When I first heard the this song on Unleashed 034 and heard the chorus, I instantly thought of ‘Carol of the Bells‘ and wondered whether Hard Attakk got their inspiration from that piece. After all, even Zatox turned to classical music for ideas and Da Tweekaz certainly didn’t mind snatching a cradle melody. It’s always great when you can find links between different genres. Of course, what’s even more satisfying is knowing that it can be turned into utterly devastating monstrosity.
The kicks for this piece are quite abrupt and the tempo is just a little bit faster than the usual Hardstyle tempo, which is cool for those who have an appetite for fast impact. On top of that, the radio edit wastes no time with bringing its listeners straight into the crux. You can sense the impending evil even when the chorus melody is in its phase of decompression.
What I also love about this track is the way Hard Attakk brings in about three or four different kick variations, featured in brief intervals right before the next breakdown. Each of these are special in their own way, but the track would have been quite messy if the intervals were longer than what they were in the radio edit. In addition, the original kick that was used for this track is charming enough to leave me entranced. This led me to wonder whether the little segments of these kicks were a way of displaying the kick development process: How it evolved into its final, chosen form.
Get dirty, get gritty and get your gabber gear ready. Kick up some dust with this nasty bass and don’t miss out on the fun!
PS – I may be a bit late to the party, but as I always say, better late than never!
The original mix. The amazing track that formed the solid foundation; the one that started it all. There are so many beautiful aspects about this track and yet, its simplicity allows me to summarise its greatness in one word: Balance. I love the way this track was mastered.
When you first listen to how Deorro builds up the wobbling sounds, you can hear how it could have gone wrong but didn’t. He could have gone louder and deafened us all, he could have just made that the recurring element of the entire track, but no. Deorro morphs it into something light and bouncy, smoothly, as though it were simply a matter of turning a single knob. It’s not too sharp, not too high-pitched, not too ear-piercing, just right.
Once the track goes the usual House tempo, Deorro maintains the steadiness of the melody, keeps the pitch just right, and places a layer of vocal snippets on top of the smooth tune. Unlike certain producers who run out of their creativity juices and end up having the same elements repeated excessively, Deorro knows when to put a pause. A smooth instrumental bassline gets introduced, reminiscent of styles in a Daft Punk era. Although it is occasionally modified to create some sort of dribbly bass effect, it remains at the bottom of the layers of sound; the player in the background; the base. There’s no need for it to overtake any element for listeners to appreciate it. In fact, it fits in so nicely with everything else that without it, the track would lose its grooviness.
The original mix of ‘Five Hours’ is ideal for those who want something they can tap to, nod to, or move their shoulders to. A clear glass of sparkling water amongst muddy pools. Chillax and enjoy the ride.
PS – Here’s why I dislike the Chris Brown version: I find it difficult to imagine one element of this song without the other, which is why I think everything else that gets added to it should achieve the same effect. Otherwise, it just wrecks the preestablished consistency and becomes a distraction. I don’t think Chris Brown’s rap doesn’t blend in well, which is why I hardly consider it as an enhancement or necessity to Deorro’s original composition.
It sounds so natural, it scares me, but delights me at the same time. Innovative technology has advanced rapidly enough for new Vocaloids, which are basically electronically generated vocals, to keep appearing in Japan’s E/DM scene. As they keep topping Oricon charts, they have attracted a multitude of talented producers. I thought they would be a passing fad, but when I finally heard an Electro Trance Vocaloid track that doesn’t sound robotic, I was blown away.
In the past, I’ve always thought that the main weakness of Vocaloid is that they sound horribly unnatural. However, I just had to include ‘Shooting Star’ in this blog because, unlike many others, producer TeddyLoid actually bothered to make the Vocaloid sound more natural. I no longer had to force myself to accept the artificiality for the sake of acknowledging a well-composed melody like many others. Instead, I could just listen to it and appreciate every aspect of it, just as I would appreciate any of my favourite tunes.
TeddyLoid knows exactly what makes E/DM and J-Pop fans tick. With typical elements you’d expect to find in any electro trance track, seamlesss transitions and euphoric melodies, it won’t be hard to lose yourself and dance, unless you’re sick of the mainstream stuff. In fact, I woudn’t be surprised to hear similar elements in tracks from other major E/DM labels or pop labels. However, if you don’t mind having a guilty bite from the poison apple every now and then, IA can be your pink lady.
There are English versions of Vocaloids, but they sound a bit more awkward than their Japanese originals, which is probably why they aren’t used by Western producers very often yet. Nevertheless, this track does make me think that a music industry filled with artificial singers, singing in a way that people can swallow more comfortably, is not that far away. Who knows? An English or American company is probably developing another brand of vocal generators right now.
