I was originally going to do a post on the tune with Chicago’s Chance The Rapper, but the more I listened, the more I realized that the whole album deserved a post. Skrillex really flexed his wide variety of production skills with this collection of songs. From the heavy songs with OG MC’s Ragga Twins, to the ravey club sounds of the Kill The Noize collaboration, Skrillex shows his expertise in EDM production. But it doesn’t stop there, he takes hip/hop and breaks references, there are influnces from garage and house, and then there’s the downright abstract production of Doompy Poomp.
The album goes from energetic peaks to deep melodic troughs. Its pretty clear that a lot of time was put into this album, and although it has an overtone of a Club-like vibe, Skrillex has provided a little bit for everyone. On his soundcloud the producer dedicates the album to “all the artists and fans that continue to support and propel this scene into amazing new places” showing his love for more than even just making the music but for the whole community of people contributing to electronic music. Some people may not like the heavier stuff, some people may not like the minimal stuff, but if you give this album a listen I guarantee you’ll find something that perks your ears up.
If you’re not into heavy Club or Electronic Music I’d steer you towards – 3. Stranger, 5. Coast Is Clear, 8. Doompy Poomp, 9. Fuck That, and 11. Fire Away. If not, just check em all because from the production to the mixing to the mastering is all very well done. Biggup to Skrillex.
Seattle based mad sound scientists Splatinum rocked the Crocodile Friday night as one part of the sold-out Bassdrop Music event which also included performances by Wildlight and Polish Ambassador. Decked out in their undeniably awesome USA jumpers, this energetic pair of intergalactic musical messengers took the stage by storm, playing an all original set featuring tunes from their upcoming album Funkonology.
Before the show, we had the chance to meet with the boys in the green room to chat a bit about the project, their new release and what’s happening in this heady little bass circuit which we call home. Adam and Andrew, which together make Splatinum, were humble yet hilarious… and artfully playful in their responses.
Check out the interview below, and be sure to cop the new album when it drops in December!
Get your copy of Funkonology here!
Also, be sure to stop by Monkey Loft in Sodo 12.20.13 for the album release party!
Big thanks to Bassdrop Music for putting together the event and getting us connected to do the interview. The evening was purely a success.
Now read on to hear for yourself what Splatinum has to say…
GANJAOLOGY: This is Ganjaology and we’re here with Splatinum at the Crocodile in Seattle where they’ll be opening up for The Polish Ambassador. So why don’t you guys introduce yourselves and tell us a little bit about Splatinum.
ADAM: I’m Adam. I’m one half of Splatinum, along with the man sitting right next to me…
ANDREW: And I’m Andrew. I’m the “Splat” in Andrew’s enum. So we started making music officially as Splatinum four years ago and it’s been an awesome ride since then. We both share a lot of the same musical tastes and both came up in the scene in the South East, and then reconnected again here in Seattle. We realized that we were both making the same kind of music and eventually decided to blend it together into one project.
ADAM: Ya it was really about breaks and breakbeat when I first got into it, Adam was already putting out records and I was buying his records. We were both more into this Florida / UK Breaks kind of sound, which evolved into stages of garage and drum n bass for me for a while. It sort of came full circle for me when I came out west to Seattle, I discovered Laptop battle and I got all into this kind of computer music. It was all about making music on a laptop and I thought that was really cool, to make music that sounded like electronic music… It sounded like it was made on a laptop. I felt like this is new, this is something different. This is pioneering technology!
ANDREW: Ya for sure and I think that kinda pushed us into only wanting to do live performances of our own stuff. We both competed in laptop battles which is this great thing which got started in Seattle. It is similar to like a DJ DMC battle, if you’ve ever seen one of those guys, except it’s strictly for laptop musicians who do these three minute rounds. You come out and basically bring out your bangers…
ADAM: Single elimination, three minute rounds, and you get one controller. It’s pretty fun.
ANDREW: Ya they’re great. So doing those, and me having the production background of releasing stuff… I used to do an all hardware Live PA. I used to do that back in the South East for years. And then I got into DJing because I was like, oh I just need like 30 pounds of records instead of a truck full of gear. Now we fit everything in a laptop and like three controllers… and well, it’s nice.
