Showing posts with label edm. Show all posts
Showing posts with label edm. Show all posts


“It’s been a while since I first saw you, something about that kiss...” For those of us who have had tremendous romantic encounters, these words from Chris Knite are a blast down memory lane. “Your pretty smile, girl, I can’t front it; Girl, I reminisce...” By the beam of his star-striking chorus, we are warped into complete recollection of that special someone; and reminded of the very moment each and everyone of us knew we were “Ready For Love”. 

Native and nigh-tropical percussions keep this enamored power at a constant throughout the record. Surely, the beat is flavored by an array of synths, rises, and basslines that assign it Pop perfection; however, these drums are powerful enough by their lonesome to lift your spirit. Lift it high into the atmosphere of this singer’s superb vocals. Through clouds of reverb and autotune, Chris Knite sings with the resplendence of his Sunshine State. As he serenades his unnamed love interest (in a fantastic mixture of English and Spanish), his voice flourishes with a lushness only Jacksonville, Florida could provide; making for an earth-shaking R&B hit. Love is in the air this summer and, thanks to Chris Knite’s latest, it’ll remain that way for the rest of 2019. Singlehandedly, he’ll have us all “Ready For Love”.

“Ready For Love” on Spotify




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Despite Ashton Rich’s recent EP, “Sober Enough”, being one of the most thunderous, modern-trap projects of the season, he makes it explicitly clear from the opus’s opener that he does not condone the new wave. “Pretend”, the track in question, is a flagrant dissection of the trendy, stereotypical personas rappers embody today; matchlessly kicking off six-tracks of identically astounding energy. For, Ashton Rich maintains that audacity throughout the entire fifteen minutes that “Sober Enough” runs. Briskly, it is translated into records such as “Problems”, and the ascending anthem “Lemma Know”, which is already soaring with plays. Merging Hip-Hop and R&B alone may be difficult for some. However, on this EP, Ashton Rich makes it an effortless accomplishment. Like a pendulum, he swings between both genres; and as the momentum builds, so does the strength of his records. In many aspects, that is the perfect simile for Ashton Rich, and “Sober Enough” entirely: a pendulum, whose swung has built up enough momentum to be a wrecking ball; ready to smash right through the rap game.



Paired with a quirky, animated video, Georgia star, Milyssa Rose, drops the eccentric “Dick Pic” single. Undoubtedly, the most abstract piece of art you will hear all week, “Dick Pic” is a radical melting pot of sounds. An EDM melody, crushed by a diabolical 808, creates the backbone for the beat Milyssa Rose dominates. Her delivery is a blend of savagely energetic and soulfully wonderful; with certain bars extending into songful melody. There is likewise a colorful persona Milyssa Rose leaps into when on the mic, using her lyrics to paint a picture, and captivating inflection to pull us in. All in all, the track is a ground-breaking contribution to the Atlanta music scene. As incendiary as the track’s purpose may be, its fun-spirited energy is evidence of a Southern femcee breathing creativity and life back into the art of Hip-Hop.




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The musical range of genre-bending duo, Nilla Spice, certainly shines through on their newest smash, “Power Up”. Consisting of personas Cad Hollyhood and Tru Tyte, the record is inspired by both Hip-Hop and Electronic music. Unquestionably, there is a trap groove in the track; highlighted by its use of rolling hihats, dribbling kicks, and flavorful 808 claps. The Electronic element is derived from the power in their synths, which blossom irrefutably with color. At fifty seconds there is an awesomely synth-tinged breakdown, where the colors of EDM are vibrant. Soon, however, the energetic rapping of Nilla Spice commences, and you are reintroduced to his diverse flow. From rapid-fire spitting, to powerful chants of the hook, Nilla Spice showcases an undeniable talent for rapping. One that, combined with the track’s production, makes for a wide-reaching banger. 



Whatever crowd Nilla Splice preforms their new single, “Hate On”, for is in for an exhilarating night. They will be possessed by the voluminous rapping; and spurred to rage at their hearts’ content. That is a testament to the power that this Tampa Bay record wields; not only through its magnificent, vocal energy, but likewise its brain-throttling instrumental. To say the least, “Hate On” is musically sophisticated. It is an edgy mesh of various genres; all fusing together to create this radical, unchartered sound. The bounce is undeniably Hip-Hop; yet, the mess of synths buzzing in the foreground are distinctively native to electronic music. Around 25 seconds into the record, a funky, analog bassline slips into the mix, and the entire atmosphere is shifted. The duo allows the joint to breathe during this section, yet eventually, he crashes back into the track; as riotous and rebellious as before. Nilla is enveloped by powerful, wailing guitars during the chorus, where he chants melodiously “Hate On”. It is the model climax to the record; and if ever performed for that aforementioned crowd, will send each person into a craze. It is records like these which carve their own space into the realm of Hip-Hop; and solidify the careers of genre-bending artists. Nilla Splice and his recent banger, “Hate On”, are at the forefront of that promise.


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There’s a pure, shining spirituality dwelling within Wisconsin singer/producer, Tanner Mitchell Zingsheim’s, recent cut, “V01D”. Under his alias, Spectrum Bender, the Colgate, devout Christian seeks to seal every last one of us in a vacuum of love; doing so through a marriage of poignant proclamation and prismatic production. The lustrous track kicks off with a buttery chord progression; satisfied solely by a recurring kick-drum, and Bender’s gentle croon. It is incredibly minimal in the totality of its glory, before converging into several evolutions of grandiose, pop production. Once upon the hook, “V01D” accelerates its aforementioned kick drum into a progressive, four-to-the-floor rhythm, backed by glittering, electronic percussions. Eventually, these elements transcend into instrumental interludes, where a trotting kick and 808 snare carry a surge of intricate key and synth breakdowns. Near the end of this productive gorgeousness, we are circled back to Bender’s chorus, where he once again breathes “Into the void we welcome love”. 

