HIDE is the highly anticipated second album fromThe Bloody Beetroots AKA Sir Bob Cornelius Rifo. The Italian producer’s first album Romborama won the crowds over when it released in 2009, and now Sir Bob is back with his own brand of energetic electronic music.
HIDE is quite a lengthy effort, with a total of 15 tracks clocking in at over 60 minutes. There’s a surprising amount of variety and the album is paced well, each track is different than the last and feels refreshing.
Spank (feat. Tai & Bart B More) kicks off the album with a slap in the face. Or more like a big, bassy punch to the face and it’s electro house like most of the tracks on the album. The intro starts with the sound of a ticking clock before progressing into an explosion of heavy basslines and crazy synths. It’s a great track to begin the album with. The extended intro in the second half of the track is particularly awesome, too. Raw (feat. Tommy Lee) is next. It’s a guitar driven track and the riff which begins the track carries throughout the song. It’s a very progressive track and has some nice solo sections and samples which poke fun at the track towards the end. The breakdown at the end is great.
The next two tracks are both collaborations with the talented and soulful vocalist Greta Svabo Bech who you may remember from Gemini’s track ‘Fire Inside’. The two tracks are among the best on the album. The first, Runaway has a repetitive (in a good way) and melodic build up. Then the track goes silent and Greta’s vocal line comes in. “Don’t you wanna runaway?” And then the track suddenly explodes without warning into mayhem. It’s heavy, and probably the craziest tracks on the album. There’s also a very unexpected trap section near the end of the track, because why the hell not? Chronicles of a Fallen Love is the second of the two tracks, which was also one of the singles released from the album last year. It was one of my favourite tracks last year and I still love it now. Greta Svabo Bech’s soulful and emotional vocals give the intro a great atomosphere, and much like Runaway the track transitions onto madness almost without warning. The main sections of the track are heavy and unique, with the great vocal verses sandwiched in between.
The Furious (feat. Penny Rimbaud) is a politically charged track with a string intro and spoken word vocals. The main sections of the track are great and the melody works very well but they just don’t last long enough, and because of this the track fails as a dancefloor track. Also, the punk influenced vocals seem to take over the track too much and don’t really add much.The production is rock solid though. Fortunately Out of Sight (feat. Paul McCartney (yeah I know) & Youth) is a much better collaboration. Paul’s vocals are unique and unlike anything else in the dance music scene at the moment. The main energetic sections are really anthemic and the chanted vocals in the background along with the squeaky guitar riffs really give the track an epic feel. Albion (feat. Junior) is another awesome song and one of the most melodic on the album. The melody carries through the whole track and the drop is energetic and will surely be a crowd pleaser when played live. Reactivated is a similar concept, but it’s a much heavier track than the previous one. It’s grating bassline resembles an electric guitar and the synth work in the middle of the track really holds in together.
From this point the album slows down it’s pace slightly. All The Girls (Around The World) (feat. Theophilus London) is a disco influenced track heavily reminiscent of Daft Punk’s earlier work. It’s a track that really grows on you, and although it’s one of the slowest and most experimental tracks on the LP it’s become one of my favourites. The main hook is extremely catchy, be warned. Please Baby (feat. P. Chugg) is another very funky and slower paced track. It’s probably the weakest track on the album but it’s definitely not filler and it’s a welcome change of pace. Glow in the Dark (feat. Sam Sparro) is next, and it’s the slowest and most mellow track on the album. Sam Sparro’s vocals are great and the bassline is nice and deep which flows throught the whole track. The main chorus is very memorable and this is one track that WILL stick in your head for days.