GANJAOLOGY: You touched on some influences, but how would you describe your sound now?
ANDREW: We’ve gotten a little groovier in the recent past for this new album. And a little funkier than we have in the past. I think we started out a little more hard edge and then…
ADAM: You know, it’s funny because the grooves that we’re making now have more space. Sometimes they’re more easy going, but I think in our early days we were just trying to write music that sort of progressed through this story line, and we sort of never let up.
ANDREW: Super dramatic…
ADAM: But now we just use more musical techniques to drive the interest of the song and the direction of the song like verses and choruses and bridges. And chord changes and stuff like that. And I think we’re just more aware of what’s happening with the music. And so, I think that we’ve developed more patience with the groove, which is interesting. I guess, we’re doing more funk influenced stuff too.
ANDREW: This album is one that we’ve put together fully as an album from the beginning. We really tried to write songs for the album, whereas our first album was a collection of all the stuff we had written up until that time. Which was cool, but it was pretty varied. But this one we set out to consciously approach it as an entire album and to have songs that really were interrelated to one another.
ADAM: I think the approach to song writing is just a little different. Before whenever we’d make a tune it was as if we had this linear approach to answer the last thing that was just created. But what was cool about collaborating is that in passing it back and forth we could keep this passion and fire going just by answering each other with whatever happened in the tune. But now I think we have this kind of Gestalt view or overview perspective. We have more of a vision when we approach something so it unfolds easier in that regard. Maybe we just know more of the options. It’s not as linear.
ANDREW: All of our stuff, you can kinda follow from the beginning. It’s kind of an on going musical conversation between me and Adam. With a lot of jokes.
ADAM: Yes, a lot of jokes.
GANJAOLOGY: Awesome. So tell me, this upcoming album… It’s called Funkonlology?
ANDREW: Yes, so when we started Funkonology, we realized pretty early on that it’s more than just an album. And that it was highly researched and based on the science of sound, and really is a self improvement tool. So for anyone that wants to come listen to it, it’s full of healing bass waves. It’s really good stuff.
GANJAOLOGY: So you guys seem to be focused on the science behind the music, which now in the digital age is obviously very important. You have to really know what you’re doing with the tools that you’re given. I wonder specifically, are you using any targeted frequencies? You mention healing.
ANDREW: Ya so there’s all sorts of different sacred frequencies that you can work in. For us its’ really an intuitive process. Half science, half intuition. We find what works. I think most of the science comes in with the usage of the tools and mechanisms in the production process.
ADAM: Where it becomes scientific is when you’re exploring the different axes of sound and the limitations and the various dimensions of the software that you’re using.
ANDREW: And psycho acoustics. There’s a difference between the science of the physics going on versus what the human ear can interpret, and the further the human brain… And then deeper than that, the soul.
ADAM: There’s a balance between the visceral component of heavy bass and the psychological component of the harmonics and how they setup the drops or how they build tension and release and all of that. It’s scientific but it’s also emotional.
ANDREW: It’s like you can go out and listen to really hard, angry music all night, and that’s what you’re going to walk away with. For us, we’ve really always wanted to make music that allowed people to have some sort of release, some sort of transformative experience, hopefully a positive one every time.
ADAM: When we sit down to make a tune, we’re just trying to bring to life a fantasy about a dance floor, to inspire movement and to imagine what the peoples’ reactions will be.
GANJAOLOGY: Yes, that’s super cool. I think there’s major benefit in just movement. Let alone what’s actually being ingested, but the response in movement. Let’s talk a little bit about the scene. Is it EDM, dubstep, electronica… How do you guys fit in?
ANDREW: We started out when it was still super underground. Even the large parties that I went to when I was just a wee tike… It might be a 5,000 person party but it will still feel super underground. It would be in some weird converted warehouse space. You couldn’t really play in any clubs. And it’s been awesome seeing this music, which I love, which no one understood for years, to see it now… Finally the stuff that I like is getting some love and excitement around it.