Would you ever combine Disco House with Hip Hop and Trap percussions? If your answer is no, this track by Lion Babe will break all those fictional musical barriers and exceed all expectations. Never in my wildest dreams did I ever think this combination would be possible!
Imagine being on a dance floor and hearing the disco elements, reminiscing about those good, old golden times. Then, something about the additional layer of percussion begins creeping in the minds of the unsuspecting dancers…and poof! A brand new creation. The transition between each of these layers, these features of distinctly different genres, is absolutely flawless. In fact, it sounds almost natural, as though they have been mixed together in this pot of rainbow delight for many years.
If you don’t mind having a funky funk every now and then, or if you’re looking for something fresher than the prince, Lion Babe will tell you where to go and you’ll know what to do. Dance, baby, dance!
PS – I really wish this could be one of the tracks that people could dance or sing to for the Aussie Mardi Gras Parade tomorrow!
The Nightfall duo, DJ Jeffrey and producer Sven, were signed to Fusion quite recently. Around the time ‘Distorted Reality’ was released on the 2nd of November 2015, it also managed to gain the support of Digital Punk on Unleashed 032.
Compared to Nightfall’s first EP release with Fusion, ‘Boom Like’ and ‘No Surrender’, ‘Distorted Reality’ is a pretty big improvement. To make a specific example, their first EP placed too much reliance overpowering, high-pitched melodic segments. Fortunately, ‘Distorted Reality’s melody was more twisted and compressed, allowing the powerful kicks to have the attention they deserve. There were even moments where Nightfall isolated elements or turned it down to create suspense, before bringing up the volume to create an impact. This is a rather simple effect to apply, and some may think of it as a cliche. However, I think the dark force contained within the track had such a strong ability to engage its audience, that they could easily let that slide. I know I’d just be super keen to get to the point where everything is at its loudest whenever that happens. Nightfall certainly knows how to keep the party people on a hook!
Side note: I thought I already wrote about this track, but I didn’t! I was so sure that I even did a search on my own blog to make sure. Usually, when I repeat something a lot, I have every intention of writing about it afterwards. I was probably either too busy or just forgot about it. Anyway, I’m glad I remembered!
On a dark laser night, a set was interrupted by a voice emerging from the very decks that they were playing on. The DJs, intimidated by its commands, started spinning at various speeds. Unsatisfied, the voice threatened them, and that seemed to be just the thing they needed to make things right.
No, this is not based on actual events. The aforementioned paragraph just seemed exactly like the story the track could be telling. I thought of beginning this review with very typical remarks, but felt that they won’t do justice to just how amazing the track was.
My amazement doesn’t just stop with the voice clips. The main attraction – the kicks, are absolute showstoppers. The static noise that pulses and fizzes as it diminishes, the deep bass that doesn’t lose its depth and weight no matter how fast Digital Punk and Adaro manipulate the tempo. Of course, the fizzes become less prominent when they are slightly overpowered by the melody in the climax, but think of that as a variation rather then a letdown. After all, the dark bass and harsh punches are to die for.
‘Whiplashed’ was released on Scantraxx Records on the 2nd of December.
I briefly scratched the surface of some of the more recent Hardstyle releases through both my inbox and YouTube today. That allowed me to find two releases I’d like to mention here: One from D-Block and S-te-fan, and the other from Da Tweekaz and Neilio. The reviews of these tracks will be combined into one post for two reasons: One, because both are considered to be melodic tracks; Two, both of them still manage to make decent tracks just by keeping things simple, which is something I think any budding producer should learn how to master.
Let’s begin with D-Block and S-te-fan’s ‘Higher’. Personally, I felt as if the introduction built up to the climax more slowly than the other Hardstyle tracks I’ve heard. However, this also allowed for any variations that followed to stand out. Specifically, when the low-pitched vocals said “let the music take you higher”, snippets of the ‘er’ syllable get repeated, then tuned into notes that form a melody, merging itself into the rest of the composition. This was followed by alternations between chord notes and notes of the main melody. Very blissful indeed. Unfortunately, the biggest weakness of this release is repetitive lyrics. Catchy and addictive, but repetitive. I would have loved to loop this more if there were better lyrics.
The next track by Da Tweekaz and Neilio, titled ‘Freedom’, is an attempt to make something that Hardstyle lovers can dance to gloriously. I used the word “attempt”, because although I did enjoy the melody, I felt as if the words carry a lot of weight. Those lyrics may be more suited to something rougher or tougher, like Ran-D’s Defqon.1 2015 anthem. However, I didn’t find it difficult to let that slide, because if anything, this track can still make people feel something on the dance floor: It’ll make people want to celebrate. The octaves in the kick-chord-kick-chord alternations sounded like a carnival theme. Combined with a twinkling melody and synth twists, you can’t help but imagine colourful lights flying past your eyes.
