Posted by Gosia Mrugala

No introduction necessary. If you don’t know from CALVIN HARRIS, you’re not reading this blog. So let’s just dive in.

1. “Green Valley” – Well, that’s 1:49 of my life I’ll never get back. It’s interesting for the first 30 seconds, then continues without much change. Picture the soundtrack to a bad porn scene: not the most auspicious way to start an album.

2. “Bounce” – Here, Harris adds the soulful vocals of Kelis to a funky house track. I like this one, but can’t say I’m the biggest fan. Mostly, I suspect, because it’s been around for some time now and is simply overplayed.

3. “Feel So Close” – I absolutely fell in love with this track the first time I heard it, back at WEMF 2011. Definitely a successful prodution, and it’s no surprise that this became Harris’s first solo single to chart on the Billboard Hot 100 in the U.S.

While I’m still a fan of the original, I’ve gotta say: I am head-over-heels addicted to Nero‘s remix of this track. If you haven’t already heard it, you owe it to yourself to give a listen …

4. We Found Love – By now, I’ve heard this track once too often on the radio — and to be honest, I was never a fan. Just not my cup of tea, although I can see why it satisfies the ears of some EDM fans. The music video has earned quite a bit of criticism, and while it’s not the worst EDM video I’ve ever seen, you can’t exactly say it promotes positive lifestyle choices.

5. We’ll Be Coming Back – Don’t know what it is, but something about the vocals of English singer-rapper Example just appeals to my senses. This track starts nice and mellow, then kicks into a solid tempo. Definitely something you can enjoy in the comfort of your own home, but at the same time clearly built to rock dancefloors from Ibiza to Iceland.

6. Mansion -  VERY disappointed with Harris on this one. Cuz here’s a track that pulls me in within the first 10 seconds, and at 1:25 has me thinking of the rave scene from Blade … and then it ends just past the two-minutes mark. SERIOUSLY? This had the potential to be a nine-minute epic, but Harris decided to pull the plug and settle for a short, sweet banger. Why?

7. Iron – This track is infatuating — but the affair is short and sweet. At the end you get a nice buildup, and you’re waiting for a sick drop, and then … nothing. THUMBS DOWN to that. Over on Beatport you can buy the vastly superiour full five-minute version of “Iron.” Given the high expectations of his fans, I’m really not sure why Harris decided to put shortened versions of his tracks on this album. Not so nice!

8. I Need Your Love – Harris couldn’t have chosen a better vocalist than Ellie Goulding. Her voice works perfectly with his beats here. And yes, I did press repeat on this one.

9. Drinking From The Bottle – I’ll keep it short: not a fan of this one.

10. Sweet Nothing – I’ve always been a fan of Florence Welch, and her powerful voice works perfectly with Harris mellifluous style. This track has been one of Harris’ biggest successes, charting high just about everywhere from Ireland to New Zealand. Sweet — and definitely not nothing.

11. School – It’s got a soulful vibe and a funky, old-school feel to it. I’m a bit torn on this one: can’t say it’s a favourite, but there’s something to it, all right. Still, of all the short tracks on this album, it’s the only one I’m actually glad is short.

12. Here 2 China – Nope. Didn’t make it past the 20-second mark. Sorry, but no. Just doesn’t fit here.

13. Let’s Go – I remember watching the Euro 2012 tournament this past summer and being absolutely blown away by that Pepsi Max commercial. It was this track that made the spot such an attention-getter, and it more than stands on its own — though it’s Ne-Yo’s voice and the lyrics, more than the music itself, that make the whole thing so satisfying and impressive.

14. Awooga – Another impressive track, but again, too short. If you want to support Calvin Harris by purchasing his album, just know that you’ll be getting the truncated 3:51 version of this song. And maybe make a mental note that the full seven-minutes-plus version can be found over at Beatport for a more $1.49. Just sayin’. And let’s be honest: this track was meant to have some length to it. I’d put it along with “Mansion” and “Iron” as one of my favourites from the album.

15. Thinking About You – OK, the album may have started on a disappointing note, but I’d say it finishes admirably. I’m definitely “Thinking About” this album — though mostly what I’m thinking is that I have some seriously mixed feelings. Overall I’d rate it a success for Harris — but with some questionable odds and ends that make it less satisfying than it ought to be.

Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.

Posted by Gosia Mrugala

“Destroy dance music and have fun. Don’t look back in the past. Always go forward. Don’t think too much. Always follow the money. Do the Dada.”

