Hannah Georgas “Enemies (2020k Remix)”
Part of getting the extreme creative juices flowing for me is interpreting someone else’s work through manipulation of their original intention. Just as I was about to cancel my Indaba account, I received a tweet from Amber over at OTMBlog who nudged me to put together a remix for “Enemies” by Hannah Georgas. The very first lines instantly grasped me and and I decided to extend my stay at the competitive website so I could, at the very least, reconstruct an admirable song. We’re in a sea full of sharks just swimming around and around..if we get caught, they’re gonna taste our blood.
Since I greatly enjoyed the vocal content and delivery, I decided that it’d be great to create metaphoric waves of vocals. After a few hours of sifting through the background vocals stem, I found a section of harmonies that could be pitch shifted, time stretched, and used to satisfaction in creating this underlying vocal wave, which doubles as a pad, and is used through the entirety of the 2020k Remix.
Beyond the vocals and chorus guitar lines, all other compositional structures were dreamt up and thrown into the mix myself through Logic Pro and mixed down in Pro Tools. My personal favorite part of mixing comes in the first verse, wherein a gunshot sample from my sample library was incorporated into the song for dramatic effect, and rhythmic surprise. Playing around with the static reverb plugins Pro Tools had to offer was actually really fun for this particular channel in the track. Some waves and AIR effects are used in the song as well.
All in all, my only hope is that you enjoy the song and it resonates with you the way it impacted me during it’s creation. Right now, you can stream it over at Indaba. If you feel so compelled, you can cast a vote using your Facebook profile as well.
UPDATE: Contest ended. No cigar, but some nice words from everyone who has listened! The 2020k Remix is now available for free download at Soundcloud. Click here for it!
2020k “Contagion EP”
The photo in this article was taken in a cemetery with my brother, Jake, who was kind enough to assist me on a photoshoot for the cover of the Contagion EP, which will be released under the Wet Eyes Productions stamp on Bandcamp and features remixes by Wet Eyes, Kamas, and Kinesthetiac. There’s also a new track and mix of the song done by myself that will be included.
Right now, the project is currently being mastered. Updates and further information on the release of this EP will be announced through Twenty20k.com, the Bandcamp, and elsewhere.
Brillobox is a quaint bar on Pittsburgh, Pennsylvania’s Penn Avenue that caters toward underground art and the independent music scene. Upon first glance, it’s lower level contains charismatic employees and patrons alike. The setting is a small decor of mixed art, moody, dim lighting, and like most public areas in the Pittsburgh area, represents its sports team well by playing a re-run of the winning Penguins game against the Flyers on February 19th. While it’s exterior looks quite wide, the inside of the venue seems, at least when packed with people, tiny. Tickets were extremely limited for February 22nd’s event. So limited, that the artist encouraged those coming from out of state to purchase their passes early. Once the artists and staff were ready for the Tobacco of Black Moth Super Rainbow show to begin, the pub’s visitors slowly began moving toward the line up at a narrow staircase.
Once ID was shown, the ticket had been ripped, and hands stamped, enthusiastic fans found themselves in a room not much smaller than the bar they’d been in a few minutes earlier. With the show being sold out, it was a no brainer that this second floor would be packed. The lighting? Even dimmer. The walls? Black. Lights hung above the bar with a decorative anarchy sign above it and the Facebook description of the Tobacco show seemed to be a bit realistic. Join us for an intimate sweaty show, it began. where we test out some satanic new material.
The end of the Facebook event said w/ Ponydiver and upon research, is one local individual with 27 likes on Soundcloud, who produces outstanding chillout and ambient-esque Electronic music. The tracks Pony Diver played during his opening set interpolated greatly into one another and gently warmed up the crowd by playing songs that were in complete contract to the craft Tobacco has build his records upon. They did, however, contain more prominent kick and clap samples than those featured on his Soundcloud, and were played along with other loops that sometimes contained glimmering delay effects and at times sounded like they could be Tycho’s melodic, melancholic cousin. While the set went on for around a half hour, a clear buzzing sound could be heard coming out of the PA system and would click off after a song. Whether this was the result of a bad cable or something’s input/output, it didn’t take away from the immaculate set.
