. “The collaborative process was super precise and I feel it was an awesome learning curve for both of us. I’m super happy how the track came out and it is one of the few that gets such a great crowd reaction every time I play it live.”
Trivecta returns to Monstercat with an emotional, hard-hitting new single “Axis.” Combining elements of future bass and dubstep, the track enters in a vail of mist and mystery. Dissident, retro synths cover the landscape amid brooding white noise and captivating heartstrings. A subtle build raises awareness before the listener falls into emotive synth and kick combinations, with another buildup eclipsing the eardrums soon after. This final one spills into gut wrenching, metal crunching dubstep paired with bright synth rolls.
Sam Dobkin (aka Trivecta) is a producer and songwriter from Tampa, Florida. He resides stylistically in the melodic trance, dubstep, bass, and drumstep realm. In 2017, he toured with a sundry of adept, like-minded counterparts, including Illenium, Seven Lions, Tritonal, and Kill The Noise.
In terms what lies ahead for the longtime Monstercat contributor, Trivecta says listeners will soon see “more live shows, much more material than last year, more visuals, an EP, and some more special things that will ultimately make this all into a much bigger experience than ever before.”
SLANDER cannot be stopped. The duo comprising of Derek Andersen and Scott Land have been coming out releases more or less on a bi-weekly basis, with their newest being “You Don’t Even Know Me” alongside RIOT. This follows their collaboration with Crankdat, another another high-profile pairing to add to their ever-growing list. The first three minutes of the track are a smooth melodic tune with enthralling vocals and a flowing backdrop that evokes a sense of calm. As it hits its third minute, however, a powerful drop comes out of seemingly nowhere, slapping listeners with a hard-hitting array of synths and low-end.
“You Don’t Even Know Me” comes fresh off news that Anderson and Land will be teaming up with producer NGHTMRE to launch their very own record label, which they’ve unsurprisingly dubbed Gud Vibrations. “You Don’t Even Know Me” is out now via Monstercat.
The St. Louis artist opens his latest venture with an air of mystery, building anticipation with formidable, distant drums and a haunting synth melody. A brief crescendo leads to another type of build, this time layered with additional mystical elements, before launching the listener deep into the heart of “The Storm.”
As seems to be his specialty, Notaker has built another transcendental, visionary experience in “The Storm.” The world he’s built within the song’s five-minute length serves as both the calm before the storm and the storm itself. He doesn’t shy away from heavy doses of bass, but allows his ethereal synth melodies to take center stage and mold this otherworldly experience.
“The Storm” seems to serve as a darker counterpart to his February 2017 Monstercat release, “Shimmer.” Both tracks are compelling sonic journeys, each carefully crafted to transport their listeners to a world undiscovered.
To celebrate the package’s return from space, the pair have released a music video for the EP’s second track, “Do You.” The music video was created from the 360° footage of the package’s flight, showing the EP as it leaves the ground and sails for the heavens. As it ascends, viewers can observe the temperature, atmospheric pressure and altitude it travels. At the height of the song, the balloon camera offers stunning footage of the Earth from miles above its surface, showing breathtaking views from above the clouds. As the song draws to a close, the package descends back to Earth, where it lands in a field just as the Katie Boyle’s vocals drift off.
Reality Reach isn’t the only body of music that’s been sent into space. Over the years, Sent Into Space has worked with Metallica, Kelvin Jones, and Mystery Jets to present their music to fans in a unique way.
It’s September, and Canadian producer Conro is here to remind fans why the end of summer isn’t that miserable with a rework of Earth, Wind & Fire’s 1978 hit, “September.” For decades, the iconic song has given the world a reason to get dancing in the fall season, and the multi-talented artist has brought it back with a contemporary rendition.
The Monstercat release holds true to the original, ensuring those energy-fueled trumpet scales and melodies aren’t lost, while adding an upbeat, electronic bassline comprised of joyful lead-synths.
Conro’s released a steady stream of singles over the past year, and with a home at Monstercat since early 2016, he’s shaping up to be a huge breakout producer as we approach 2019. His recent works also include August’s mellow “Trippin” and June’s future bass-fueled “Fired Up.”