Eccentric Swedish electro house duo Dada Life (a.k.a. Olle Corneer and Stefan Engblom) have quite the philosophy. Posted to Facebook and Twitter using the hashtag #THERULESOFDADA, these maxims to live by include:

* Never bring your brain to a rave.

* Doing the “airpiano” on stage while looking up in the air? Never. The “heart sign” with both your hands? F**K NO.

* Tickle-punch-tickle-combo. Happy Violence!

* Cheating is winning.

* If you’re stuck, there’s only one solution: go harder.

* If you only need one word to describe a song in the studio…then it’s done!

* No bananas on the rider? Then we do our two hour deep/tech house set. Everything under 118 BPM.

* PLUR = Potassium Lust Unity Rage

* Arriving beautiful – leaving ugly.

* Beautiful music = boring music. At least today.

* Never BBQ before a gig.

* If you don’t want to get wet, you don’t want to have fun.

* Bass don’t cry.

* Changing underwear at the club is cheating. Even for the members of Dada Life.

* Never bring your brain into the club.

* Art should be loud as fuck.

* Always kick out the epic motherfucker. Always.

Their new album The Rules of Dada, released October 22 on their label So Much Dada is pretty much the illustrated guide to this philosophy. So let’s break it down, shall we?

1. “Kick Out The Epic Motherfu**er” – I first heard this track during the summer at The Guvernment, and was just blown away. It sent my body into an absolute frenzy — and everyone on the dancefloor was right there with me. Definitely a club banger. The video is pretty entertaining, too. It gives you a good idea of just how crazy and random these guys are. There’s lots of champagne, lots of bananas (get your mind our of the gutter, now) and some HARD PARTYING. And bananas.

2. “Feed The Dada” – I’d call this the anthem of the Dada Life philosophy. The lyrics are intriguing, the music video frankly jaw-dropping. If you want to know why the Dada movement is destined to continue growing, this is the pick to click. Feed the Dada.

3. “Arrive Beautiful Leave Ugly” – Gotta admit, I’ve had this track on repeat. Quite the title: I’d describe the image it conjures in my mind, but not while there are children or pets around. (Gotta bite my tongue sometimes.) I can see this one moving the floor, for sure.

4. “So Young So High” – Well, they can’t all be epic. Not a huge fan of this track: can’t see it filling the floor at the club, though it might move the less-demanding fans at an outdoor festival. With repeat plays it started to grow on me a little bit, but it won’t be making the personal playlist any time soon.

5. “You Will Do What We Will Do” – A 129-bpm electro house banger that held me from first note to last beat and left me yearning for more. Surprising, too: I was expecting a hard electro drop at the 0:29 mark, and instead got a pause and then another mellow build-up. Tricky! Definitely one of the tracks I favour from this album.

6. “Happy Violence” – I remember hearing this track for the first time while watching a Burning Man recap video: appropriate! All it took was the first 10 seconds, and I knew I was hooked. Another great track title, too — puzzling and inriguing, like all of their titles.

7. “Rolling Stones T-Shirt” – Entertaining tune. And that music video! Pretty typical stuff: girls in bikinis, pool parties, the beach … until the 2:18. I made the mistake of drinking some water while watching this, and almost choked! Couldn’t stop laughing. I won’t try describe it — just watch for yourself. All I will say is this: you see a whole new side to the boys from Dada Life here.

8. “Bass Don’t Cry” – Give me bass and I’ll give you my heart. It’s as simple as that. I’m a bass addict. A bassaholic. This track strikes the kind of perfect balance between bass and rhythm that will set a musical orgy in motion on any dancefloor.

9. “Everything Is Free” – Without the vocals I am a fan of this one, but The vocals at the start of this track almost deterred me from listening to the rest. Which is too bad: vocals aside, I’m a fan of this one. Not the best track on the album, but hardly the worst either.

10. “Boing Clash Boom” – See “Everything Is Free.” Actually, I’m not sure if it’s the vocals that ruin this one for me, or something else. Frankly, the track is a bit all over the place. If I had to sum it up in one word, that word would be: confusion.

11. “Don’t Stop” – After the last couple of tracks, they had me doubting — but album finishes strong. A bit mellow, but with enough kick to move the listener, and vocals that mesh comfortably with the beat. Do the Dada!

Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.

