Excision – Virus

virus

Before we talk about the album, let’s talk about the Brostep. We all know what happened. Along came a loud genre that was popular, so people decided it was stupid. Once everyone stopped with those crappy YouTube remixes of memes, the scene flourished. Excision was integral for the scene. His Shambala mixes were highly anticipated and were a document of where it was at. His two best mixes – of the years 2013 & 2014, showed Brostep turning into something different. It was no longer about plain heaviness, but switching BPM’s and experimenting with odd sounds. When Skrillex collaborated with Justin Bieber, it was expected. That’s how wide-eyed the scene was.

Then something happened to the water all the DJ’s were drinking. Everyone took a step back to a time where it was all about cold heaviness. Never Say Die’s Black Label imprint was a leader in it, and although it had some good releases its influence was incredibly negative. The new producers forgot what made Brostep so appealing in the first place. It’s a Dance genre relying on ridiculousness. The more ridiculous your sounds are, the better it is. The new movement only emphasized some form of darkness. In some ways, it set out to be deliberately anti-Skrillex.

So the result was a lot of dull, heavy and no-fun bangers. The scene stagnated and it’s still in a problem. What should’ve happened a year after Skrillex blew up happened now. Finally, heaviness overpowered it and it’s embarrassing to hear MUST DIE!’s new song with Habstrakt. One of the most inventive producers is now doing nothing but white noise. Sure, there have been highlights. The recent experimentation with Deep House were a success, but overall the scene became monochromatic.

Virus¬†sure feels like it should be the scene’s savior, but keep in mind Excision’s music was rarely as diverse as his mixes. In fact, he was never that diverse, not when compared to Skrillex or Knife Party or these new dudes, Barely Alive. In the current climate, there’s room to worry that Virus¬†would be the finally nail in the coffin – showing Excision completely running out of ideas, missing the entire point and just making a lot of noise.

Thankfully, Virus is closer to getting everything right about a dance album.

In terms of sound, this is still all about brutality and noise. In fact, it’s less experimental than previous albums with no forays into new genres. Drum and Bass is barely here (Only the drumstep thing in “Rave Thing”). House is represented by “Mirror” and other than that, Excision powers through like 2013 never happened. It actually makes him sound of touch. After LAXX and Barely Alive, surely he can come up with some new sounds?

What didn’t change is Excision’s perfect understanding of the genre. Where he differs from the new boys is that there’s no posturing here, no attempt to sound cool by turning the sounds down low. In fact, Excision plays this record like 2015 never happened, either. It’s soaked in the mid-range madness of 2011, when it was all about roaring and being ridiculous. How else can you explain “Rave Thing”? It was out of place back in the 2015 mixes, where it roared and wobbled while everyone just growled. It’s a track that constantly ups the ante, that takes the most parody-esque elements and exaggerates them. As an attempt to out-Skrillex Skrillex, it’s quite brilliant.

Virus reminds me of why I love the genre it’s the first place. It’s so ridiculous, so oblivious to classy dance music. “Neck Brace” has Messinian, and he roars more than he raps. The drop imitates machine guns, but the sounds is right between midrange and low-range. “Harambe” literally stomps like a gorilla while alternating between the sounds of its 3 producers. “Throwin’ Elbows” shows Excision can still mine this style for new sounds. At this point, he doesn’t pretend to be concerned about rhythm. The drop consists of what sounds like laser beams shooting and the sound of reloading. As for “The Paradox”, it’s a brave attempt to make a defining song. Something is missing – it doesn’t as ridiculous as it should – but it would be an attention-grabber in any mix and would require an immediate change of BPM.

A dance album can’t rely on a single idea though. Even Dance artists whose genres are defined by heaviness switch it up. What’s odd is how Excision does these switches. There’s a foray to House in “Mirror” which borrows from the whole ‘bass house’ thing, but it’s not too alien. Excision is finally comfortable with guitars. They’re not sampled any more. “Throwin’ Elbows” is loud as hell, and can “Death Wish” be classified as an EDM song at all? It’s a Rap song with guitars for a chorus. Sure, there are Trap drums but the guitars play riffs.

The oddest excursions are to the sort of melodic Brostep most producers stick for tokenism. Excision now throws himself fully at them. There are 3 such tracks, and for once they have a purpose other than offering a break. “Drowning” has a glacial, sad quality to it. Compare it to “With You” which appears near the end. The former song doesn’t actually have a melody, but sound design meant to create atmosphere. “Her” has Dion Timmer’s chimpmunk vocals singing about a heartbreak over a weird drop. It’s somewhere between melodic and wobbling, creating this odd feeling of heartbreak and acceptance. It’s an odd moment of beauty that’s rare in the genre.