ADAM: Ya, I grew up in North Carolina. It was tough. You had to really dig deep to discover electronic music. I DJ’d empty rooms for years. I think it was partially because it was harder to access. To hear the fresh new music that was just disappearing into someone’s new crate, you had to go to the store and listen to actual records.
ANDREW: You had to call your friend at the record shop and let him know, “Anything you get new in the shop this week, hold it for me. Make sure you don’t sell it.” Everyone would do like 500 white labels, like test pressings of something and then each record store might get like one or two copies of each. So you had to have a good relationship with the guy at the record store so you could get the white label, so that you could get the freshest stuff. Whereas now, it went from there being gatekeepers to it being this internet based thing where it’s less about getting the advance release from an established artist as it is about finding that guy that has two tunes on Soundcloud, and they’re amazing. Then it’s about getting up with him like “Hey, why don’t you send that music to me.” So I think that’s what the DJs are doing now. That’s how they’re crate digging as opposed to going to the stores looking for vinyl.
ADAM: Nowadays, it’s so much easier for someone to decide to learn about electronic music and to go discover it.
ANDREW: It’s perfectly suited for this age. It’s technology based music being spread through fast paced technological channels.
ADAM: We were discussing this earlier. This build in EDM has been going on for years. It’s been a slow rise, but I don’t think this is some flash in the pan freak occurrence. People love to dance!
All photos seen here were taken by Travis Tigner. Thanks!
Midwest based producers J Hanna (Ganjaology) and Willob wanna make sure you’re not forgetting to dance your spring away , so they just remixed Rihanna’s oh so popular track, Pour It Up. With an electro-trap vibe throughout the entirety of the song, and a solid four to the floor thump, I have a feeling that this remix will reach a wide range of people who listen to everything from house to pop to dubstep. Enjoy this free download and watch out for Willob’s upcoming EP CONTROL FREAK, which will be released May 1st. Big ups fellas!
Tonight in Portland, Oregon, the artist collective known as TMK1 is throwing their monthly art & music event at The Slate. TMK1 has recruited Ganjaology, Abigail Press, and Dash EXP to bless the speakers with heavenly bass driven beats throughout the entirety of the event. With 4 hours full of live painting, hung art, and some very rare tunes, this Last Friday is going to be a great way to get your night started.
This event is FREE and All Ages!
@@@ 2001 NW 19th Ave #104 @@@
Featuring Art From Kristina Griffith
Welcome Self Help back to Ganjaology as we present his brand new piece of sound art, which is (as you may have already guessed) absolutely incredible. With the idea for this song stemming from an afro-funk sample and over a year of thought and hard work put into every aspect of this “afro-tropical-house” beat, Self Help has come to terms with his beautifully bassy creation and is calling his finalish draft, Gingko Biloba. Gingko Biloba also known as the Maidenhair Tree is a rare species of tree found in China that has no close living relatives and has been used in traditional medicinal practices in the past. Is it a coincidence this song, which contains healing powers of it’s own, carries the name of an ancient healing tree? I think not. Self Help is one aware being, and this is his medicine that he’s giving out to the world, through one of the most ancient forms of administration. Through Music. Enjoy this tune, it’s made up of nothing but love and positivity, and be sure to check back for more Self Help in the future!
Tim and Puma Mimi are QUITE an interesting duo. Their glitchy, electro, pop, hip-hopish music is just about as positive, fun to dance to, and original as music gets these days. Today marks the day of their latest release The Stone Collection Of Tim & Puma Mimi. What really caught my eye about these two is the story behind all their music. Let me sum this up for you real quick…Listen while you read!
