#glitchy bass

[glitchys-blog]

Check out Glitchy You Tube channel for loads of shorts. It's really lots of shorts, music, and hopefully some comedy gold thrown in for good measure all in the name of fun. Please subscribe, guys. I lost my account before (v.v.v..v.annoying) 1 4 1 4k.

[futureselfbeats]

DAY 875 - AIRWAVES

original music + animation

IG: @futureselfbeats

[spacedustmantis]

the unseen ones might be my favorite fucking track from the suckening so far

[leia-tunes]

inspired by und_rt_le (8 years late, oops), i made this because i wanted to make something glitchy and dnb-ey

also, i've pivoted slightly and now will post any life is strange stuff on leia-stuff.tumblr.com. this will be my tunes posting place. sorry for any confusion!

[anestheticrage]

♡ Made with love ♡

New FREE EP by Z. Salieri! Music to dissolve the digital threshold.

[sharp-silver4795]

Creeps in a Band

For @saccharuby , thank you for the idea!!

This is gonna be A LOT shorter than expected… 😓

~Vibes~

What “vibe” do they give off? I don’t think they would actually play them- these are just ✨the vibes✨ yk?

Drummer 🥁

Eyeless Jack

Jeff the Killer

Bloody Angel

Bassist 🎸

Liu

Nathan

Scarecrow

Dark Link

Lead or Harmony Guitar 🎸

Zechariah (L)

Helen (H)

Keyboard-Guitar 🎹🎸

Laughing Jack

Jason the Toymaker

Vocals 🎤

Puppeteer

Ani the Wight

~Ability~

What instruments could they actually play?

~ Guitar (Lead) 🎸

Jeff the Killer

Clockwork

~ Guitar (Bass) 🎸

Kate the Chaser

Zero

~ Guitar (Harmony) 🎸

Nina the Killer

~ Keyboard-Guitar 🎹 🎸

Neon Spike

Chess Master

Candy Pop

~ Keyboard 🎹

Ani the Wight

Glitchy Red

Kagekao

Candy Cane

Laughing Jill

~ Vocals 🎤

Ticci Toby

Kat Hunter

Judge Angels

Jane the Killer

~ Drums 🥁

BEN

X-Virus

Nathan the Nobody

Divider Creds: Sister-Lucifer

Header Creds: ME!!!

[striderl]

Rumor has it that the Filming Industry's manager can always make a walkie-talkie look like a detonator with his serious face.

If Styro is ever getting a voice, I suppose it would be a gentle bass voice like this.

Slightly scary when it gets really low and glitchy, but it's still gentle.

[kuliak]

I've been listening to a lot of Boards of Canada the last couple of days. If you couldn't tell.

Let marbles roll for a while until I found a nice glitchy Worm sequence, then build around it. Four parts, technically.

Worm goes through Qubit Prism, Bib, then Rainmaker, simple as.

Drums are the whole shebang through Ikarie as usual, though with a more complicated sequence than I usually do, which is good - less regular/euclidian patterns, more complicated ones with a few portions broken out for muting/unmuting. I finally have enough percussion that Taiko can do what it does best: varied, auxiliary percussion. Marbles y channel modulates Archer's Rig presets to randomly random the hats, which sounds great. Maybe I'll get more fine grain with that in the future, maybe not.

Chord pads are Piston Honda receiving steady and chaotic modulation from Quadrax, through Data Bender which is mostly doing low-pass filtering. There's a pretty low-in-the-mix voice doing some bass and little arpeggios which is three body through Lacrima Versio, then the stock reverb on Nebulae. Both of them are sequenced with Bard Quartet.

Love pretty much everything happening here.

[friendliestanon]

Song descriptions

Bubble: simple and bubbly music. Pop-sound-effect.mp3.

Caine tutorial: also pretty simple. Takes from the end credit theme, it’s more jazzy and fun.

Pomni: she’s still new to the circus, so her music is kinda awkward and stutters. It draws most of its instruments from the digital circus theme itself. In an unlockable second battle she’s a little more confident. Still heavily playing into the circus theme, but a few more original instruments.

Ragatha: she’s got a cheery little tune with a more sharp and foreboding undertone. Some vague glitchy notes that are similar to the abstraction music. Kind of inspired by raggedy Ann music. Possible second battle after a Jax side quest that’s more harsh and a little angry.

Gangle: girlie pop has an anime intro/outro depending on if she’s in her comedy or tragedy mode. I don’t make the rules. That’s it. Comedy is major cords and faster, more upbeat. Tragedy is more bass toned with minor notes and is slower.

Kinger: odd rhythm that doesn’t really sound complete. It seems like some of the notes are missing. But he has some moments of “clarity” that soar upward before they crash down in little weird sounds and fizzle away.

Zooble: fairly basic background notes but different parts add different layers to the music, and new attacks. More punchy and punk with bass and drums.