If you’re a producer looking for some introduction to the very core of what makes Hardstyle work, but don’t want to dive into the depths of ancient history, these new tracks are certainly worth looking into. ‘Higher’ has been released through Scantraxx Records and ‘Freedom’ from the Dirty Workz label.
Sometimes, no matter how cliche a track might be, it can still strike a chord within your soul. Although Atmozfears’ ‘Release’ shares similarities with other melodic Hardstyle tracks that were recently released, I still had an irresistible urge to play this at work, again and again.
I thought about how I only wrote about Atmozfears a few weeks ago about his incredible raw style, only to be struck by another one of his more emotional creations so soon. Despite its downsides, I suppose I can consider it a guilty pleasure to play this on repeat. Without further ado, I shall now write about the most positive aspects of this track. If you would like to read about its weakness, feel free to refer to my previous review of ‘Our Dreams‘ by Bass Modulators, because both ‘Release’ and ‘Our Dreams’ have the same flaw.
The reason why ‘Release’ sounds so uplifting is not just because of its lyrics and soothing vocals, but also the intervals in the melodies and the way it was mastered. The echoing effect seems to spread across a vast space, which really enhances the ethereal feeling produced by the ascending intervals. Instead of an explosion of anger, this track pops a great big balloon that was inflated with joy. Contrary to dark themes, it reminds its listeners of what it feels like to be on the top of the world.
I only need four words to sum it all up: Exhilarating, exciting, energetic, ethereal. Even if I might get tired of it at some point, I’m glad I enjoyed this at some point of my life.
The melodic sounds of Bass Modulators are sensational and at times, hypnotizing. Their most repeated track on my iPod of all time is their ‘Anthem of Summer’. Even in the coldest winter’s nights, the track can instantly make me think of warm rays of sunlight. Today, I noticed that they were responsible for composing this year’s Dream Village 2015 anthem. After listening to a whole lot of monotonous Hardstyle releases, this certainly gave me some much needed relief.
I adore the free, adventurous and positive theme of this song. The wording of the lyrics were well written and chosen. That is, if you exclude the slight disconnection between the lyrical declaration “I will never ever give you up” and “we’re running wild…”. It really suits the vibe of an outdoor festival, where everyone can dance to their hearts’ content in a huge, grassy field. Definitely worthy of being sung by a huge crowd.
Although their ability to compose wonderful melodies and lyrics does not leave room for much doubt, there was a down side to the track: There were re-used high-pitch notes and synthesising techniques between the vocal parts. All you have to do is compare it to the choruses of Atmozfears’ ‘Release‘ (released a few months before ‘Our Dreams’), Adrenalize’s remix of ‘Starlight‘, and Bass Modulators’ very own ‘Oxygen‘. It even reminded me of Code Black’s releases ‘Starting Over‘ and ‘New World‘.
Is this recycling phenomenon good news for all the DJs who want to link tracks in a set? Are the producers just following a formula of success? Is it just a trend that will pass? Or, if it will pass, how much longer do I have to wait for it to evolve? I don’t know. Maybe, remembering too many details of Hardstyle tracks like this makes me an absolute party pooper. After all, ‘Our Dreams’ is not bad to the point where I’d walk away, so I can still convince myself to enjoy it. Not to mention, I’m sure the people who love getting drunk at festivals all the time won’t even notice, right? Maybe some people would hope so.
This title is the best phrase that can be used to describe the feeling I get when I’m in the mood for Hardcore and no other genre satisfies that craving. It instantly drew me in and when I finally found the time to press play, I was in for the ride of my life. It’s as if Mad Dog himself could read my mind.
Although it wouldn’t be surprising for anyone to hear crude lyrics in a Hardcore track, Mad Dog still managed to deliver the shock value. This is because, while some tracks rely on such narratives to make dull melodies sound edgy, Mad Dog’s sounds were just as violent as the sound bites that were used. The track has random yet well-timed tempo changes that can make hearts drop from the fall and make heads explode from the surprises. Also, the parts that were between 180BPM-200BPM just instantly puts a stake through my heart and allows all of my frustrations to evaporate into thin air.
Mad Dog’s release is jam packed with drama and entertaining from start to finish. I would advise anyone who loves Hardcore or Mad Dog’s creations to resist listening to this online and wait until you hear this live from the producer himself, especially if he tours in your area often. If Mad Dog ever played this track exclusively in a performance, I can only imagine how crazy the crowd went and envy them, from this indoor environment I’m currently writing in.
‘Not My Tempo’ has been released on Traxtorm Records.