The lights came up, the wait began. The fans started packing in. Trying to find a spot to stand and be able to see all of the happenings for the act was next to impossible. The club style, low ceiling venue allowed for little lift for the stage, if any, and unless in the first front few rows, the full show would seemingly be blocked, no matter where one stood, by a body a bit too tall. But still, fans inched a bit closer, with some even situated almost right up against the speakers. Anticipation grew, all eyes were focused upon a drop down screen with a DVD menu displaying its default screen.
The lights dropped, the visuals powered up, and the hundred people in the room, if that, roared. Tobacco emerged in street clothes and a bandana around the lower portion of his mouth – oozing the signature anonymous presentation Black Moth Super Rainbow has affiliated themselves with (have you bought your mask yet?) and powered through an hour set without stopping. One song would end and a split second later would be layered into the next, almost un-warrenting applause because of it’s DJ-esque appeal, but was still met with loud praise.
The visuals were unsurprisingly crude and creative, mostly stemming from the lo-fi videos that YouTube is flooded with under a quick search of his name or his band’s name. At one point, a Freddy Krueger spoof porn was on the screen, and later, human/alien sexual interaction, along with terrifying monsters, bogus hotlines, and 70’s looking instructional videos were presented. The show was flawless execution – one song after the other bled out of the speakers and into the room without an any trouble. Upon closer look on stage, a laptop was stationed with complicated synthesizers filled with patches, along with some new toys. Demon Queen even came out to play along!
The new pieces of gear seemed to be working wonderfully, though toward the end of the set, right before the last song, an oscillating synthesizer shrieked through the high end drivers of the PA system, and in such a small room, left the sound waves bouncing off surfaces and drilling the listener in the ear drum. Tobacco noticed. “Thanks to everyone who came out last night!” an update states on his official Facebook page. “Sorry if things got raw at points – I was testing out new things I still don’t understand.” Experimentation is known to be a driving force throughout his discography, so the seemingly stripped bits added charming grit.
By the end of the night, Tobacco had delivered an inspiring set and Pony Diver had completely won myself and Kristen (my accomplice for the evening) over. Being a casual fan, the two of us found ourselves in the back few rows, allowing for the hardcore fans a better spot and regardless of our position in the room, we were thoroughly impressed bt the glimpses we’d see and sonics presented. Kristen stated she enjoyed the opener more than the Tobacco show itself and we both agreed that we were going to have nightmares filled with high libido aliens and Creep Show hotlines, but soundtracked to the infectious music Tobacco presented to the small group of admirers who had been lucky enough to attend.
Come back soon. To see the Freddy Krueger visual and some new material in all of its glory, please click here. Anyone who has the setlist or attended this intimate show, feel free to leave a comment.
Photos by Shirtlessfuck on Instagram. If you haven’t checked it out, please take a gander at 2020k’s top songs of 2011. A Black Moth Super Rainbow song made the cut!
First of all, David Fucking Fincher of The SocialNetwork, Se7en, and the American remake of The Girl With The Dragon Tattoo fame directed the comeback video for pop music’s “Suit and Tie” by Justin Timberlake and Jay-Z. The Grammy performance was classy, the lyric video was full of teasing sensuality, and we’re happy to say that hopes for the feature music video have been more than satisfied. Fincher’s cinematography combines live performance, studio sessions, and slight choreography all into the five and a half minute video. It embodies pop music’s visuals at it’s top notch best, and glorifies the sleek 1950’s appeal.
As I’ve mentioned before on this blog, and probably countless times on Twitter, Timberlake is my husband. The 2020 Experience? C’mon, it’s obviously a nod to me. I don’t know who this Jessica Biel character is. I don’t ask. I’m digressing. The opening shirtless massage scene is my favorite part.
On the flip side of the mainstream entertainment spectrum, we have Lana Del Rey’s “Burning Desire,” which ironically is not too much of a flip side at all from “Suit and Tie”. In the same vein of Justin’s stage performance we see Del Rey stray for a more stripped, solo, and dashingly red stage set. While never a big fan of scenic car shots, the nostalgic footage that’s standard for Lana’s videos is present and make this an entertaining video for the current single off Born To Die: The Paradise Edition.
Edit: Forgot about this one, yesterday. Passion Pitpremiered “Carried Away”!