Jax: chaotic, but has an electro swing twist reminiscent of old cartoons like Oswald and Felix the cat. Eventually could be coded to be binaural, literally running circles around you.

Caine: it would start with his tutorial music, slowly fading into the basic lines of “your new home” or the theme before kicking up into a chaotic whirlwind.

Secret 1: it’s corrupted and glitching. Repeating notes in weird ways. For some reason it kind of sounds like it also taking from the theme song.

Secret 2: it won’t stop laughing at you. It’s chaotic and wild and glitching. It’s creepy and weird and no one likes it.

Secret 3: it sounds vaguely familiar, but it’s missing something. It’s glitching and sad. It didn’t want to be here.

Secret X: upbeat and bubbly, with a more choir-like undertone.

[obsessivemusicfr3ak]

10/18/24 12:00 AM

NEW FUCKING MACHINE GIRL ALBUM JUST DROPPED WE FUCKING LISTENING BITCH

1:Ok fr tho already heard first song from single its aight (better than i remember now that im listening again) ((theres also no lyrics out yet so im not gonna mention those at all))

2:Second song titled "nu nu meta phenomenon" is fucking INCREDIBLE the sound design and awesome drums continue the awesome trend of live instrumentation mixed with glitchy elements that leads to a heavenly experience!

3:Glitchy goodness continues on the third track, which has some amazing synth leads that are just a fucking amazing vibe. The ending is great aswell! A nice build up and climax to some CRAZY noise.

4:The standout element of this album is definitely the drums. The groove you get from them is exemplified perfectly on this track. Pretty nice track although ill have to let it grow on me a bit ngl.

5:This track is completely unique from anything else ive heard on the album. (I cannot get over the fact that the first verse uses the same flow as your favorite martian on mr douchebag.) The sound design continues to be otherwordly, legitimately so on this track sounding like music from outerspace. The latter half of this track is a lot more smooth and enjoyable than the first half.

6:Ohhh my god this interlude is amazing. Super ambient yet creepy vibes. Just a really nice relaxing track im definitely coming back to a ton.

7:Ive heard this song before. Absolute peak. Easily top 3 machine girl songs ever released, imo. Perfect blend of awesome electronic drums and live instrumentation in the more "punk rock" sections. The idm sections have an awesome groove and the transitions to the punk rock sections are just SO good. When this first dropped i was very surprised by it, but hearing it in context it makes perfect sense and fits snuggly as the center of this album.

8:Super cool track. Awesome drum grooves with some really unique vocals. Overall this is just a really fun song, with the high pitch really "bright" sounding instruments. The switch up later on brings a really nice element to this track aswell. Will be returning to this track many times i can tell. Not much to say here its just really good lol

9:The high pitch vocals really make this track for me. Super (again) groovy feel and awesome sound. The chaotic ending gives this track a good feel that makes it stand out from the rest of the tracklist

10:Living up to its name, "Grindhouse" starts with super dark feeling, as if you are in a house party on acid in a movie. This track just gets me moving man its so dancable! The second part of this track blends themes of house and techno with the experimental dark sound going on here, machine girl style with crazy sound design and distinctly machine girl vocals. This song just has a bounce to it that i love.

11:Another great interlude that sounds like a radio transition on a bad trip.

12:Transition into this song was amazing. The vocals already are captivating me with this aphex twin drukqs synth vibe, similar to cock/ver10. Vibing hard to this crazy ass track, just loving this switchup midway through, suddenly switching to a nice chill beat that still somehow sounds cracked out. AND IT SWITCHES UP AGAIN! Holy this song is so fucking good... the bass synths going loud in my ears and insane sounds im hearing definitely makes this track sound exactly like its name, "schizodipshit". The glitchyness adds to it aswell, and the cut back to reality with this simple beat right after omggg this song is phenomenal!!!!!

13:This was the third single for MG Ultra, and i love this song through and through, from the starting section with amazing drumming and superb chorus. I know the lyrics by heart to this song already i love it so much!! Its super relatable to me with it being about being belittled in small ways adding and not feeling respected by your peers. With lines like "psychic attack, when you're talking shit behind my back, psychic attack when i fall and hear your laughter" reveals this theme. Amazing final track that is a perfect closer for this just amazing album.