Hailing from Zurich, Switzerland, and Tokyo, Japan, Tim and Mimi started off as school mates at university in Utrecht, Netherlands, met at an old-school santa party, went on a three week music making binge, said a sad goodbye due to Mimi having to return to Japan, released four tracks onto the ever so intricately woven world wide web, which then made their way into ears in every part of the earth. From here they continued to shock the followers they already had, and pick up new ones with ease through playing a live show together through…skype? Yes. Skype concerts. Mimi would sing live in her kitchen over a webcam and Tim would have a party set up somewhere in the Europe. People loved it…and so this was their most familiar and recognized form of musical connection for three whole years. Now…Here is the best part of the story! In 2011, after 8 years of having known each other, they got married, and are now are releasing their latest full length album, in the year of the dragon, through Mouthwatering Records, an independent record label from Bern, Switzerland. SO much work has gone into this album, years of sweat and smiles, practice, and….web cams. Below is a list of all the tracks and the source of inspiration for each song. Enjoy!
1. Acchi Kocchi
Our friends, Tokyo based band YMCK, inspired us to produce this song. They developed a plug-in (free to download
on the net), producing 8-bit sounds. However, the hi-hat is still Mimi’s “tch”.
Inspired by Mimi’s small flat in Shinagawa, Tokyo. 1DK = One Dining Kitchen Apartment
3. Ohayo Baby
Dedicated to Tamaki Takanaga, the newly born Baby of their best friends in Tokyo. For her birthday, they built a little
monster puppet with an mp3-player in it.
4. High 5 Low 5
Inspired by the mood of Tim and Mimi, up and down. Tibetan bells and a wooden flute from Tim’s grandfather.
Inspired by Pastor Leumund’s instruments in Berlin, an old piano and a keyboard that makes funky beats.
Töbi Tobler: Hackbrett (dulcimer). Tim’s first record he got from his parents was “Töbi Tobler”. He loved it! 25 years
later he asked Töbi, whether he can record him.
Text is inspired by Hans Arp and heavy summer rain.
Töbi Tobler: Hackbrett (dulcimer), Tim: Flute
8. Belleville Rendez-Vous
Cover song from the crazy animation movie: “Triplettes de Belleville”.
Inspired by the Tokyo train ring tone. Each subway station in Tokio has its own melody, ringing each time, when a
train enters or leaves the station.
10. Green Blood Circulation
Inspired by the Tokyo train ring tone
Song of the electronic cucumber. (Yes the electronic sounds comes from the cucumber!)
Watch Cucumber performance here: http://youtu.be/-yKnoKfX6x0
12. Musik Business feat. Zebra Baby
Inspired by IFPI Switzerland (International Federation of the Phonographic Industry).
Currently there are investigations running, on whether the IFPI has adulterated the Swiss charts. As guest rapper
on this track: Zebra Baby (Char Johnson + Ali Ramos) from New York.
Inspired by the traffic light ring tone in Kyoto. It’s an old Japanese folk song, that is played when the traffic light
changes to green. It’s about crossing borders.Mimi sings the song with a Casio VL-1
Also, Don’t miss this epic music video for their song High 5 Low 5!
These guys are sick. I first heard them about six months ago when Dream tweeted about their free EP that they had released. Their track “Defate” first introduced me to their signature heavy sound. Then while watching an episode of Get Darker TV I watched them spin a very energetic, fun, heavy set and I was instantly hooked. Their track “Bad Habbit” is set to release of off Benga’s new label cleverly named Benga Beats, and its a big one. Bad Habbit has been smashing dance floors and and booming over the english radio, now it’s ready to bless the public! Check out this tune:
go grab their new EP on subway:
Wooooo! Well if it isn’t the two dubstep dons at it again with a nice quick release for all to hear. This 5 track sampler is available for early free download currently at http://preemtiv.com/widgets/skream-benga/
I chose to share two of the five with you friends, because these two… they’re just amazing. First up is benga’s Electro West.
I have been waiting for this damn track to be released for quite a while now. Every time I see videos of Benga he’s dropped this, everytime i’ve seen him live he’s mixed it in, they even teased us with it in the magnetic man essential mix. Now, finally its here and I honestly can’t wait to mix this one in myself.
Second Is Skream’s Phat Head. Skream never ceases to amaze me. The way he creates these loopy songs that instantaneously evoke motion is unlike anyone else. This ones definitely a head bobber and drops nicely with the fat Skream synths.