Oh, and there’s the Will.I.Am. featuring Britney Spears, Waka Flocka Flame, Diddy, and Lil’ Wayne “Scream & Shout Remix” video. Diddy can tell a bitch to turn it up, but Spears’ “turn this shit up” is morphed into a stuttered edit. It’s also glittered with annoyingly blatant product placement. Continuing, when you’re in the club..you can’t turn it up. You’re not the DJ. I’m digressing again. Whatever. Click if you must.
Hidden Gems is a a new infrasound series on this blog wherein I present to you my own random musical finds that I will subjectively pack into one combined blog entry. These gem entries are presented in hopes of these songs make their way from my playlist to yours. The majority of these releases are songs that’ve been dug up by surprise, that have taken me whole, and refused to let me go. It’s in promotion of music and the joy it brings.
Any genre, any timeframe, any artist.
All songs on Volume 1 are brought to you by finds on Soundcloud. I encourage you to follow these artists in whichever way you find convenient. I’ve placed their Soundcloud profiles here through embedding the featured song. While you’re at it, follow me through my own profile which is updated fairly recently with new unearthed (and recognized) projects and original material, located here.
01. “Heavy Weather” by Newtimers
Stockholm based Andreas Cavaco & Tim Lundblad make mature, Electronic soul on this cut from their January 2013 release Ego EP. “Heavy Weather” demonstrates Newtimers effective sense of great structural build ups and lyrical relation toward relationship tribulations. It’s very 80’s sounding, and bounces from barebones electro verses to full-out anthem sounding choruses that pulse and strongly motivate the listener to move through it’s metaphoric sonic spectrum. “Held my breath and clothes my eyes, held my breath but now we’re sinking down to heaven. Now she’s gone and so am I. No I’m sorry’s, no goodbye’s, Return To Sender.” Hope you have a sturdy boat because the entire five track release is stuffed full of these rough waved R&B goodies that cross the line between Naked Music recordings, George Michael, and Michael Jackson.
02. “Born To Die (Monsieur Adi Remix)” by Lana Del Rey
According to the official website, Monsieur Adi hit one million listens on his respective Soundcloud profile and it’s a no-brainer in regards to why this happened: the Paris based, Technofavrik affiliated artist’s productions are exquisite. Monsieur presents a warmth on the majority of the released unofficial remixes and original tracks that enraptures the ears and compliments the vocals of which the beats flow below. This is most relevant on his mix of Lana Del Rey’s “Born To Die”. A low bass rides through the entirety of the song, while sly production techniques occasionally pitch down the main vocal line as a means to not lift the composition from it’s hypnotic, after-hours groove. His remix of “End of Time” by Beyonce is also highly recommended.
03. “This Is Love” by Tara Busch
We like Tara Busch (pictured above). She’s been brought on board to remix the likes of Iamamiwhoami, Bat For Lashes, Tori Amos and more, runs the gorgeous Analog Suicide blog alongside her husband Maf Lewis, and is one hell of an experimental musician/synth lover . Though released on her studio album Pilfershire Lane [Amazon] in 2009, “This Is Love” was unearthed to Busch’s Soundcloud profile for admirers of the original release and new followers to enjoy. It’s a progressive piece, complete with stunning vocal layers by Tara herself. The song comes packed with live drum instrumentation that ironically recalls the 1970’s psychedelic influence, especially at it’s climatic ending. Get it out…
04. “He Wanted to Read the Mind of God” by Vektroid
It’s glitchy. It’s ambient. It’s wonderful. Vektroid pulls one of his finest out on “He Wanted to Read the Mind of God” by combining various elements of the IDM world and making them into an accessible, layered instrumental journey. Sure, the headroom is lacking in the mix, but it’s dense, layered spectrum demonstrates lovely potential and talent, especially when you hear all of those lush melodies that are itching to be heard two times, maybe three, even twenty or for eternity on repeat. Very Warp sounding and we’re not complaining.
05. “Sorry” by Leila
“My thoughts invaded by the memories we’ve had together. I know I really miss you..” Leila is filled with sorrow on this pop-perfect tinged track. Pitched down vocals, various dance derivatives, and powerfully infectious and in your face mixing techniques cause for “Sorry” to be quite the underground gem! The June produced song will take your heart inside its hand and by the end of the subtly morphing track, you’ll accept her apology and instantly want to replay the lament.