The final few tracks are mad. The Source begins the final four tracks and it’s three minutes of pure madness and bass. It’s repetitive, generic but it’s certainly crazy and comes at a perfect time in the album. The Beat (feat. Peter Frampton) is in complete contrast with this. It’s another very funky disco influenced track and if that wasn’t enough, it even comes complete with vocoded vocals to give that complete Daft Punk feel. Rocksteady is the penultimate track and it’s been given a makeover for the album. Don’t be expecting the bog standard version of the track from 2011. This new version is much heavier and has much cleaner production. The buildup is relentless and once the track hits the 2 minute mark the bass is let loose and you’re hit in the face with a whirlwind of talking bass samples and growls with a melodic melody on the side. Volevo Un Gatto Nero (You Promised Me) is the final track on the LP, and it’s a collaboration with Gigi Barocco like Rocksteady. The track can only be described as pure madness. A childlike chant begins the track, before transitioning into a furious electric guitar riff and an unexpectedly feast of bass growls and synths. The track finally drops around the two minute mark and it’s simply crazy. It’s the most dubstep influenced track on the album, despite still being electro house. It ends the album with a huge bang and is one of the best tracks on the album.
HIDE proves to be a worthy successor to the 2009 debut. It’s diverse, and extremely well producer. There’s not a bad track on here, and it’s a must listen for fans of energetic dancefloor music. The album does exactly what it sets out to do, and for that HIDE should be praised. It’s one of the best house albums of the year.
Standout Tracks: Runaway, Glow in the Dark, Volevo Un Gatto Nero, Chronicles of a Fallen Love.
It’s almost here. The anticipation for Feed Me’s debut album has been slowly building for over a year and now we have a date, October 14th.
To tide us over before the release of ‘Calamari Tuesday’, Feed Me has released one of the tracks from the album early, and it’s a big one.
Rat Trap has been floating around for over a year since Feed Me’s BBC Radio 1 Essential Mix, and now that the full studio version is out it doesn’t disappoint. As the name tells you, it’s trap. Feed Me’s style works extremely well with the genre and it’s a feast of thumping bass and kicks. Feed Me’s talent for catchy melodies shows in the track too when an infectiously memorable melody comes in around half way through the track. Rat Trap should appeal even to fans that haven’t got into the trap genre yet. It’s one of his strongest productions to date, and there’s no doubt that the full length LP will be a contender for album of the year.
Watch this space for the full album review around October 14th.
Figure is the newest signing to Skrillex’s esteemed OWSLA Label. OWSLA has had a string of great releases as of late and that string isn’t set to end here. Dubstep based producer Figure has enjoyed releases on labels like Never Say Die, Circus and Buygore, and now he’s back with his very own EP ‘Horns of the Apocalypse' to prove himself as one of the best, but does he succeed?
The EP is primarily dubstep based, and these tracks are just plain filthy. Beast Mode combines the aggressive rapped vocals of Del The Funky Homosapien (yeah, what?) with a relentless attack of high pitched bass synths and growls, along with a great intro with trap elements. Super Sonic Brain Waves has an epic intro that uses choir chanting and repeated ‘Super Sonic’ samples. The rest of the track is a feast of growled bass and punchy kicks. It’s probably the weakest track on the EP, but it’s still great. War Call is another track with Del. It’s the craziest track on the EP with a tribal feel, particularly the drop which uses a variety of high pitched synths that sound a little like tribal flutes or trumpets.
Elsewhere on the EP, Eagles (feat. Mr. Lif) has an awesome, space age style intro, and the rest of the track is simply mental. Some of the synths Figure uses really remind me of Kill The Noise, which is definitely not a bad thing. Astro is the final track and it’s a collaboration with fellow OWSLA signee Nick Thayer. It’s a pretty funky electro track, and you can definitely hear the two artist’s styles complimenting each other, with Figure’s high pitched synths and growls and Nick Thayer’s funky, bouncy drums and stuttered vocal samples. If you’re on the NEST, OWSLA’s subscription service you also get a VIP of the track, it’s not hugely different but is slightly more influenced by Figure’s style, while retaining the funky feel of the original.
Horns of the Apocalypse is a great debut for Figure. All 5 tracks do a great job of showcasing his aggressive style that’s perfect for the label. There’s not a bad track on the EP. True, it may not be anything revolutionary or ground breaking, but for fans of dubstep or any kind of aggressive bass music, this is one to listen to for sure.