Posted by Scott Willats

This seems a proper time to pay tribute to Germany. With the UEFA Champions League final — the “Super Bowl of Soccer” — slated for May 19 in Munich at the jaw-dropping/awe-inspiring Allianz Arena, it was always going to be a special time for the country. That the home team has surpassed all expectations by miraculously making it to the final –  a first in the history of the competition — just makes it all the sweeter.

Meanwhile, in the competitive arena that concerns this blog, Germany current runs neck-and-neck with Sweden in terms of exporting EDM talent to the world: Moguai, Digitalism, Cosmic Gate, and Zedd — these are just a few of the German artists you’ll find ensconced in the top tier of electronic music’s own champions league.

And let’s not forget the Godfather of German dance. Grammy winner Paul van Dyk has managed to maintain household name status — in EDM-friendly households, at least — for a decade-plus. That alone is enough to certify him as a legend. And his new album, Evolution, finds him re-creating himself, with a sound that’s current, fresh and unique. Forget legend — try icon.

Paul van Dyk – Evolution: LISTEN TO IT HERE

I’ll zero in on the tracks I’ve enjoyed. In fairness, though, they’re all really meant to be heard at a Bal en Blanc type of festival with thousands of other people all tuned in to the same vibe you’re on.

* Symmetries stands out for me because its 130-ish bpm tempo sets the standard for an album that is clearly made for dancing. So often, trance albums have … well, let’s call it a Cinderella storybook type of sound. Great for those long walks through the enchanted forest, for sure. But those of us who live in real life in real time, a 10-minute ballad with two minutes of full-out kick, clap and snare is sometimes just … a little much. Now maybe that pegs me as less than a fully fledged trance fan in your eyes. I assure you, to the contrary, that I am — and that the kind of trance sound van Dyk experiments with on this album is precisely the kind I’ve most come to love.

* The Ocean is something special. A trance song with female vocals is usually only going to go as far as the songstress can take it. And Arty takes it all the way to the edge of the Pacific. (Barf in your mouth at the play on words, if you will, but there it is.) There are points in this song, at 0:45 and 3:13, when the filter really starts kicking in and you feel, in your bones, what trance is about. Cinderella storybook, but with a conscious beat. Hard to describe, easy to listen to.

* Verano is a big room anthem. I mean, f**k genre boundaries. van Dyk sees what’s good, wherever it is, and goes to there. This song sounds conjures up all that’s best about Avicii, yet it’s van Dyk all the way. Proof that this established artist is still perfectly happy playing around with new sounds. Credit must go to Austin Leeds, whom I’m sure helped with the “evolution” of this track. (See what I did there?)

* I Don’t Deserve You. OK, at first I thought this was going to be a trance version of Milhouse’s “Can I Borrow A Feeling” — basically a little melodramatic and over-the-top. But the beat van Dyk lays down really throws the vocal and the vulnerability of the lyrics into sharp relief. You’re the first face that I see and the last thing I think about. I think we’ve all been there.

* Lost in Berlin. Simply put, the kind of EDM track I love. In your face from start to finish, all style and flair. Catch me dancing to this at 4am like it’s noon.

* Rock This. Now, just wait a bloodclot minute! Isn’t this supposed to be a trance album? You know, all flowers and rainbows and shooting stars and s**t? Naaaaaaaaaaaaaaaah, man. Mr. van D goes for some glitchy, amped-up electrofunk on this one, creating the biggest drop on the album. Go on, rudebwoi!

* All the Way. Hmmm. Now, this song bit me on the ass the minute I pressed play. Something sounds awfully familiar, though. I’m getting a “Mason-Exceeder” feel — but the way van Dyk plays with the sound is so original that I say what the hell: bump it!

* If You Want My Love. Saving the best for last. It might sound pedestrian to some, but for me this jumps off the Pioneers for me. As in: potential top 40 classic. Or at least prime — and I mean PRIME — remix material. Give it a shot!

van Dyk has really experimented with an array of styles and sounds on this stellar collection. Albums really seem to be making a comeback in EDM right now, and when you see iconic artists like Paul van Dyk and Cosmic Gate at the forefront of this revolution, it gives you faith that we’re in for a good run in these next few years. No question: this is Germany’s moment.

BUY PAUL VAN DYK’S EVOLUTION ON ITUNES.