Annual music award shows can truly be hit or miss. Either the nominees are widely speculated upon due to proclaimed rigged popularity contests, or they’re mildly intriguing. This year proves to be more interesting than most years. Why, you ask? Every category is filled to the brim with artists that hands down deserve the title and nomination in their respective categories.
Noteworthy performers include, The Black Keys, Fun., The Lumineers, Maroon 5 & Alicia Keys, Frank Ocean, Taylor Swift, Justin Timberlake and Jack White.
The Best Alternative Music Album literally contains 2012’s most immaculate releases. 2020k’s jaw fell to the floor after seeing the nominees for this category. They are all clear winners, deserving a standing ovation for their innovative approaches to their untouchable projects.
The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do by Fiona Apple Biophiliaby Bjork Breaking Mirrors by Gotye Hurry Up, We’re Dreaming. by M83 Bad As Me by Tom Waits
Last year, we saw a surge of Electronic Dance Music acknowledgment, and this year should show no different. Steve Aoki, Deadmau5, The Chemical Brothers, Kaskade, and Skrillex put their latest releases forward as nominees for Best Dance Electronica Album. Skrillex also earns himself a second nod in the Best Dance Recordingfor “Bangarang,” which goes head to head with “Levels” by Avicii, “Let’s Go” by Calvin Harris featuring Ne-Yo, “Don’t You Worry Child” by Swedish House Mafia, and “I Can’t Live Without You” by Al Walser.
We’re confused on the Walser nomination too. Haven’t heard the song yet? Click here if you dare. Just ignore it. Please. Unless it wins, then get your Pitchforks ready because there’s sure to be a storm.
What’s even better is the Best Remixed Recording, Non-Classical nominations:
“In My Mind (Axwell Remix)” by Ivan Gough & Feenixpawl Featuring Georgi Kay “Lie Down In Darkness (Photek Remix)” by Moby
“Midnight City (Eric Prydaz Private Remix)” by M83
“Promises (Skrillex & NeroRemix)” by Nero
“The Veldt (Tommy Trash Remix)” by Deadmau5 Featuring Chris James
Spotlights shine bright for Rupert Parkes, better known under the moniker Photek, as he follows up his 2012 “End Of Line” by Daft Punk Remix nomination with the Moby nod. As you may recall, we covered the entire Destroyed album quite immensely on 2020k, so seeing this prolific artist being nominated for his work on the Destroyed Remixed project brings a smile to our face.
The five minute and thirty second “Lie Down In Darkness” remix samples the original composition greatly, but strays for a more kick, hi-hat, and snare drive. The end result is an emotionally driven downtempo adventure, filled with progressive rhythmic elements and a grand stereo image built out of string stems from the album version.
In October 2012, Photek also released KU:PALM. Although this release is not affiliated with the Grammy Award Ceremony, it is worth a mention, alongside his remix of Lana Del Rey’s “Ride” (Soundcloud) for maintaining the essence of Electronica music and the signature Photek style. In celebration of this Best Remixed Recording nomination, we’re happy to present to you two free downloads from Parkes.
Download “Pyramid” from KU:PALM Download Photek’s Essential Mix From BBC Radio 1 (Aired October 6th, 2013)
We also may or may not be giving away even more goodies from Photek in collaboration with OTMblog.com. Announcement coming soon! Follow the blog on Twitter for more details as they arise.
The 55th Annual Grammy Awards are on NBC this Sunday, February 10th, 2013, 8PM EST. For a complete list of nominees, check out Grammy.com. Purchase “Lie Down In Darkness (Photek Remix)” by Moby over at iTunes
Boston, Massachusetts based Nick Tomassetti is a graduate of the prestegious Berklee College of Music, originally from California, who’s teamed up with the Adrenalin Room record label to release his first progressive trance influenced Dance EP called The Words. This release under the moniker Mrmilkcarton presents three exhilarating tracks that embody the Dance genre of the late 90’s and early 2000’s; an exciting time where the use of melody over a driven beat could captivate the dance floor with its simplicity and pride itself on critical praise as the new genre was morphing its way though underground releases and single remixes.