FINAL THOUGHTS: This album is the start of a new direction for machine girl, one of punk rock influence and more live instrumentation which I am really excited for! This keeps the same crazy energy and wild sound design and mixes it with punk rock groovyness. A must listen for machine girl fans. They have outdone themselves with this record. 10/10

[pocima]

My seasonal music highlights: fall 2024 ☎️

Welcome to another installment of my songs of the season lists, this marks the fourth entry, which means I’ve been dedicated to this series for a year now and I’m incredibly glad about that 💪🏻 I didn’t save as much music in my library as the rest of the year, I have 105 songs in my spring playlist, 86 in my summer one and only 51 on the fall one. However, the new music I did tune into this season, I was absolutely HOOKED on most of it. You can check out the previous installment here, this playlist is not in order, * = full album/EP to be discussed in the yearly favorite project recap. 💋

❤️‍🩹 Drums of Death - FKA twigs

FKA twigs' Eusexua is rightfully one of the most anticipated (including by me) 2025 albums, with a gradual rollout involving three singles accompanied by visuals and worldbuilding of unprecedented quality, along with a couple of performances that unveil more of the album's offerings. (In fact, here’s one where she performed 7 out of 11 of its songs. 😋🍽️) The most recent of the three singles, Drums of Death, is a rather blunter approach to the sound she's crafted, compared to the trance infuenced quiet waters of Eusexua or the welcoming alternative pop land of Perfect Stranger. Drums of Death leans on a backbone of diced up vocals, kicks and claps, while the pre-chorus and chorus bring in the harmonies and melodicity. To some fans, it feels rather like an interlude, and is a let down compared to its snippet feature in the MV of Eusexua. Personally, tasteful repetitiveness is something I've been appreciating in music and literature lately. When artists who have a firm grasp on musical and literary techniques do it, instead of being told, "well here's a song that I didn't put all that thought into but I hope it stays on your mind and your Tiktok page", to me it feels like I'm masterfully being serenaded or trapped, invited to experience the worldview of the track either way. That’s part of the reason why I prefer the build-up in the studio version, it leaves more room for the intro to shine and gives an opportunity to a more major drop and conclusion. Besides, you know how big of a fan I am of this specific type of glitchy production; and combined with twigs’ elegance, talent and self-expression, you have no choice but to fall for her offerings and stay seated for her entire project to be unleashed (in January!).

❤️‍🩹 second demise - 4s4ki (co-prod. NUU$HI & The Back Horn’s Eizumi Kannami)*

Miss 4s4ki hasn’t appeared in the long reviews sections of these lists in the past 2 entries, not because the music was bad in any way but because she dropped singles instead of projects and I couldn’t find much to say about them despite them being incredible as always, however know her crown remains untouched. Collective Obsession was her first body of work in a while, since June 2023 album Code Ge4ss to be exact, and second demise specifically was revealed first in a live performance. I basically heard the entire song previously and that didn’t stop me from hyperventilating at night when listening to the studio version. second demise offers the drum & bass mastery offered in multiple past projects of 4s4ki’s, as well as electric guitars being part of the base for the instrumentals and a drill section for the second verse, which is a first time entry for her genre versatility record. What makes this track so so special isn’t even what I listed above, it’s the way all of this is executed in such a siren-like, haunting way. The synth that appears in the intro and the (pre-)choruses, her hypnotic processed vocals and adlibs, the key switches (I’m not even usually a fan of key changes but this is an excellent example of one), the lyricism… yeah, this is exactly the type of 4s4ki songs I’m the most drawn to. I’m still so impressed at the fact that she’s physically unable to miss with her releases AND she keeps taking her game to the next level. If you’re not tuned in for her releases like I am, you’re missing out severely, on unimaginable levels. Oh, and I knew NUU$HI was goated since I heard his production on echo’s no scars, and I will be getting into The Back Horn as well.

❤️‍🩹 Whiplash - aespa

If HYBE truly wanted to outdo aespa, they would’ve leaked information on what they’ve been eating this year, because whatever it is, it’s made them cook up an unseen before smash hit run. I’ve been consistently talking about their music in this series and on my blog overall, and talking about some “omg NOW this might be their best title/song” and whatnot, and this time they decided to put an end to my dilemmas. Whiplash is my favorite aespa song ever, let alone title tracks. It’s exactly the sound that I’ve been begging aespa to incorporate into their discovery for all the three years that I’ve been a fan of them, it’s effortlessly catchy, it’s not dedicated to mainstream audiences but catches their attention because of how well-defined it is, it’s gritty, it’s mature. (If you grabbed my head during its release week and shook it you’d hear “one look give ‘em whiplash” echoing.) It’s futuristic tech house highly reminiscent of Boys Noize or Gesaffelstein (@timetravellingkitty gets me on this one), with techno synths and a classy drum pattern perfect for voguing or catwalking printed all over. Despite the relative monotony of the track; the verses, chorus and vocal performances remain top-tier. No member feels like they didn’t get what they deserved (which has been an issue on multiple previous title tracks), they’re now all at the forefront both in the song and the choreography, their parts are designed for them to shine individually while being harmonious with each other. Whiplash is currently peak aespa, perfectly pop, perfectly experimental, perfect in all aspects from production to creative direction to the aespa girls glowing with confidence, knowing their improvement, skills, artistic achievements and that they all truly outdid themselves in all areas with this release.