This is an enormous multi-genre (hence the name of the mix), hour and three minute long, super mix, put together by Budapest, Hungary’s, György Preyer, better known to the music world as Firedog. Whether your favorite style of bass music be moombahcore, DnB, grime, electro, dubstep, or drumstep, you will get an equally heavy dose served to you from Without Fucking Genre Limit Part 6 . Firedog puts no limit on the levels of bass he throws around here. Enough reading, it’s time to listen! Click play, then download this mix (for free, duh!) and make sure to let it play out at the next party you have and keep an eye out for more Firedog mixes on Ganjaology.org!
Digiraatii have been absolutely murdering the Electro scene as of lately and our friend K-Wil just put together a very based music video for their latest tune! Now I don’t get down with a ton of Electro House but seriously each tune that the the Columbus based duo put out is so huge, sooo many glitchy synths and wobbles. Check out the video below and if you haven’t been to a Digiraatii show yet, after watching this you’ll know it’s a must. Big ups to K-Wil, Digiraatii, and Smoke Screen. Big tune!
This here melodic yet spicy tune, comes straight to you from LA from the young producer Dillon Francis. His 2 track EP was just released two days ago on Mad Decent Records one of the tracks being this one. The song has an awesome melody to it with a complex yet clean synth in the beginning, which leads into the heavy moombah drop. This song has been getting drops from a lot of big DJs in the electronic scene and is sure to continue to in the future.
Last night Radio 1’s Essential Mix covered a MASSIVE show, acts featured on the mix included: Deadmau5, Magnetic Man, Annie Mac, Skream & Benga, and, the one I was most excited for with their first show ever , Knife Party! Although some of Knife Party’s sounds may sound slightly “poppy” to some, they are going to be a very prominent name in the Dubstep/Electro world for the next while. They premiered some of their new tunes last night and ohhh man am I satisfied, their choppy, glitchy, intense electro vibes definitely got me hyped and I’m just listening at home! While there may be many other great Electro and Dubstep producers out there I would definitely say to keep an eye out for Knife Party, I mean all you have to do is listen to Set Me On Fire and you will know that Rob and Gareth have a lot in store for everyone. I’ve got great expectations for Knife Party, check out some of the tracks they premiered last night in the links below.
If you like these songs make sure to check out Knife Party’s website to download their full set here
If you are like me, and you love Dubstep and Drum & Bass, there is nothing better than a massive Drumstep tune. Drumstep hasn’t been as prominent as the two huge and growing genres DnB and Dubstep. Because of Drumstep’s small amount of productions, I usually just refer to it as a hybrid or a sub genre. Dr. Ozi (recently featured in an article by itsthejhanna) has been becoming a prominent part of my itunes and surely will be a big name as long as they keep producing huge tunes such as Coconut Water. Their heavy electro sound resonates through each song while still changing it up so each song is different. Ozi’s latest release is a remix of Chris Brown’s Look At Me Now, they applied a grimey deathstep type bass to the song while keeping the drumstep break down’s and tempo up. The breaks give the song a huge and very addictive rhythm to the song. Overall, this song is just awesome and hopefully these guys make it big cause they deserve it. Here’s the song, they were kind enough to give a free download so make sure to hit that up and make sure to check out more of Dr. Ozi on their soundcloud!
Finally, after months of anticipation and unbelievable amounts of excitement Rob Swire and Gareth McGrillen have announced their new project Knife Party. Now, their site (knifeparty.com) is currently under construction and details about the group are scarce however they have released one song which is as Rob Swire put it “Seizure Music”. It has an overall heavy electro sound once the song gets going, but sadly sounds a little poppy due to the original Swedish House Mafia track (no offense to those who like the original). In a previous article “Pendulum Rumors” I had mentioned the brief talk with Rob Swire himself and how he told me about a possible new project being based around dubstep. Because of that talk I am sure Knife Party will be releasing some heavy tunes much like Set Me On Fire and Salt In The Wounds, and although this song might not be as massive as some of Pendulum’s big tracks I have a lot of hope and trust that Knife Party will be massive in years to come. So here it is, Knife Party’s first official release.