To start, the mixing on Mrmilkcarton’s The Words EP is exquisite. While heavy hitters and contemporary EDM musicians today strive for a balls-to-the-wall, no headroom, all or nothing amount of aggressive force to their mixes, The Words strives for an open air approach. The percussion section is classic, looking for four to the floor inspiration while immense focus on pumping kick drums, strong snare and hi-hat helpings all equally contribute to the sonic whole.
First up, is “Words,” fading in stereo delayed synth lead sections and a bassline which ultilizes a cutoff that works its way slowly through automation to bring itself toward it’s full frequency range is just the beginnings of the opening tease. Afteward, there’s a slight stutter and shut down, then it’s an all out hopping dance frenzy filled with straightforward fun. Wonderfully reverberated, emotionally driven pads made out of the human voice find their way bouncing in and out of chord changes and are complimented by an unexpected piano that slows the opener down. All this is happening while even more impressive vocal layers, time stretched stacks to be exact, find their way delayed and lamenting. What the manipulated moans and croons are expressing we don’t currently know as there’s no actual vernacular to the tune, but enough compositional movement and abrupt pauses guide the ear through a journey to powerfully demonstrate an accurate portrayal of actions ironically speaking louder and much more proudly than words.
“Lift” keeps in tact the classic vibe of dance music by beginning with lush and full synthesized string arrangements. These strings hold heavy focus on mid-frequencies so that by the time the filtered out kick and snare begin smoothing their way from the depths of the mix, they make a nice fade in toward the forefront with ease. This is Mrmilkcarton’s most noteworthy track of the trio, as most Electronic musicians seem to be straying away from the uplifting string arrangements in turn for more groundbreaking and programmed sounds. “Lift” recalls a much simpler time. With a hint of C-Minor mourning, it’s quite empathetic as well.
The ending song of The Words is proof that Mrmilkcarton is an artist who should strongly be recognized within the independent dance artist world. “Opaque” recalls meaty Junior Jack influences in it’s choice of composition and repetitious melody lines, but is more current and shows cohesion by using the bassline and piano-esque whole notes that . Inspired by an experience with a girl that didn’t accurately express her feelings, “Opaque” rightfully earns its name. It also contains the only lyrics on the entire, Extended Play: “You never made it clear to me.”
The Words EP is not for the lactose intolerant, but it’s clear they’re drinking Mrmilkcarton’s debut just as much as we are. It’s a promising Late 2012/Early 2013 independent release that’s sure to accessibly work the dance floor and leave you surprisingly speechless because of it’s pristine focus and uplifting moods.
Like the stream?The Words EP by Mrmilkcarton rounded out the year by being exclusively at Beatport.com on December 28th, 2012. Snag your copy here and follow the artist on Facebook while you’re at it.
Want more? 2020k will be sure to be reporting more, so be sure to follow the 2020k account on Twitter, but for now head on over to Milky’s Soundcloud for additional tracks.
Tionne “T-Boz” Watkinsis a favorite around 2020k. In fact, all three girls of TLC are. With the close of Watkins’ reality show Totally T-boz (which ironically & hysterically aired on TV channel TLC), a charity single and kickoff to the 20th reunion of TLC/T-boz solo music entitled “Champion” has been released.
Sonically, the song is comprised of nicely balanced, standard percussion samples that have various delay effects incorporated into them. These delays work wonders for the stereo image, as they bounce the sounds from the left and right channels, giving a sense of movement and even more rhythmic structure.
Despite T-boz’ signature funk sounding low and raspy tone being present on the verses of “Champion”, they’re stripped away during the equalization process – leaving the song brighter sounding. At times, because of the focus in high frequencies, “Champion” can get a tiny bit busy in the high-end of the song. Unfortunately, this causes a loss in the potential warmth that Watkin’s first proper solo endeavor could be, but her smooth (and dare we say cool) vocal layers and harmonies embrace the song enough to wrap you up in emotional sincerity and tenderness.
