This one’s about skilled sampling and a driving bass and drum line. You won’t be able to sit still during those four minutes of track, guaranteed.
Piotr Krompiewski aka Kromproom teamed up with Eliška Krompiewska aka MC Else quite a long time ago, back in 2008, to form the group known as EKS-port. The music of those two sometimes remind me of those electro groups back in the eighties, Front 242, to name one of the biggest ones.
Within the track “Start – Stop System” they used a minimalistic synth and bass line and a couple of vocal chops sung by MC Else. Plus a catchy beat which in my opinion is the very foundation of the track. The drive of this beat is insane and mixed well along the synth and bass tracks. The added monotone vocal samples are sounding quite hypnotizing and are a great addition to the track architecture. The whole electronic idea of the track was converted very intelligent into a mixture of technical elements, be it sort of a mechanical sounds and percussion or metallical textured synth lines. Although the bass line at the beginning sounds very analogue and non-technical, it blends into the “machinery of sounds” very quickly to support the mechanical concept of the song.
I highly recommend this track. Taken from the album “7788 km/h”, the track isn’t the only one of his kind produced by the electro duo, strolling through their internet resources I found that they have quite a showcase of songs that are capable of keeping you interested for a long time. EKS-port also founded their own label, “Kromproom Records”, to ensure that their music will be heard out there, which was the next logical step – because of the golden rule: if you want something to be done right, you gotta do it yourself.
Imagine the time the club starts to get hot…there are plenty of boys and girls in, and the crew is getting ready to make you dance throughout the night. The DJ adds a lot of fog, lights…and a dance track like the newest one from Maxi.M. There you go, the recipe for a guaranteed grooving dancefloor.
Maxi Masotano aka Maxi.M is practically at home at the clubs for the last 20+ years. Starting as a DJ, he played a lot of clubs over the past years, and a short time ago he entered the world of producing.
The actual track “B-Boy” uses a almost …lubricating 🙂 bass to make the structure of the sound really smooth. After a short intro (about the time the DJ needs to adjust the track into a set, I imagine that you can hear the DJ past of the artist because of the well structured segments of the song) you are into the main song with a mixture of a steady bass line and drum/percussion setting, spiced with vocal chops and synth strings here and there. The song’s a bit monotonous, but that’s exactly what’s needed to get people dancing in clubs, if you ask me. The intelligent mixture of the elements (I especially totally dig the vocal chops with several effects and filters added to them) really does the trick of getting you in constant movement while listening. “B-Boy” would be perfect to remix as well.
Maxi.M created not only dance/EDM tracks so far, he also did solid work within the dubstep genre worth checking out. Clicking through his portfolio on soundcloud, I also noticed he did a blend with dubstep and chiptune called “Melostep” which is really worth checking out as well if you’re into one of those categories mentioned. With these tracks, I’m excited to hear what Maxi.M will come up next. He’s one to keep an eye (or better yet: an ear 😉 ) on!
Sometimes it’s not about dancing. Sometimes it’s about listening what’s happening, trying to integrate as the track evolves.
Tim Maillot aka Serris has set up a new electro track which kind of “abducts” you into a scenery with lots of room and space. He works with minimalistic elements and vocal samples that give you the illusion of standing in a cave with someone telling you something important. (Yeah, you know me…I like music to paint pictures in my mind. 😉 )
All what’s happening in the track evolves around a steady massive yet basic beat. This allows the listener to concentrate on what happens next BESIDES the beat. But don’t get me wrong, the beat itself isn’t boring or anything, but it doesn’t take away too much attention from the rest of the layered tracks. Since “Korvau” is not mainstream dance material but ambient electro, you can expect the unexpected with the changes happening throughout the song. My favourite part is the last third of the track where Serris let the distortion effects loose on the synth line. That requires sort of the guts to do so. Hard to describe, you should listen for yourself, you’ll know what I mean.
You will probably disagree on this one with me, but I like “Korvau” a lot. Just because it’s unusual, and the artist doesn’t hesitate to use all of his arsenal to surprise you as a listener. Being a producer, you have got the ability to try something different, and you also have to be that “brave” to expose that to the audience. Serris brings that to the table, and therefore he’s my pick of the day.
Sometimes I need simply more space. Being able to just block all out, leaning back and enjoying something else than regular life for a brief moment. Today, Mizuchi was able to let me escape into space for a few minutes.
Listenting to the track he describes as being “Chill Space”, at first it sounded like a regular track to me. There’s a bit of a soundscape going on, mixed with several synth lines. What caught my attention was the time the drum set in and the synthlines were getting sharper… what started dreamy began to transform into something more. Blended with a soft percussion set, the room that track build in my head suddenly got bigger and bigger. With the usage of sonar-like sounds, it feels like taking a trip deep-sea (or space, for that matter…but I haven’t been to space. YET. 🙂 ) Great usage of the several synth and soundscape tracks without using them layered “too thick” together creates a track you should definetly give a listen to. Also, the final mix of the track is very good. After trying several headphones and speakers (because I know a think or two about mixing and mastering), I got no complaints whatsoever about the mix. Although I’m wondering why the track was cut off at the end, but maybe it’s part of a remix set or something.
In my opinion Benoit Aley Martin aka Mizuchi managed to use the synths in this track exactly how they were usually created to work. Wherever an arpeggiated repeating line is needed, he did that on the spot. You’re in for a solid chillout/electronic track here which I’m highly recommending whenever you need to have that additional space for a couple of minutes.
Not too long ago I was doing a competition half marathon. When preparing for the start – warm-up, waiting for the thing to finally take place, building up momentum… I wish I had this track on my iPod with me.
You won’t get the ordinary dance tune this time. Sure, he also did these kinds of trancy tracks like “evolution”, but mostly you can rather expect the unexpected from Stephan Mueller aka dawnmusicberlin. As for the actual track “alpha”, he mixed together layers of synth with percussion, stirring it up with a minimalistic beat, and one-shot effects. What really made me recommend this track though was the constant tension of the track. Due to the several rises, hits and sound effects (which could be less dramatic at some times – they really “slap you in the face” sometimes so to speak – but that’s just my opinion. Plus, it’s maybe exactly what the artist intended.) the track keeps its pace, it feels like your pulse is rising while listening to it. That’s why I noted the runner preparation at the beginning, this track sort of triggers my brain to prepare for… I don’t know, something bigger yet to come. Also, it sounds like grand stage movie score sometimes.
Checking out some of his other work, I realized that dawn ain’t your everyday radio artist. It’s hard to tell where the musician ends and the artist begins with his work. In my opinion you got to have a mixture of both aspects in your songs, and he managed to do so. Listen for yourself, you won’t regret it!