If you look at the tracklist you probably wonder how can you sit through 16 minutes of Brostep. It’s quite easy, actually. Making a dance album isn’t too hard. All you need to do is make sure everything bangs and there’s enough variety. All the brutal tracks bang, and there’s enough offer a break while keeping the rhythm going – “Are You Ready?” is the only attempt towards contemporary Brostep and it’s a nice stepdown, and while “Mirror” isn’t as good as his other House tracks it’s a welcome break. The only problem is putting “Harambe” as a closer, especially when “The Paradox” is right before it. The latter is epic, huge and roaring. It’s a climax. “Harambe” stomps like a mid-mix banger, a track that comes with no build-up and immediately locks you in its groove. As a closer, it’s perhaps the worst song.

Virus isn’t exactly what I want from Excision right now. I want to see the genre expanding, mixing with others and creating one of the most vibrant musical movements. Excision is still content in the midrange, but at least he backs up his obsession. When it comes to loud, midrange Brostep then all I want are tracks like “Neck Brace”, “Harambe”, “The Paradox” and “G Shit”. Hopefully, this will spread and the new riddim movement will die.

3.5 dead gorillas out of 5

Advertisements

Best Songs of 2015 – Part I

It’s been proven countless times. Music today is terrible, unlike music of the past. There’s no reason to listen to Enter Shikari’s experiments, Skrillex’s frantic energy or Martinez’s outcast pop when you can listen to Bowie’s outdated glam or Zeppelin’s pseudo-blues. Still, there are some good songs made today. This is the first part.

30. CHVRCHES – Leave a Trace

CHVRCHES’ first album was mainly songs about telling people to fuck off using cutsy synthpop. The new album is more varied but this song shows where their strength is. As always, it’s not explicit but Lauren’s harsh tone makes the line “Take care to leave a trace of a man” sounds so cruel. Lauren sounds hateful. She can barely view the guy who broke her heart as a man.

29. Barely Alive – Rough & Rugged

The Bass Music was scene was disappointing this year. The experimentation wasn’t as wide-eyed as before. Barely Alive still sound like it’s 2013, taking wobbles and mixing them in different types of beats. “Rough and Rugged” belongs in that unique house genre we don’t see enough of. It has a more complex, Hip-Hop influenced drumbeat. Plus, it’s full of tempo changes which gives a sense of structure. It’s a brilliant dance song, not just a DJ tool.

28. Of Monsters & Men – Wolves Without Teeth

This is the ideal music to play Skyrim to. ‘Glacial’ is the best word to describe it. Was playing Skyrim inspired them to switch to a colder sound? Everything sounds like icicles shivering in a cave. “Wolves Without Teeth” has the best melody of all the songs there. It helps it’s slightly warmer and less towards the epic side. It’s the perfect song to stroll in a snowy forest to.

27. Lana Del Rey – Music to Watch Boys To

Lana’s voice was always sexy as hell, but on this song she pushes it to the limit. It’s her sexiest song so far with the blunt statement on how she watches boys. There’s still an air of menace here, but the darkness in her music has been toned. Still, unlike a lot of singers who sing about sex Lana is actually being sexual.

26. Skrillex & Jauz – Squad Out!

I don’t know who’s most responsible for the brilliance of this. Jauz has been making great tracks and Skrillex has been moving away from wobbles. Still, he’s involved in a wobble-heavy song and the result is a throwback. It’s in the same style of Barely Alive but the wobbles are more vulgar now. The song is pure wobbles in a way that makes it border on a self-parody. It’s a trite expression, but it assaults the ears with wobbles more producers are killing for. It also changes as it goes on. Hopefully this trend will continue.

25. Insane Clown Posse – Mr. White Suit

They were never as bad as people said they are. They have a lot of horrible songs, but they also have a unique approach to Hip-Hop. No one sounds like them and no song by them sounds like “Mr. White Suit”. It’s a joyous song about a character who makes everyone’s life perfect. It has 3 hooks, all of which are incredibly catchy. The lyrics got no hidden messages about killing or kinky sex or bad humor. If this song was made by any other group, it’d get some acclaim.

24. The Prodigy – Medicine

The popularity of The Prodigy is baffling and obvious at the same time. They borrowed enough from Hip-Hop, Rock and Dance at an era where they all dominated the mainstream. Yet there’s something heavy about them. Their music is creative but it always takes a backseat to beating up the listener. “Medicine” is the best example of this from the new album. The vocals are what make the song. They sound wrong, like the singer is high on some drug and is probably talking to someone who isn’t there. I’m sure people have lots of great sex in their shows but songs like these make it feel like everyone just wants to beat each other up.