Lyrically, “Champion” strongly keeps on-par with the accessible, triumphant anthems of TLC’s back catalog, specifically recalling Fanmail’s “Unpretty” [Youtube] and 3D’s beautiful deep-cut “Get Away” [Youtube]. Tionne has fought Sickle Cell Anemia her entire life, and even more recently a Brain Tumor, so it makes sense that a matured independence would be felt on the first official release of the legendary singer. “It seems they underestimated you again. Don’t let them think they’ve got the upper hand again. Show ’em what you’re made of. ”
#3 who mixed the same person who mixed Waterfalls Unpretty so um let me drive this car I dont need bk seat drivers lol
Tionne has taken to Twitter to defend the mixing of the track. Sadly, she shouldn’t have to. Somewhere out there, there seems to be some backlash against the methodology behind the mixing of this song, but we’re unsure of where they’re coming from. There’s an interesting dip in sound at the first bridge of the song because of the lack of reverberation tails, but it’s the only subjective creative decision that makes the sonic spectrum unstable. The iTunes download of T-boz’s track sits at an less than alright dynamic range of 5dB, but the appealing structure of levels and balance in sounds more than makes up for this lack.
Structurally, it’s less instrumentally layered than a typical song in TLC’s legacy, but it adds to the independent vibe of the song. As far as “Champion” is concerned, it’s carrying on the torch of TLC’s legacy in a positive way (as opposed to this capitalization) and is a strong dive into January 2013 released music.
With the release of a TLC biopic being thought out and filmed, a tour in the works, and possible new material from the surviving members of this flawless group, we hope to see what else goes on in the world of T-boz, as well as TLC as a whole, in the next coming months and years.
All downloads of “Champion” are dedicated to children with blood diseases such as Sickle Cell Anemia and Leukemia. Download funds will be donated to various charities that support these unfortunate illnesses. (Thank you to Nathan Histed, who also designed the cover of this single, for these details).
Purchase “Champion” by Tionne “T-Boz” Watkins [iTunes]
Andreas Langer continues the notion that Sweden is known for: intoxicatingly dangerous melodies bunched inside infectious musical pieces that thrive through layers of intricacy. Though finding fragments of the 28 year old dance artist’s catalog on the internet is sparse, through a bit of digging you’ll find a 2008 Basshunter Myspace Remix contest, which he won under a slightly different alias and vastly different sonic space. [iTunes]
“There Can Only Be One (Club Mix)” is the latest in productions by Langer that introduces main elements of progressive trance, and an induction of euphoric dissonance caused by reverberated and panned supporting synth lines. All of the bits are professionally introduced into the mix through precise balance and correct form of plugins. Mostly utilizing a Sylenth1 in FL Studio, amongst other instruments and samples, the heart of the musician is clearly shown through the careful craftsmanship that’s put into the careful planning of the track. The build is magical, mid-range four to the floor kick is hypnotic amongst the melodic currents of the Club Mix.
Speaking exclusively to us, Andreas Langer opening discussed his influences for this particular song. Vividly conversing, “I was very inspired by Eric Prydz style.” Continuing, “Pjanoo and his remix of Midnight Express – Those were big influences when I made this track. I also thought a little about 90’s Axel F.”
The accompanying 80’s Highlander-footage and “there can be only one” sample move mountains of nostalgia by flashing backward in time as the updated, technological driven track is spun through a time machine both to the present and the past. While there’s a small guitar line in the midst of the song, it dives into a nod of even more transformation as the slight rock focus throws the accessible song some crossover life.
Andreas Langer, at the end of it all, just tells us to dance. The vocals fade into a hall, the quarter note kick and aiding percussive elements remain, until the last hit begs us for the next track. For now, there is only one, but we’re following Langer on Vimeo and Soundcloud in over-excitement for the next round of fantastic songs.
The emotional electronic pop duo Hurts have been steadily working on a follow up to their impressive debut album Happiness. The 2010 release came coupled with extensive promotional work with headlining festivals, that catapulted Theo Hutchcraft and Adam Anderson from low income mates (Adam openly admits to being homeless before the record, living on Theo’s couch)to sharply dressed, adored musical forces. March 11th, 2013 will bring an anticipated sophomore record entitled Exile and we’re just now getting a taste of two tracks that will be apart of this continuation of the two’s signature melancholic confessions.
