A new year, a new decade, and a new five-track Nitti Gritti EP? What a time to be alive, indeed. After teasing fans for a few months with early releases of Shaquille O’Neal, Ookay, and Funtcase features, Nitti’s full What A Time To Be Alive EP has finally been arrived, adding a solo-produced title track and Yako collaboration “Shenzhen.” Spoiler alert: all five tracks are some serious bass music shakers.
From house music to future bass to dubstep, with a Latin Grammy nod to boot, Nitti Gritti is carving out a name for himself as one of the most genre diverse electronic producers of the day. What A Time To Be Alive highlights Nitti Gritti’s affinity for bass music, while showcasing his impressive and variant command of styles. The EP’s Shaquille O’Neal collaboration “Takin’ Over” is a heavy moshpit-inducing dubstep piece while the Yako collaboration, “Shenzhen” lends itself to two unique trap-influenced breaks with a deeper, growling sound design. For all fans of bass music, this EP is a must-listen.
2019 has been a year full of highlights for multi-genre producer Nitti Gritti. From winning a Latin Grammy award to collaborating with Shaquille O’Neal, from taking over China on Space Yacht‘s Asia debut tour and going viral on Tiktok, Nitti Gritti’s career has seen nothing but exponential growth, and he couldn’t be more deserving. As 2020 quickly approaches, Nitti Gritti has left fans a final parting gift of the decade in the form of bass-heavy Funtcase collaboration, “To Death.”
Circus Records mainstay and DPMO imprint boss Funtcase is a bass music legend. His production expertise and affinity for hard-hitting sounds meshes flawlessly with Nitti Gritti in “To Death.” Featuring bright and concise stabs intertwined with a low and rowdy bass, one can only imagine the damage caused by the inevitably accompanying moshpits. Fans of bass music: take advantage of one of your final fixes of the decade.
This Friday, Nitti Gritti and Funtcase released their new collaboration single, “To Death.” The two music producers have decided to leave the 2019 year on a good note by releasing this new impressive single. Nitti Gritti is known to diversify his sound, ranging from dubstep, house, trap, and much more. Funtcase, on the other hand,
Music producer, Nitti Gritti, has released his new track “Loko,” which features popular dance music artist, Ookay. This collaboration has been repeatedly played during his performance sets and there is a definite reason for that. The new single features an incredible bassline along with various subtle dubstep and trap elements. If you are looking to
On the release end of Higher Ground, Diplo has been an elusive force. In the time that’s followed his first release on his imprint, Diplo has deferred the spotlight to tastemakers such as Walker & Royce and Born Dirty. Yet, with the flicker of a shadow, a silhouette, Diplo steps back into it, fully illuminated as he bestows a sultry house heater upon his listeners. Welcome back; we’re listening.
Christened “On My Mind,” the track commands a sonic sex appeal that not-so-subtly beckons dancers to inch just the slightest bit closer on the crowded floor, under the reflecting silver of a disco ball. From the allure of its looping vocal hook, which samples 702’s Missy Elliot-assisted “Steelo,” to the refined climaxes of its chords and slicing break downs, “On My Mind” won’t soon be off streamers’.
The torrid thrill that is “On My Mind” is not unheard material for those who’ve followed Diplo’s evolving sound over the past year as it’s dipped progressively deeper into underground territory. In Diplo’s live sets, the single has been an omnipresent staple, spiking temperatures across national and international stages alike. Diplo’s second Higher Ground outing is made in tandem with SIDEPIECE, the two-piece outfit of Party Favor and Nitti Gritti.
Ever since Excision brought out “the biggest DJ in the world” as a Lost Lands special guest in 2018, Shaquille O’Neal (DJ Diesel) has taken the bass music scene by storm, hosting his own events and performing at massive festivals across the world. Now, Shaq is leaping into original production, teaming up with recent Latin Grammy Award-winning producer, Nitti Gritti.
Shaq has been teasing this elusive ID at festival performances for months now, leaving fans anxiously awaiting its release. With its arrival, it’s evident the winnings were worth the wait. “Takin’ Over” opens with a series of ominous growls topped with aggressive shouts from Shaq himself, preparing the listener for the bass destruction to come. The drop hits hard and fast, and showcases the leaves-nothing-to-be-desired production style embodied by Nitti Gritti. The combination of the track itself and the reputation of the names attached to it is certainty enough that the offering will be a fixture in the bass dominion for months to come. Catch Nitti Gritti on his upcoming Asian tour dates with Space Yacht, including stops in Taipei and Shanghai.
Diplo and Nitti Gritti have jointly brought home a Latin Grammy Award for their collaboration, “200 MPH.” Produced alongside Bad Bunny, the slow-burning number surfaced on the Puerto Rican vocalist’s album, X 100PRE, released in 2018. The LP was the victor of the “Best Urban Album” category. Bad Bunny notably performed with fellow Grammy Award winners Ricky Martin and Residente at the 20th annual Latin ceremony.
The shared triumph was particularly satiating for Nitti Gritti, who previously tweeted that he was “coming for Producer of the Year, Best Remix, Best Dance Song, Record of the Year, Album of the Year, and Song of the Year.” “I’m coming for it all,” the “I Got It” hit maker added.
The red-hot moombahton beats that spanned the first arm of Dillon Francis’ Magic Is Real Pt. 1 have not yet cooled, and already, Francis is back with another piping production. The full-length follow up to the first installment bears the same name, but more importantly, evinces the same sonic heat as its vivacious predecessor.
Magic Is Real merges a select number of firecrackers from the past mixtape, “GO OFF (Nuthin’ 2 It),” “Bawdy,” and “Still Not Butter,” with new material, such as the Nitti Gritti-assisted “Salsabahton (Shake That Booty),” which is just as spicy in its electronic makeup as its title anticipates. The Vera Hotsauce feature, “Barely Breathing” constitutes another previously unreleased record to make the cut.
From start to finish, Magic Is Real is seasoned with the Latin flair that has long added flavor to Francis’ music. Stabbing synths and blaring, reverberating bass jointly add an additional kick to Magic Is Real. The collection possesses an explosive character comparable to TNT, as Francis once again goes off in his own idiosyncratic pomp and circumstance.