Follow Scott Willats (SAWStruck) on Twitter

Posted by Gosia Mrugala

Released just two weeks ago on Steve Aoki’s Dim Mak label, Datsik‘s album Vitamin D is the banger his followers were primed for. The B.C. artist has described dubstep as “totally the punk rock of electronic music,” and on this debut LP he explores his limits, merging a wide range of musical inspirations — most notably Wu-Tang Clan and its MVPs RZA and Method Man. The album definitely captures something of the spirit of Wu-Tang, with its ominous, futuristic sound and gangster vibe.

My personal favourite here has to be “Complete Control” — but the whole of the album is a dark, euphonious mental roller coaster ride. Let’s break it down:

1. “Annihilate” – Definitely a track to entice the listener into playing the entire album. A perfect introduction to Vitamin D’s diversity of dark and captivating sounds.

2. “Fully Blown” (feat. Snak the Ripper) – Here, Datsik displays his affinity for hip-hop. He wastes no time on this one, jumping right in, without any buildup at all, and enlisting Snak The Ripper to provide some heavy-duty rap vocals.

3. “Syndrome” (with Downlink) – This track starts off with a classical vibe, then drops in some overwhelming bass. For me, it’s a standout for merging two such seemingly incompatible genres with surprising artfulness.

4. “Bonafide Hustler” – It’s almost like a biographical anthem for Datsik, the quintessential dubstep hustler. The sound is grimy yet cutting edge, pretty much ensuring that this will be a “bonafide” banger in the clubs and on the airwaves.

5. “Evilution” (with Infected Mushrooms & Jonathan Davis) – A collaboration with trip-hop duo Erez Eisen and Amit Duvdevani (a.k.a. Infected Mushroom) and Korn lead vocalist Jonathan Davis results in psychedelic/trance/electronic rock track that opens the darkest corners of the musical mind. I pressed replay more than a few times — as will you. It’s one of those tracks that invades the mind and refuses to leave.

6. “Need You” – This one sounds a bit like a mash-up of music and sound effects from old arcade games. It creates a certain musical clutter in the mind (a bit of everything all over the place) — but isn’t that what dubstep is? Mashed-up, unpredictable and a bit cluttered (in a good way)?

7. “Don’t Feel Right” – Here he starts with a playful electronic rhythm, then shifts into memorable sample from Shakedown‘s 2002 hit “At Night,” and from there into an overpoweringly grimy sound. Quite the mash-up, but definitely worth a replay or two.

8. “Light The Fuse” – A track with a very catchy, bob-your-head-along kind of kick to it. Dubstep usually conjures a dirty, borderline-rebellious feeling for me, but this one put me on a playground playing hopscotch — at least until it reached the 1:09 mark and it took on a different spin: grimy, anarchic and overpowering.

9. “Complete Control” – A fitting title for this superlative banger.  With everything from intriguing build-ups to filthy drops, it takes you on a dark, fantastical. I put this one on repeat, letting Datsik take “complete control” of my mind.

10. “Punisher” (with Downlink) – Okay, the build-up was a little irritating, but the drop won back my attention. A daring, musically capricious piece of production that I can see entrancing listeners, whether on the dancefloor or chilling with headphones in the “grimy” comfort of one’s home.

11 “Napalm” (feat. Masinian) – The opening recalls the start of Skrillex‘s “First Year of (Equinox),” until the rap vocals swoop in and ambush the listener. Can’t say I was a big fan of this track or came away from it feeling the urge to press replay. But it does offer a unique sound.

12. “Double Trouble” (with DJ Z-Trip) – “We came here tonight to get started.” Except it kinda felt like it was taking a bit long to start. Still, once it revs up, this one repays your patience. A suitably filthy track from one of Canada’s brightest young bass music stars, this does what every good album-closer should: leaves the listener eager for more.

 Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.

Posted by Gosia Mrugala

Born in Vermont and now based in L.A., MORGAN PAGE has been making electronic music from the age of 12. It’s fair to say he’s come a long way. His crowd-pleasing, mellisonant originals and remixes are evidence of a talent that has evolved successfully. Page’s new album In The Air (showcased recently here at bpmtv.com) has its listless patches, but nevertheless offers some rapturous tracks that should satisfy the craving for stellar progressive house, whether in the comfort of your home or car, or wheeling around the dance floor. Let’s break it down.

1.”In The Air” – Hands-down, my favourite track on the album. Angela McCluskey‘s soothing susurrus of a voice dances evocatively to the beat Page lays down. A great way to start things off.

2. “Where Did You Go” – A more upbeat approach. Definitely made to get the crowd moving at the club. If anything, it’s maybe a bit too dance-y for my tastes. But no denying the strength of the rhythm.