Exile is currently demonstrated as a wild departure from the melodramatic productions of Hurts’ freshman release. “The Road” hints at delicacy, but quickly morphs into an industrial warfare at the chorus. Complete with a loud, intentionally distorted vocal line, this December 21st, 2012 promotional track references cold, penetrating metal and being alone in this world. Backed with a live, heavily reverberated drum section, the two bring the compositional obscurity of their “Judas” by Lady Gaga remix (YouTube) to the next level by incorporating destructive sounding synthesizer lines, programmed with vengeance and total rage. [YouTube]
Alongside the first offering off Exile, BBC Radio 1 premiered lead single “Miracle,” but where “The Road” built a brilliant gasp with concentrated anger, Hurts recalls the uptempo brooding that made them, on this follow up. Advancing toward rock influenced ground, the first proper single from Hutchcraft and Anderson throws a curveball that undeniably swings its way into Coldplay’s Mylo Xyloto sonics. However, the track swiftly dips from becoming to close to their musical colleagues thanks to a positive open bridge/chorus, and a wonderful reverberated drum sample that abruptly ends due to being cut up, most likely through the mixing process or a uniquely programmed sample. [YouTube]
Hurts preservers wonderfully in these two samples of what’s to come from Exile. While Theo and Adam seem to have possibly taken a more tortured, treacherous route as a sophomore follow up, so far the appreciable humanistic pop image that made them and handsome, dapper image still illuminates and remains as the foundation upon the pavement of what comes next.
How did we miss this?! While streaming through related songs on Soundcloud.com, Etta Bond and Raf Riley’s “Boring Bitches” began to unexpectedly play from the speakers and a feeling of intense intrigue washed over the rest of the day. Emergency Room is a joint EP from the two that features this song alongside seven more glorious and dirty bangers that intertwine brash R&B, inklings of Dubstep, and heavily pays homage to the Grime genre. All of these genres and more are wrapped up into a twisted download that’s currently available for stream on Spotify and an under $8 download from iTunes.
“Don’t you care who’s watching her? She looks fucking crazy. She should be here sitting down and acting like a lady,” begins Bond amongst schizophrenic vocals being pitched up and down. In a way, though the line is an ironic piss take about the inside of a boring bitch’s head, it embodies the pure spirit of what Emergency Room is. It’s an unforgiving, traumatic blunt force blow to the aggressive hearsay from the dance floor and a brutal look at a wide range of imaginative club kid and active 20-something’s issues.
On “Boring Bitches,” Raf Riley combines a wide stereo image that relies on extreme vocal effects and a screaming synthesizer that rides at the high end frequencies of the mix. The synths and vocals are smartly executed through its composition by taking turns from when they’re presented and taken out through the song. When Bond unforgettably snarls “Everybody point ’em out! ..North, west, east, to the fucking south. Maybe you’ll be dancing now!” there’s minimal percussion at its duration as a means to strongly advise a no bullshit tolerance for a less than total command of what the track is about. To make up for it, a post-chorus breakdown follows through with pure bass & production groove. All in all, these two portions assault the mix while the final phrase of the chorus is playfully looped and tossed around the stereo image. For a track with such grit, it’s very sophisticatedly executed.
“Ask Me To Stay” finds Etta Bond sounding interestingly familiar to how Keri Hilson would phrase and execute her vocals. However, she strays into a lane as dark as something The Weeknd would perform. It’s a song that’s filled with a distorted beginning, 2-step verse melody, and lethargic rhythmic structure – an upper, downer, and a warped view of sorts.
The more progressive song on Emergency Room belongs to “Premeditated Murder” as it always seems to be structurally varying off into different territories and “One Way Train” chugs through a wonderful pad which folds and unfolds to make its way into one of the more straight R&B and highlights of the extended play.
Sometimes in a bit of a monotonous cocky tone, Etta Bond recalls a small touch of Lily Allen as well. But if it’s one thing she’s got for sure, it’s the incredible production techniques that Raf has supplied. They’re serious, they’re out for blood, and make for an incredible team on Emergency Room. Had we would have known this was such a great summer release, it would have found its way onto this blog much sooner.
If you’re not a boring bitch, you’ll download this record or give it a spin. Though it’s quite a loud record, with the iTunes download maintaining a 5dB average space of dynamic range, it’s a great record that shows how storytelling vocally can mix with the sonics of a record. It also has an impressive stereo image that could, quite possibly, send you straight to the emergency room.
2020k 