Coming at you is a big time collaboration bouncing ideas back and forth across the Atlantic. The track’s contributors include Besomorph (Germany), N3WPORT (USA), And LUNIS (France). The sound pulls heavily from Besomorph’s darker melodies with N3WPORT interjecting traditional trap elements–most notably the percussion.

One element that we are especially fond of is the rim shot that punctuates the beat. A “rim shot” refers to the striking of the snare drum in a manner where the stick contacts the metal edge of the drum and the drum face simultaneously which adds a sharp stab to accentuate the fatter snare sound. By staggering the kick drum with the rim shot during the chorus they both are given an open sound stage with which to play in.

Now in regard to the vocals, things get a little bit goofy. We believe that they were pulled from “Zombie” by Janee and LUNIS which is itself a cover of a Cranberries song. Does that make the rendition from Besomorph and N3WPORT technically a remix? Maybe, maybe not. We’re also unsure about the extent to which LUNIS aided in the creation of the new song, but given the cleanliness of the delivery we assume that the vocal files were handed over with the singer’s blessings.

It should be noted that this LUNIS has no association with Lunice Pierre, the Canadian producer who constitutes half of TNGHT. The band LUNIS is comprised of Lauréne Bourvon (vocals) and Louis Mevel (production). If you’d like to check out some of there other work, here is a link to their acoustic version of “Out of Town,” a song composed by Janee and LUNIS.

A song so wild, it brings this site back online.

A song so filthy, it’s indescribable.

A song so esoteric, it wraps you in ardor.

A song by Prav.

The Floridian producer formerly went by Srixirs, but has changed it to Sxre (pronounced “sire”). Since then he has been cranking out a new song every couple weeks and fortunately his work has not yet become monotonous, something we see when artists try to make music like factories.

“Rage” is a pleasant kick to the groin. With heavy hip-hop influence, it’s hard not to imagine rapping over this track. Something novel which Sxre employs is compression and reverb on the drops which makes the song sound as though it was being recorded on a cell phone in a downstairs nightclub.

Overturn makes liberal use of vocal samples to punctuate each measure, sounds that NTICE would have collected during his time remixing. They add a nice spice. However, the song has enough progression that it would have held its own without them.

Though NTICE is now trying to differentiate himself from his former remix work, this song was released through Gang Gang Records, a small US based group which digitally republishes songs with their name on it. Wherever the songs come out next, we’ll be waiting patiently for the next one.

Progression is the name of the game for “Whiplash.” As I see it, the first 2:40 of the song serves as an intro for the mind rattling onslaught of sound that is the second chorus. A moment of particular interest is the synth spike at 1:46 which serves as a little preview for what’s to come. They could have easily copied that into the following measure, but the solitary placement gives it more mystery. That being said, I’m not sure there’s really much that could prepare you for the assault on the senses that occurs in the second half. From the wacky percussion, you can tell that these guys have had extensive time on a TR-808.

Who are our collaboration heroes? Both are producers our of the Los Angeles area, presumably close friends. SAKA has had a bit of a head start and has been on the scene for about a year now. It’ll be interesting to see how Brakebill shapes his career as his work still appears to be in the formative stages. Rest assured, we’ll keep an eye out.

There is a deceptive simplicity to the song. Sure, there are not a lot of layers going on at any given time, but there are some really complex percussive transitions. The industrial sounds are one of the things we love about this–see the “hammering/forging” sounds around 0:22.

Chris Bushnell is a tough one to pin down. Historically he released tracks annually, but since February 2018 he’s been silent. And not just with releases, all of his social media accounts went dark at that time, some earlier. Given his slower release schedule it’s possible he’s just on hiatus. It’s also possible that he’s producing under an alias for another project.

Holly, on the other hand, is still going strong having released his Avenal 2500 EP just a couple weeks ago. Foreign [Ft. Young Lyxx & Young Sidechain] is my favorite track on the EP despite not getting much love thus far.

Together, Chris and Holly made something incredible. It’s natural to want to see them collaborate further so we could have more songs of this caliber, but sometimes it’s just a perfect storm of contributing factors that come together and manifest in musical gold like this.

“Java” is quintessential Cozway. The layering is soft but powerful and there aren’t any offensive segments. If you were to break the song down you would probably be able to categorize the pieces by whether they sounded cultural or 2019. However, when put together, the package becomes extraordinarily cohesive–probably Cozway’s biggest strength.

Both dwell in the electronic segment, but that doesn’t really narrow things down. They both use “heavy synth” in their tracks, but ATLiens have a slight hip-hop percussion flair and generally utilize slower tempos. They also prefer a lot of vocal cuts. Blanke is a bit more uptempo and uses a sound that I can only describe as electric; it’s as though there is an errant current being run through a speaker but in a good way.

“Contact” lacks the vocal cuts we’re used to from ATLiens, but the builds have their stamp all over them. I prefer the first chorus for it’s grinding mid-bass. The third and final sector is extremely wild. In deconstructing the song you’ll find that it doesn’t have the traditional rise-fall-rise-fall progression we’re used to from modern music. Instead, there are 3 sectors which could easily stand alone with consistent connecting pieces which tie the song together.

After clicking through to my usual spot for a quick sampling of the music, it only took me a second to figure out that this was something special. I’m running out of fresh adjectives to describe these songs, but “heavy” really fits it best.

The song is called “Tyson” and features samples from the boxer’s interviews and press conferences played over an outstandingly epic track. There are also some samples peppered throughout like the screech of a hawk which I think add to the overall experience. It’s one of those songs that I enjoy not only because I think it’s good but also because I think other people (normies) won’t like it. They can have their pop music and reality TV while we bump songs like this and seize the day.

Jay Karama is selling what he calls his “Personal Sound Kit” for $49 and what you have below is a showcase of that package. The progression is very segmented in order to show variation, but I still think it holds up well as a song. If you’re interested in producing, then check out this link to some of his “Karama Kits.” If not, just check out the song/showcase below. It’s pretty tight.