❤️‍🩹 Puchica - Isabella Lovestory

Neoperreo pop princess Isabella Lovestory is back with her consistency, her signature synth-heavy reggaeton and unique, campy in the best was possible art direction. Púchica, the title being Central American lingo roughly meaning “damn!”, had been teased for quite some time before its release (including that May 11 livestream where she teased VIP and some currently unreleased gems), and the single cover alone, consisting of a self-made collage, reflects the track’s expected flashiness. (Heavy on the self-made as well as her also directing and editing the MV herself, we love a true audiovisual artist. ❤️‍🔥 Oh, and calling all 5 neoperreo fans on this site: Taichu is featured in the video!) What I probably enjoyed most about this single is that the beloved 8-bit synths from Tacón were brought back because those never fail to scratch an itch in my brain, accompanied by slot machine spinning sounds to match the lottery win theme of the track (an explicit “damn, I hit the jackpot!” 👀). If you listen to Isabella, you already know she has an ear for a permanently infectious chorus, and this is one that lived in my head rent free for one of the longest amounts of time. And those slight switch-ups for the last four bars of the second verse and the last post-chorus? Satisfying 8-bit excellence. Well, that’s an immaculate continuation of a skipless discography, and even though she postponed IL2 (2025 🙏🏻), we were well fed with this year’s singles nevertheless. The independent popstar scene really hit the lotto with her. Ay vos, como púchica, púchica 💃🏻

❤️‍🩹 UFO - f5ve

On the previous entry for my seasonal recaps, I talked somewhat lengthily about f5ve’s come-up in girl group fans’ eyes and them finding their group identity, and since then, my love and appreciation for their music and skills and everything they have going on has only grown. The biggest reason for this is their successful follow-up to their summer release Underground, which has truly proven they’re one of the most intriguing and artistically polished acts in the pop game right now. A major attention grabber for UFO was the A.G. Cook and Nömak co-production, largely thanks to executive producer Bloodpop’s connections (and it’s kind of hilarious to observe people who are less familiar with PCMus get shocked at this). The hype surrounding this paid off immensely as the production of the track is absolutely otherworldly: UFO claw whirring noises start reverberating and builds up into synth-filled electropop heaven. Oh boy THE SYNTHS ON THIS… I have yet to recover from how they rewired my brain. With the unforgettable verses, chorus and the “gacha, gacha, gacha find out”, you too will find yourself replaying and singing along to the whole song nonstop. A sick double entendre at the core of this song that I believe needs to be mentioned more is how the usual usage of the term “UFO” intertwines with its Japanese meaning, which is the claw machine you come across in arcades, and you can probably tell the simile comes from their claws and how they grab objects. The track and MV tell a story of a schoolgirl with supernatural powers (ESPER SHOGAKUSEI, that’s that collective consciousness) who puts them to use in said claw machines, and while it’s lighthearted and incredibly entertaining, it’s also another incredible example of f5ve bringing in Japanese culture to the Western originated hyperpop scene and the whole world. (Two amazing articles where the girls discuss this, highly recommend giving them a read. And please start talking about how talented and well-spoken the members are because that’s not brought up enough either.) f5ve members and the team behind them have made it clear they’re here to press their stamp on contemporary pop, and they’re heading nearer towards cult classic status with every comeback.

❤️‍🩹 BLACK LIGHT - LSDXOXO*

LSDXOXO has been an icon in the underground club scene for over a decade now, and though his debut album DOGMA swerves into a slightly different direction of alternative R&B, cloud rap and breakbeats, what Black Light offers may be his most addictive yet. At least to me personally: I’ve been hyping up a good number of gritty bass and pluck dense songs released this year, including TAN’s Hypertonic (the successor to FEMM’s L.C.S. and yes I will die on this hill) and echo’s GAME. I’m kind of seeing a pattern of Yasutaka Nakata produced 2000s J-pop having a full circle moment, as well as Black musicians pioneering techno and house, with this J-pop subgenre drawing from both making this moment go deeper in history. I am not complaining about it in the slightest because the artists who have taken that path have amended the style to work for them so far, therefore letting the tracks stand strong regardless of said nostalgia factor. In LSDXOXO’s case, the tone of his take on the style is unlike the aforementioned songs. Techno and house have been at the heart of his work for throughout his whole career, so this experience and the melancholic-ish tone of the album amount for a more mellow but really memorable synth pop/alternative R&B track. If you’re simultaneously a 2000s J-pop and contemporary EDM enjoyer and you’re seeking those dance pop highs but maybe with a colder twist, you’re the target audience for this.