3. “Body Work” – I have to say, I absolutely love Tegan and Sara‘s voices here. An upbeat track, this is definitely going on my playlist for the gym. Perfect for dancing your ass off, “Body Work” has been floating around since last year, but has gained well deserved popularity thanks to Page’s own club mix and reworks by Lazy Rich and Richard Dinsdale.

4. “Carry Me” – I don’t think I know anyone who can say they aren’t entranced with Nadia Ali’s voice; small wonder she graces tracks by so many different DJs.The melding of voice and rhythm here is most grazioso. Press play and let it “carry” you to a state of musical euphoria.

5. “The Only One” – A mellifluous love song that creates a mellow, halcyon mood. Best enjoyed at home with headphone — I don’t see this moving the dance floor, unless there’s club-tempo remix in the works (which: not a bad idea).

6. “S.O.S.” – A unique trance spin on The Police‘s 1979 classic “Message In A Bottle” about a desert island castaway in search of love. A surprisingly successful remake — definitely worthy of a listen.

7. “The Actor” – I do like the lyrics to this track, but the rhythm isn’t satisfying my musical senses. All in all, an OK track, but a bit insipid compared to some of the other material on the album. Can’t say I would personally press replay for this one.

8. “Missing” – Nothing “missing” on this track. An aberrant yet interesting start, a warm, flowing melody and a catchy rhythm that won’t let you stay perfectly still.

9. “Light Years” - I’m a big fan, personally, of adding real instruments (like the piano in this track) to lend a “classical” touch to a track. This is a soothing, almost pianissimo trance track, with impressive lyrics. Have to admit, I pressed replay on this one more than once or twice.

10. “Love Mistaken” - I can’t say this one really left a lasting imprint in my musical memory the way some of the others did. It’s a decent enough trance track but a bit of an oblivion for me, frankly.

11. “Gimme Plenty” – A funky sound to this track, with Shana Halligan’s vocals lending a welcome touch of soul. Seductive!

12. “Video” - Again, the great voices of Tegan and Sara. The addictive vocal hook with its “electro” sound lends the perfect kick to this track’s captivating trance rhythm. I pressed repeat — so will you.

13. “Addicted” - Greg Laswell’s vocals mesh ideally with the calm yet surprisingly “addictive” beat that Page has worked up for this one. It borders on the mellow, but still has enough of a kick that it can be enjoyed on the dancefloor.

Gosia Mrugala is a Toronto-based blogger and reviewer. You can read her blog HERE, and follow her on Twitter HERE.

Posted by Scott Willats

Mr. Steve Aoki (a.k.a.) Kid Millionaire is one of the pioneers of what has become the EDM boom. The founder of Dim Mak Records has circled the world, headlining at all of the biggest events with his distinctive brand of party music. Previously known more for his stage presence, Aoki has developed into one of the better producers in EDM over the past 4 years. I was eager to find out what sounds he’s been playing with lately and how it’s all panned out. So here’s my take on his brand new album, Wonderland.

Earthquakey People feat. Rivers Cuomo

For all intents and purposes, the title tack of the album. This is the Aoki you expect: heavy, distorted bass that invades your speakers with a classic buildup. Rivers Cuomo is a bit of a weird choice for this beat, though. Don’t get me wrong: I have every Weezer album. But his voice doesn’t translate as well on an electro track made for the big room as it does on a rock anthem played for stadiums. I like the lyrics; though meant for partying and partying only, they flow well. Still …I can’t put my finger on it, but something is missing. At least, it is until you check out the Dillon Francis remix. Huge!

Ladi Dadi feat. Wynter Gordon

There’s no scientific basis for this, but it’s a theory I believe in: track number two on a CD is always the artist’s favourite song. Can’t tell you why — just that on album after album, track two is the keeper. Aoki bears this out with “Ladi Dadi” — the song bangs. A radio-friendly track that lays down the perfect background for vocals from the much-in-demand Wynter Gordon. And the video is wicked!

Dangerous feat. Zuper Blahq

Some artists just have great chemistry — and that’s the case with Aoki and The Black Eyed Peas front man will.i.am. Performing as his alter ego, Zuper Blahq, will delivers the the robotic lyrics that make this tune … dangerous. The track is a banger that keeps up a steady pace until the 2:30 mark — at which point it just goes h.a.m!