Standout Track: Beast Mode (feat. Del The Funky Homosapien)
Reanimated is the 3rd EP from UK based dubstep producer Zomboy. This time around, the EP has been split into two parts, with part one being released on Never Say Die Records and part two being released on the sister label No Tomorrow. Zomboy has often been criticized for the unoriginality in his tracks and has been accused of stealing and copying other artists’ (such as Skrillex) songs. So does this new EP address these complaints?
The first track, Terror Squad starts the EP with a bang straight away. It’s a dubstep track and the heaviest on the EP, and probably one of Zomboy’s heaviest tracks yet. The melodic but hard intro progresses into a chaotic and noisy barrage of low and mid range bass growls and synths, which remind me of Skrillex’s Scary Bolly Dub track from his recent EP. The production is great but there’s no doubt Zomboy took a little (or a lot) of inspiration from the track. Still, Terror Squad does the job.
Braindead is a funky glitch hop track that follows the same pattern as the previous track. Melodic build up followed by aggressive mid range bass growls and signature Zomboy style synths. It’s a decent track but nothing we haven’t seen before.
Moving onto Part 2 of the EP, Raptor is an electro house track unlike anything you’ve heard from Zomboy yet. It takes almost 2 minutes of video game style synths and melodic building before it descends into a minimal house beat with Zomboy’s signature growling bass. The second drop is an awesome big room house style one, and really makes the track, I wish the whole track was like this.
Finally, Bad Intentions is another electro house track which sounds exactly as you’d expect. It’s not a good thing that I literally have run out o things to say about the EP because it’s so damn similar to tracks Zomboy has done before.
Reanimated is simply more of the same. If you liked Zomboy already, you’ll either like the EP, or like me you will be getting slightly bored of his sound. The EP is filled with the sense that Zomboy is just taking too much inspiration from other producers, and if he doesn’t start making some more original sounding tracks soon, he’s going to get a lot of hate and move out of the limelight. It’s not an awful EP, it’s just very average.
Standout Track: Raptor.
Joe Ford is one of the biggest upcoming names in the glitch hop scene at the moment, and for good reason. His very well produced, heavy brand of funky glitch hop is up there with the likes of KOAN Sound in quality, and that’s no mean feat. His new EP release ‘The Mission' is sure to further propel him into the dance music scene, but does it meet expectations and how does it compare to the best glitch hop releases out there?
The five track EP is mostly made up of glitch hop tracks, with two dubstep tracks at the end. The title track, Mission kicks off the EP with a bang, showcasing Joe Ford’s talent for heavy, distorted basslines and punchy kicks. The track has quite an upbeat feel thanks to the tribal feeling noises in the background. Combine is a slightly darker track which is even better than the last. This track really reminds me of some of KOAN Sound’s material on their Funk Blaster EP. The long jabs of funky bass coupled with a catchy keyboard melody make this track stand out. Next, Moving On has a great atmospheric intro containing radio samples in the background which give the track some weight. The track never really ‘drops’, but it does have some nice bass synths in the second half of the track. It’s a great change of pace on the EP and proves that Ford can do more than just dancefloor smashers.
Majesty throws you straight back into the craziness of Joe Ford’s sound. It’s a dubstep track and probably the heaviest and best track on the EP. The main melody and piano loops all add to the heavy, swooping bass and growls that make up the track. It’s the best of Joe Ford’s sound in a nutshell, and the track I most recommend listening to on the EP. Finally, Unsafe ends the EP with a melodic intro followed by a very heavy drop. There’s mostly midrange bass here and the track shows that dubstep is another genre that Joe Ford finds himself to be very comfortable in, and it excels.
It’s a great EP overall and one of the strongest releases in the genre in a while. KOAN Sound and Culprate have got some serious competition of they want to stay ahead in the game. The Mission is a must listen to fans of the glitch hop genre. Mission accomplished.
Standout Tracks: Majesty, Combine