❤️‍🩹 Viola - Yves

The beloved LOONA members bouncing back from everything they’ve put through and finding their own callings whether in groups or as soloists is something I find immensely commendable. Out of the girls’ post-BBC (keep pirating the BBC music btw) releases, Viola became an instant favorite with its 2010s-20s Hannah Diamond and A.G. Cook coded OG hyperpop realness, immaculate sound design and refined (especially by K-pop standards) creative direction. My liking for this track is representative of my K-pop and non K-pop tastes blending into each other, as it pushes the boundaries of K-pop and possesses some of my favorite characteristics of my most played music from the alternative pop scene. The vocals are distorted, the synths are pitched, everything is processed and multi-layered, the MV isn’t too show-offish and instead relies on the wonders of cinematography and video editing. (I am strongly against Paix Per Mil’s use of generative AI though, and so is Yves herself.) Just like that, the rules of mainstream K-pop are tastefully bent. Something I truly appreciate about Yves and her team is that they’re successfully building a niche. Rather than trying to find that hit or predict what the GP or different fanbases will support, they’re forming a community that is truly here for her very own music and artistry, as well as giving a handful of long-time Orbits the experimentation they were anticipating for years. I’ve been pleading for K-pop labels to follow this tactic for ages and stop pandering to just about anybody, so seeing such a refreshing release is like a dream come true. No matter your familiarity with K-pop or LOONA, Yves is a full-fledged solo artist worth following.

❤️‍🩹 BACK2BACK - STARKIDS*

First things first, Starkids will pay for that heinous disbandment prank of theirs. That’s a line you simply don’t cross with a veteran K-popper that has been traumatized from some of her favorite groups being mistreated and disbanding, one of the worst incidents happening THIS SUMMER. My heart dropped to the 10th circle of hell when I saw that letter on their page with the “translation” and all. In my gut I sensed that they were trolling, but I was also mentally unprepared to lose this unmatched Japanese hyperpop band that continued to cook up hits. Anyway, that really did turn out to be a gimmick for a surprise FULL album drop so they’re forgiven. The most accurate description I can give about Starkids is that they’re the life of the party in the Japanese music scene, and honestly music overall. They know how to have fun to the fullest and reflect that dopamine rush in every aspect of their work. Their new album is no exception to this, and each one of the songs feels injectable, but currently I’m the most stuck on Back2Back. I’m a sucker for both 2-step and 4/4 club beats, so the combination of both (and especially that first switch-up) spoke to me. “Prod. BENXNI” says everything you need about the production quality (hint: that means it’s top-tier). And once again, they don’t take themselves too seriously with their bars or attitudes, but what distinguishes them from low quality so-called “satire” is that they put their souls into it. Yes, they’re unserious and lean into irony at times, but it’s all authentic, hearty and expertly executed. The members have talked about being purely themselves and how that’s a huge priority for them, and they’re surely achieving that and therefore getting love from me and fellow listeners. They’ve proven that they won’t change their mind on staying true to themselves, so there’s nothing to worry about in relation to the music or the group. I just need them to never scare me with that type of prank ever again.

❤️‍🩹 Shoulda Woulda Coulda - FLO*

Beautiful vocals, no-skip catalogue, charisma and chemistry: the ingredients for the UK’s it group FLO. I’ve been a huge FLOlifer since their debut EP The Lead, and they finally have their anticipated debut album Access All Areas out; seeing them grow so much and do their thing on this project makes me proud as an almost day 1 fan. 🥹 The album plays around with different sides of R&B and showcases the girls’ improved skills, and naturally I didn’t have an easy time picking a definite favorite track, but my dice ended up rolling on Shoulda Woulda Coulda. It’s one of the most 2000s callback type songs on the LP, marking a return to The Lead and 3 of Us’ sound which is my favorite musical style from them and a large part of the appeal of this song particularly. However, just like true musical it girls and innovative artists, they don’t entirely rely on nostalgia. I’ve talked about this in both in this post and probably many previous posts, but as tempting it is to market directly through the past, it immediately turns cheap if you don’t have your own spin to it, you just end up with ripoffs in the name of “bringing the good old music back”. Thankfully that’s a trap FLO avoid, curating their work surrounding their own identity and what suits them. The harmonizing right off the bat tells you about the vocal strength of the track (and what they have in store in general), the structure is full but never overwhelming (length is 3:47 too so we’re eating 🙏🏻), the violins at the back add depth to the instrumentals. The bridge is one of their best, and that says a lot because catching up to their bridge building is on the bucket list of future architects. Congratulations to FLO for coming through with girl group excellence like they always do, and I’m sure their future endeavors will take them places even further.

Mini-reviews

🍁 Midnight Cowboy - JADE: Mesmerizing voice, gritty-leaning production. Currently 3 singles in, with this being the second one, and Jade is already a cutting-edge popstar.

🍁 UNHHH - Lolo Zouaï: Yet another dancey R&B smash from Lolo, impressed but not surprised. Yeah you know I’m tryna unhhh, unhhhh

🍁 f5ve - Underground (DJ Chari, French Cries, STARKIDS Remix): It would be criminal of me to write so much about two of my favorite hyperpop bands and not mention their very real COLLABORATION. It’s everything I could ask from a f5ve x Starkids collab and more. The breakbeats are too scrumptious, French Cries/Spaceboy you’re so loved.

🍁 2BADGYALZ - Bree Runway: Another one of my favorite UK it girls on some of the nastiest bass I’ve heard in my entire life. So worth having my brains blown off.

