So Skifcha has dropped an EP ^__^ and I'm sure all of the head-bangers out there are probably pretty hype (time for a Docta Philth Retwerk perhaps?). Mostly this is due to the simple fact that like most Skifcha work, this shit hits fuckin' hard as shit; pounding bass drums that test the limits of your headphones; twisted and contorted synth lines that make you question your sanity, all the things that you would probably expect from a Skifcha package of late.
But when we take in this release as whole we begin to get the idea that this isn't some "run-of-the-mill" dubstep album; it's the display of evolution for a producer whose trying to throw off the shackles of his previous work. This kid seems hell-bent on not trying to pigeon-hole himself into any one genre, everything from tackling mid-tempo beats to straight-up polling his facebook page as to what type of production he should tackle next (which, if I recall correctly, ended up with some very odd skifcha-esque dutch house). So, "experimental" is probably what I'd say most about these tracks, for yes, they still have the same build-up/drop outline but within this framework this kid is really trying to fight and struggle against the limits of what his mind can think up.
You have to kind of wonder where this kid gets these samples... Like where the fuck do you find this crazy shit? As I sit down and fire up Mr. Philth's latest retwerk of Luzcid's "Bangn" I'm left to sit mouth agape at the mental ward worthy array of off-beat sounds this producer has collected into a single track.
Now when we look at the overall encompassing umbrella of "real trap shit" one does have to wonder what differentiates this track the multitude of others that I'm sure are out there with similar beat structures and 808-heavy drops and breakdowns; is it the slight flare in build-up he showcases before the second drop? Or is it simply the tenacity to lead off a track with such a weird synth array?
To be honest I'm not quite sure, but I find myself of the general opinion the Doctor was putting as lot of effort into the heavy attributes of this track, rather then the original twists he could have brought to this banger. But all in all the track accomplishes what it sets out to do, although I would love to see if this producer can get more creative in some of his upcoming original tracksd
Let's talk for a bit a bout the concept of a "release" because these days it's an often muddled concept which some friends of mine would go as far as to say is nothing but a relic from ancient times. For the majority of the lifespan of underground music songs get released on their own; whether they're released as "Singles" to then lead into a full album release, or simply on their own to generate as much hype as possible. This has been the format for a looooooooooooooooong time, if people like one song from an artist, then they release another; if people like that song then maybe release an EP to showcase their talents with a broader brush-stroke as it were. For that is where that term comes from, "Extended Play" as in we heard a little and we like it so give us more.
But this has also led to a lot of disappointment, I feel especially in electronic music as of late; because the emphasis has fallen so greatly towards the individual track hype and fallen so vastly away from making a cohesive album as a total. Examples are abound but lets focus in on one I'm sure we're all familiar with; RL Grimes recently released debut "High Beams" EP, when this came out everyone was fucking hype as shit (as they should be) because RL Grime (aka Clockwork) was probably one of the most celebrated trap artists to come out of LA last year; he had the prior experience in other genres, the Diplo/Mad Decent pedigree, all the youtube love and blogroll in the world, so when he finally drops his debut release it should change the fucking world right?
But it didn't... Because the moment anyone heard the EP they realized that all of the tracks had been leaked all year long, and anyone who had any interest in this producer probably already had all of these tracks...
So that's why I got so hype for my label-mate Bwi-Bwi's new release; firstly, because although this producer has had a lot of hype around him from his work with M&C's "Japanese Folies" release he had resisted the temptation to leak any of these songs before they released, so the whole thing felt fresh. Secondly, with a well thought out intro and outro of well placed house-y vibes with a clear intention to round out the entire listening experience one felt they didn't have to just skip through to the good parts, but could sit down and take in the entire thing as whole, hearkening back to as someone put it "...the days when Bloody Beetroots were kings..."
Well folks, it's been over a month since our last post, so you know it had to be a special track to be able to drag us away from our crazy schedules. There's a word in french; "Doux" it means like gentle, warm or sweet (fyi I failed french so don't take my word on that) and once in a while I come across a track which likens to such explanation where all I can use to describe it is said word; and Ahmi's new track LOH fits this scenario perfectly.
You can try to pick apart the song, try to dig down deep to find the particular substance that causes this emotion in the listener, but it's quite the challenge I must warn you. For with some styles it's simple; one can easily point to the modulated basslines in generic dubstep, or the heavy 808's in 'real trap shit' (-__-) and say "there, that's the defining sound you have to go for." But as with a lot of Ahmi's work this is difficult; can one honestly put there finger of the diffinative part of this track?
The synth lines are mellow and warm, over a simple bass line, all gliding along chill trip-hop patterns that clock in at around a standard 120bpm; yet one still gets the feel that only Ahmi could have produced this track, and that if any other were to make the same track it would end up sounding different; the slight tribal feel to the percussion, the slight stuttering to the bass before the beat kicks in. These little things just scream under-rated, and it seems to be here where Ahmi tends to leave his most personal mark on his tracks, for only those chill enough to pick up on them.