23. Faith No More – Cone of Shame

Thank God Patton discovered his voice again. He’s a brilliant musician who often gets caught up in being weird. “Cone of Shame” is an old-fashioned weird Nu Metal song with progressive elements. It builds slowly until it explodes into a climax where Patton alternates between screaming and singing in a clean, beautiful way. This isn’t weirdness for weirdness’ sake but an idea that changes and eventually concludes.

22. Bring Me the Horizon – Oh No

Listen to this and then listen to their debut. How many bands did such a radical change? Most of the new album is still rock, but this detour into gentle EDM is the complete opposite of their beginning and makes perfect sense. They borrow more from Nu Metal now anyway. There’s a unique class of break-up songs that sound both triumphant, accepting, sad and angry at the same. Sykes mourns the end while telling his lover to fuck off with a beautiful chorus that, hopefully, won’t be remixed in an Avicii song.

21. Papa Roach – Gravity

By this point, Papa Roach are a stadium rock band. That’s okay, because Shaddix is a good vocalist and they know how to write a hook. This attempt at making Hip-Hop again (And it’s their most Hip-Hop orientated song yet), like Horizon’s aforementioned track, is weird but they sound comfortable in it. Shaddix was one of the weaker rappers of the scene but here his voice is clear and he sounds like he missed rapping. The chorus is beautiful, too, sounding more tender than anything they made recently. It’s both a moment of tenderness and experimentation in the middle of an ordinary stadium rock album.

20. Carly Rae Jepsen – I Really Like You

Carly shouldn’t be a big thing. She makes simple, joyous Pop music about liking boys. Since now every Pop artist has a statement to make, her simple take on Pop is a statement on its own. Now that we forgot the endless parodies of “Call Me Maybe” we can enjoy this music for what it is. Until I heard this, I didn’t realize how much we needed this type of music. Carly sounds so happy as she repeats the word ‘really’ over and over. It’s a break from the Pop singers who are fine with misogyny to be with the cool guys and the messy personalities of Del Rey and Martinez. Now, I love the latter (the former can die) but we need this, too. Carly won where Swift lost. Unlike Swift, she sounds human, confused and excited about love.

19. Excision – Live Wire

Exicison used this as the final track for his mix. It’s not just because it’s brilliant, but because it disposes of all build-ups. The previous Bass Music tracks on this list still have breaks between the dros. Once “Live Wire” kicks in, it switches tempos constantly and proves how such a tiny change makes the same sounds feel different. “Live Wire” doesn’t add anything new, but it shows a producer perfecting his genre.

18. Primitive Race – Long in the Tooth

I’m glad someone decided 90’s Industrial Rock needs to come back. Everything that made that scene great is here. Raymond Watts is still an arresting personality with his vocals – menacing, badass and sexual in a way that sounds antisexual. The formula remains the same. Write a rock song and find enough bizarre mechanical sounds to stretch it to 5 minutes. Some genres are confining, but Industrial Rock isn’t.

17. Melanie Martinez – Dollhouse

I don’t get how Martinez isn’t bigger. Most Pop stars, even the sad ones, are personalities that society loves. Del Rey and Tove Lo have their troubles but if they were outcasts, they couldn’t complain about sex with bad guys. Martinez is an outcast, and just that makes her more original than all the rest. “Dollhouse” isn’t her best song but it’s the definitive one. It captures her aesthetics its themes. Her obsession with things having a nice cover to hide the terrible is here. The melody sounds like a nursery rhyme and the lyrics talk about a family which is dysfunctional underneath their perfect exterior. She could be more subtle, but there’s enough venom even in her worst lines to make them effective.

16. Fall Out Boy – Centuries

If you’re a rock band who fills up stadiums, songs about heartbreak start becoming less believable. You got groupies in the back. “Centuries” is a stadium anthem that sounds sincere. It’s the cockiest Rock song since Kid Rock’s Rap-Rock album. It makes most rappers sound humble. Stumpg goes on and on about how we will remember him for centuries and then others they’ll disappear soon. If I made a song as good as this, I’d be cocky too.

15. Crazy Town – Lemonface

Yes, they returned. They got critical backlash mostly for being in a genre that didn’t have a loty of mainstream bands. Their brand of Rap-Rock was closer to the wide-eyed approach of PWEI and Urban Dance Squad. “Lemonface” sees them going Industrial Rock, which they always flirted with anyway. You’ll hate it if you hate that brand of cocky angst rock that was big in the 90’s, but there’s something fun about how aggressive and happy it is at the same time.