🍁 6plus9 - HYRA: When am I not up for more textured ‘00s inspired electropop, another top-notch example at that?

🍁 take it offff - horsegiirL: So thankful to @lilamala for putting me onto her because I’ve received nothing but bangers, whether they remain in the usual happy hardcore zone or slide onto some Eurodance.

🍁 NATSUMELO - Shaka Bose: Last but never least. Kind of resembles his earlier work such as In My Space but shows his advancement in producing and rapping. I don’t know how many times this man has talked about finishing the album, but he needs to know I cannot wait for it.

Thank you for reading another one of my yap sessions, and if you’ve been sticking around since the beginning of the series, thank you once again and I hope it’s a fun experience for you 🫶🏻 Let’s hope I’m somewhat on time like this entry and that the series remains active!

[thebandcampdiaries]

The 351's - Staying True To Old-School Punk's Tropes With "Mother Anarchy"

The 351's are a punk rock band from Quebec City, Canada. The group proudly endorses a back-to-basic, relentless, and punchy sound, following in the footsteps of some of the most legendary old-school artists. The band's most recent release on Pils Records, "Mother Anarchy," is a perfect example.

Formed in September 2023 and borrowing their monicker from the model of the truck that appears in Spielberg's classic 70s flick "Duel," The 351's comprises guitarist and vocalist Kev "Alley Cat" Berrigan, bassist Dom Rudester, and drummer Martin Gagné. "Mother Anarchy" is a perfect combination of 70s punk aesthetics (Think Sex Pistols or Ramones), but there's also a more contemporary component to the sound, highlighting that this record isn't just a nostalgia operation. The 351's are all about keeping the sound, aesthetic, and, more importantly, identity of punk rock alive and well, bringing more integrity back into the genre. The song clocks in at two minutes and 20 seconds, packing a lot of punch in the process. After a few seconds of glitchy radio tuning sounds, the track blasts off without too much ado. An onslaught of heavy guitars and pounding drums immediately allows the song to take off. The throaty bass tone propels the mix while also gluing it all together wonderfully. The guitar tone is very midrange-heavy, offering a massive wall of sound that cuts through the mix. The drums are snappy and punchy, complementing the guitar tone to perfection. The gritty vocals soar through the instruments and take charge with attitude and energy right away. The slightly broken- up, coarse sound of the vocals adds just the right amount of intensity, but there is still room for melody. Fans of artists such as Rancid, Hot Water Music, or Social Distortion will immediately resonate with this singing style! The gang vocals at about 36 seconds in bring so much extra depth and power to the mix, allowing the dynamics of the song to get to an even more intense place.

 The instrumental section from about 01:14 to 01:23 doesn't feature any solo or fancy guitar lick. Instead, it's an awesome opportunity to let the articulation and attack of the bass cut through a little more and create some space in the song before the vocals eventually kick back in. The rhythmic shift at about 01:53 is truly spot-on. The drums keep the pace and add more urgency with tighter snare hits, while the staccato guitars bring even more emphasis to the singing. The song's conclusion is truly anthemic, with the chorus hook repeated almost like a mantra: this would be an incredible sing-along moment during a live show! Speaking of, this record is far from the over-produced and way- too-polished sound of modern punk. Instead, every component of the track feels extremely authentic on the grounds of the band's powerful chemistry.

Production credits for "Mother Anarchy" include Renaud Rochette as the sound engineer, with mastering handled by Jim at Jimi Studios and Chany Pilote for tape mastering. Embracing the analog sound, especially tape, is a great way to bring some authentic grit and warmth back into the sound, and this release benefits greatly from it.

In conclusion, "Mother Anarchy" is a powerful and in-your-face piece of punk rock music. The release reflects The 351's commitment to capturing the essence of the genre in both sound and spirit, as they aim to carve a distinct presence in the punk rock scene and stay true to what punk rock truly means.

[kpop-obscura]

Top 10 Kpop Songs of 2024

Decided to do a little rebrand for the new year. Been doing this blog for 7 years at this point and its been great. Kpop is constantly evolving and changing, groups coming and going, unexpected success and unexpected failure, the scene is in an almost completely different place than it was when I first got into it in 2016. Using this blog to keep track of the various incredible songs, stages, shows etc. that come out in a given year, has given me a sense of consistency in an ever-changing industry. Appreciate anyone who's read a post and discovered a dope song they might have otherwise missed.

10. tripleS - Chiyu

Ethereal melodic RnB with a driving bass and crazy background vocals. A crystal aquatic vibe mixes with shifting reverb to create this heavy dreamy feeling that’s incredibly aesthetic. Really just accomplishes exactly what its trying to do. tripleS had a great year, with a bunch of solid B-Sides throughout their releases.

9. ENHYPEN - NO Doubt

A dark incredibly smooth RnB gem, immediately iconic vibe with great styling and choreo. The sultry laid back attitude is on point and the synths bounce around in a very disjointed but incredibly catchy way. This whole album was great, easily their best work so far.