Come With Me (Deadmeat) feat. Polina Goudieva

For those who love airy-sounding big-room tunes, this one’s for you. Polina’s vocals leap straight off a track that could easily be mistaken for Benny Benassi or Afrojack, and immediately hook you in. For myself, I love the parts focused on the pads rather than those focused on the beats. Either way, you have to agree it’s Polina’s presence that makes this track special.

Steve Aoki feat. Polina – Come With Me: LISTEN TO IT HERE

Emergency feat. Lil Jon & Chiddy Bang

This is why you have to love Aoki. An album this diverse was always going to have some predictable elements and some wildly unpredictable ones. But on the same song? Anybody who knows anything about Aoki could have guessed that Lil Jon would turn up on this album — but Chiddy Bang? Not so much. For those who haven’t already heard of Chiddy Bang, it’s time to get familiar. The Philly duo consists of Chiddy, the world record holder for longest rap (nine hours!) and Xaphoon Jones, one of the most creative and innovative producers in the game. They bless this tune with some heavy content. Aoki saves one of his better beats for the duo, and Chiddy goes innnnnnn on the beat and eats the track alive. Add some of Lil Jon’s trademark screaming, and you’ve got a hit. I think you’ll be surprised how much you like this track. My personal favourite.

Emergency feat. Lil Jon & Chiddy Bang: LISTEN TO IT HERE

Living My Love feat. LMFAO & Nervo

It’s an LMFAO world that we’re living in. Right now they’ve got the Midas touch, and you can hear it on this track. Nervo deserves mention because it’s as much her track as theirs — but there’s just something about Redfoo and Skyblu. When you hear their voices on a tune, it immediately feels like something you’ve always known. And I think that’s a good thing. Expect this to be the next single off the album.

Control Peak feat. BlaqStarr & Kay

Bring the vibes, bring the soul. The acoustic bass is the first thing you’ll notice, lending a welcome organic feel to this soulful track. The showstopper here is Kay; when that second verse starts it doesn’t matter where you are — your head’s gonna start bobbing and your hips are gonna to wiggle a little. This tune will probably be overlooked by most EDM junkies, but it might just be the most insightful track on the album.

Steve Jobs feat Angger Dimas

Hard, heavy and hectic. Nuff said!

Heartbreaker feat. LoveFoxx

A track made for long bus rides. This has an immediate, soundtrack-y feel and plays the part just right. LoveFoxx is the perfect choice to quarterback — her airy vocals are just what’s needed to make this song worthy of the most overused word in the English language: epic. I can see this one being huge in Europe.

Cudi the Kid feat. Kid Cudi & Travis Barker

Kid Cudi must count his lucky stars at night. Not to say he doesn’t deserve all the fame and recognition, but I’ve rarely seen an artist win such open acceptance across multiple genres. He’s an EDM hero, a rap phenomenon, an acclaimed actor and a rock star. One this track he’s accompanied by another musician who has received a similarly open-armed reception: Travis Barker. The song? Good, but not great.

Ooh feat. Robert Raimon Roy

I love this track. Funky, fly and fresh. Triple R delivers some heavy vocals, and Aoki outdoes himself on the beat, nailing it right on the head. This beat is so ill – that’s the only description that does it justice.

“I’m about it allllllll….”

Steve Aoki feat. Rob Roy – Ooh (Original Mix): LISTEN TO IT HERE

The Kids Will Have Their Say feat. Sick Boy

Hmmm. If you read this blog you know I hate when artists stick rigidly to just one genre. The best part of music is experimentation. That said, sometimes you can go a little too far. For those who are strictly EDM fans (dubstep, house, progressive, minimal, trance etc.), I’m afraid you won’t like this one. Steve goes apes**t on a heavy metal ballad. You be the judge.

Earthquakey People (The Sequel)

To my mind, this version is light years better than the original, and I think he must’ve known that. Sometimes an artist will have five different versions of the same song, and end up just gambling on which one will resonate with the crowd. Sometimes I wish they’d just release all five and let the fans decide. Kudos to you, Steve, for experimenting with that idea!

THE FINAL WORD

For someone like me who loved with the classic hip-hop mixtape format — where you basically put your name on the disc and release other people’s tunes — I must say I really enjoy the style of Wonderland. It showcases some amazing beats inspired and created by Aoki. But what I love best is that every song feels like an experiment. Some work well, and others not so much — but every track is going for something different, and for that I give the creator my utmost respect. This album is proof that Aoki has come a long way.

Follow Scott Willats (SAWStruck) on Twitter