Verily, this Midwest talent puts God and Christ first; as there is a holy undertone to this entire creation. His attention, and furthermore, appreciation for detail results in a heavenly, pop opus only the heartless could reject. Even as “V01D” goes quiet, at the end of its two minute and twenty-seven seconds of excellence, that won’t be the end of your engagement with Bender. You’ll be dying to explore the rest of his magical catalogue. 

“V01D”[Download]
Checkout The Spectrum Bender Collection on Soundcloud here: 





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A vast, revolving synth and extremely technological vocoder rise from the unknown, spinning delightfully before giving way to the trot of pulsating drums. Just as a build takes to the groove, and Oakland rapper, Red’s, digital vocals gain some traction, a powerful drop slams through the mix, and we are all formally introduced to the duo of “That’s Wasabi”, and their latest release, “Dangerous Out Here”. 

The surge of a strong, EDM-friendly bassline, and more danceable production, points to it being much of Los Angeles producer, Marko Dragan Zecevic's, creation; however, it is nonetheless nothing without his partner. Red’s raps reach up from the depths of the record in a blend of barks and growls, frothing with supreme character. His words, at points, are incomprehensible; yet, instead of subtracting from the record, the magic of their mixing adds to the overall allure. In just three minutes and forty-one seconds, the West Coast tag-team create a sonic world of their own. It’s vibrant and aggressive; pristine and nebulous; colorful enough in its melodic palette to excite any rave its played for, and yet dark enough in its vocals to suit the night that surrounds. Very much so, “Dangerous Out Here” is a club record, poised to lunge any electronic crowd’s hands into the air, and feet into a jump. It is the quintessential track for your late-summer mix; and anyone looking to spice up their sets with new, enticing EDM gems should keep an eye on “That’s Wasabi” for all future releases. They will not disappoint.


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New-age anthem "H.A.P.P.Y. M.O.N.E.Y" is a dream-like journey through the mind of unique thinker and recording artist, Dave Tendo. The track begins with fun and light harmonies, then transitions into a hard hitting baseline as Dave spits an animated rap. This hustler's anthem is a dope mixture of genres all to the glorification of the almighty dollar. Read more about Dave Tendo's story and enjoy the tunes.




Bio:
He began doing music at the age of 15, discovering many artists that would greatly inspire him from Michael Jackson, George Duke to Kanye West and Kendrick Lamar. He now writes, records and produces his own music in the comfort of his bedroom.



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With each and every passing year, Canada proves itself as a force to be reckoned with. It has birthed some of the most prolific and talented mainstream artists, whose crossover has dominated American airways. Singer/rapper, Grand Fisher, is no exception to this paradigm; and with his debut EP, “Real Friends”, he proves just how poised he is to take every dancefloor on the continent by storm. 

The production on this album is grandiose and electric; surging with techno-like basslines and vibrant, pop synths. Coupled with the groove of their pounding, syncopated percussion, even the slightest shuffle to these beats becomes eerily irresistible. Your hips will get away from you; and if you were not at a rave or nightclub already, this chromatic, EDM instrumentation will make you wish you had been. Instead of upstaging his production with brash, overbearing vocals, Fisher bounces beautifully between the foreground and background of the music. When the Ontario artist sings and harmonizes on tracks such as “Better As Friends”, “Boy Bye” and “Ghosted”, his voice, dripping with autotune, is pushed to the zenith of the mix; where it is most powerful and reviving. When he raps on those same tracks, his voice blends flawlessly into his production, and he himself becomes an extension of the very music he's flowing on. All in all, this project is a creative, club-ready debut; and if artists like Drake. Justin Bieber and The Weekend have opened the door for potential Canadian popstars, Grand Fisher will most certainly be stepping through.



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Its rare that you can pop in a album and just listen to every song these days. Jordan Everist shows flashes of genius with his efforts on his new project "Vacancy". This collection of songs is special in that it keeps you guessing.. Is the creator a singer or is this a beat tape that you are jamming to? 

 Is it soul? Is it electronic? Is it pop? Is it hiphop? The answer is "yup" lol. Every track shows traces of a different music genre that mash well together from song to song peak interest and earbuds. Finally you just give in, let go of interpretation, and surrender to the rich content and supreme dopeness that is 12-tracks of Jordan Everist's "Vacancy". Checkout In The PatCave's in-depth interview with Jordan and follow him below!


Jordan Everist is a young artist from the town of Portland, Oregon. He found his beginnings trying to make hip hop and rap beats when he was in high school. As he progressed, he began to expand his horizons to dubstep/electronica, classical, indie music, and jazz. Besides music, Jordan Everist has been indulging his creativity by writing short stories, songs, and screenplays. Going along with those screenplays is a series of short films he has also directed and acted in. The soundtracks to these films have been compiled by Jordan. Production Credits: Donte Thomas, G6ix, Ares, Ninth Diamond, and many more. He has been known to occasionally produce music through the alias' of: Titus Giovanni(Jazz), Christianson(Indie), and KanoWave(Electronic).