8. NEXZ - Starlight

There’s something quirky and offbeat about the melody that’s hard to describe. Starts sort of slow and seems straightforward, but then gets interesting and overly sincere in tone. Its just groovy at its core, the choreo brings the whole thing together and makes the various rhythms make sense. NEXZ is the truth, these guys are really on a different level than most rookies, really hope JYP is a real one and gives them great music.

7. IVE - Ice Queen

This goes so unexpectedly hard, starts glittery and smooth then has this beat drop out of nowhere and shifts into a hip-hop EDM break with ethereal haunting vocals. Almost a witch-house type feel at certain points. Very distinct, a dark vibe that's sort of uncommon but still within the modern trend. The shift into rapping is very clean and sounds effortless. Gaeul also has an underrated singing tone, she has some key little vocal runs in this that are very dreamy and odd in a good way.

6. ILLIT - Lucky Girl Syndrome

Shouldn’t work as well as it does. Very bright quirky kind of commercial themes but sort of dissonant and odd in an unexpected way. Minju’s voice honestly makes this song great, as good an example of someone just meshing with a sound as you can get. The whistling, the chorus, it just works and feels a bit like older kpop in that its more earnestly cheesy than a lot of stuff nowadays that needs to be seen as ‘cool’ or ‘chic’.

5. YENA - Damn U

An incredibly fun and brash pop-punk romp with excellent production. Really captures that 2000’s commercial punk sound in the best way. Yena’s voice just suits this loud overly sincere type of singing and the goofy earnestness of pop punk is a perfect combination.

4. Loossemble - TTYL

Chorus of the century. What can you even say, a bit bittersweet to reflect on this given their sudden disbanding, Loossemble only released good music and this was a prime example. Great rhythm, interesting glitchy vocals, just a frenetic electro master class. This was stuck in my head for weeks, it was honestly a problem.

3. RIIZE - Honestly

Deeply beautiful indie ballad that’s just a joy to hear. Has an almost spiritual intimacy to it. These guys can sing and they know how to combine their voices in incredibly intricate ways, they really have that SM pedigree in spades. Sohee is a vocal genius, guy is really something special. Also shocked at how well Anton's softer tone fits here, he has some amazing delicate runs towards the end.

2. Loossemble - Girl's Night

Kind of a perfect song, just a fun retro electro jam with great harmonious vocals. Will never get over how well their voices fit together, its like this with all their stuff so far. Just fundamentally intense and to the point, it hits for the entire three and a half minutes. It was hard to choose between this and TTYL both were top 5 no doubt but this just had a bit more of a 'complete' sound overall.

1. YENA - Good Morning

Feel good anthem extreme, soaring melodic, high energy punk-pop. Yena’s music is a pillar of positivity from Smiley or Nemonemo to this, whatever style shes doing its gonna feel empowering. Incredibly bright hard rock guitar riffs that feel authentically harsh. Very memorable verses, every little section feels distinct and has some kind of specific flourish or rhythm. Second song from her that’s been #1 on my list in three years, when she gets it right its something special.

[yellowmanula]

under the link to the mixcloud you will find one of the sets from the Rave FM Audio Festival - which has returned to co-organization. The set was recorded by DJ - Mr Menator Tracklist: 1 : Intro (Deep inside Menator mix) 2 : Mr Menator - Let's Try 3 : Mr Menator - Tom The greath (Menator House Edit) 4 : Glitchy dot Phong - From Home Part 2 5 : Mr Menator - Time to Hum 6 : Mr Menator - Come alone 7 : Mr Menator - Do It With Love 8 : Mr Menator - Next Summer feat. Verda Snort on Bass 9 : Mr Menator - Futurism Surfing feat. Verda Snort on Bass 10 : Dj Alex Murphy And Mr Menator - Is It My Brother MJ 11 : Mr Menator - What's The Matter Calmec 12 : Glitchy Dot Phong - Ho My Cowbell 13 : Mr Menator - Acid Rain

[thelensofyashunews]

9LIVES SHARES NEW SINGLE "MAN OF THE YEAR" (W/  PRETTIFUN) 

20-year-old New Zealand artist/producer 9lives has just shared his new single"Man of the Year" (w/ Prettifun)––out now via PULSE Records. The video arrives on the heels of the Rico Nasty and Kanii-assisted "my way" and follows a profusion of collaborations this year including Trippie Redd, Lil Nas X, LAZER DIM 700, Anycia, Lancey Foux, and Odetari. After linking with 9lives via Discord this summer, Prettifun’s hyper-glitchy sound, which he’s since elevated this year by adding vocals to match, has led to critical acclaim––dropping two-full length projects in the last 6 months, Pretti, and Funhouse, the latter receiving a 7.4 fromPitchfork. "Man of the Year" hits with a trunk-rattling bass drop and laser style synthesizers as Prettifun'smelting vocals play compliment to 9lives massive glitch-filled production. About the song 9lives says: "Man of the Year is the type of song to play just before New Year's ticks over, such that the drop comes in as the clock strikes midnight to set your year off right. This is for the people who are proud of themselves and want to celebrate the wins they’ve achieved along the way." "Man of the Year" is a confetti drop of ascendancy for 9lives who will be a special guest on Kanii's upcoming #BLUE tour, which kicks off in Hamburg, Germany, on November 30th (get tickets here). He also recently collaborated with skaiwater and Lil Nas X on the remix of the former's "light!" (7M Streams),Lancey Foux on "ABU DHABI", and Kanii and Anycia on "I DID IT" — earning his stripes as one of the most in-demand producers of his generation.

Fusing elements of trap, cloud rap, hyperpop, and electronic music into his own supernatural sound, 9lives has accumulated over 800 Million Streams through monstrous collabs like “I LOVE YOU HOE“ with Odetari (400M+ Streams) and "Go (Xtayalive 2)" (250M+ Streams). With dark aesthetics that harken back to his gaming and anime influences, 9lives cultivates a sonic world in which bass-boosted 808s and distorted synths are mashed together into an explosive sound that has already caught the attention of Trippie Redd — producing “Popular” off his latest LP. Out now, "Man of the Year" (w/ Prettifun) showcases the futuristic sound that 9lives is pioneering, serving as an avant-garde soundtrack for the next generation.

[bmpmp3]

ive loved it since i first heard it in project diva x years ago, but listening to Tsumi no Namae again (with slightly higher quality headphone audio rather than my vita speakers <3 ) i didnt realize just how crazy the production choices of this song is. wait hold on lemme hashtag musicpost for a minute. im busting out the timestamps

immediate tone setting. bagpipes??? or something like that right out the gate which is wild. clock winding, gear crunching, and real human woman whispering (i think in english but ive never been able to find official lyrics of that section) as well <3 im a sucker for using human voices with synth voices i think it adds a lot of neat texture

the instrument choices lean into a fantasy musical-esque soundscape for obvious reason (the whole song is basically a little original fable or myth type story complete with trickster goddesses and breaking fate's curses etc etc) but the composition is plenty pop rock which is a fun juxtaposition im always a fan of but like SPECIFICALLY those drums that start around a minute in. im not sure what it is, the speed? how loud and hard the drums are? it works so well to give it a forward momentum while also being a bit uncanny. maybe im just imagining how tired the drummers arms would be hitting at that speed and with that amount of power for this long........ but yeah it gives it this unexpected, sorta otherworldly feel, like its just a fraction of a fraction faster than you'd assume. theres like hints of clapping and stuff in there too i think? so much all together but so so so good

and speaking of how tired those drummers arms would be, i do love that this song is six and a half minutes, i love stuff over 5 minutes like YES i am going to waste SO MUCH TIME staring into space and listening really hard (i like to listen to songs on loop <3 half an hour is gonna go away in just a few plays) i love love love love love it

1:38 mark THE BANJO????

1:43 ouuhhhh that we-will-rock-you-type boom-boom-bap-type clap-clap-stomp percussion. ouhhhhhh yesssssssssssssssss.

1:50 the banjo and the flute are now making out in the background. they are making out sloppy style

2:00 there's like this drum breakdown thats incredibly poppy and rock-y which also goes back to the like fun blends of instrument choice and composition

2:23 am i crazy or is there like a tiny tiny little bit of like a static sound as a piece of percussion in this quieter bit... love a mix of fantasy with digital artefacting

2:45 IS THAT A HINT OF SOME MANNER OF BASS INSTRUMENT IN MY LEFT EAR I HEAR..........

3:50 WHAT is that little sound near the right.... it sounds like one of those medieval instruments but i cant remember which one.... and the banjo has made a return

3:58 THE BASS COMING IN ON THE LEFT

4:35 okay the whole bridge section is crazy but first of all. the dynamics between the deep bass-y sounds going between the two ears.

4:40 and what on EARTH is THAT. like a glitchy static-y bit of vocals going on both sides. AND the flute-y sounding thing is going NUTS up there

4:45 and this is what always makes me lose my mind. that really REALLY deep, circular, almost string sounding instrument? is that a god damn hurdy gurdy. i dont know much about instruments can you tell...... BUT for real that like again adds this haunting, extra bit of synthetic uncannyness to the medieval fantasy fable story

5:18 WHAT is that long like droning sound. is that also bagpipes. whats that classical piece thats supposed to teach you how to differentiate the parts of an orchestra. i need to drill that in my head im fighting for my life out here. ANYWAY those background notes with also these bits of like chattering? people talking or playing?

5:24 RANDOM BIT OF MEDIEVAL VIOLIN

6:08 and ending off with the glittering little chimes.... awesome

i dunno just holy shit man. this song goes everywhere it wants to. theres a banjo.