YourChannel domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131ironband domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131__construct() instead. in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131__construct() instead. in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131__construct() instead. in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131__construct() instead. in /homepages/39/d529010842/htdocs/wp-includes/functions.php on line 6131“Ghost Boogie” starts out strong with a powerful guitar ballad riff, an homage to the heavy rock background of Hi I’m Ghost, and it will anchor the tune through it’s insane drops and expertly crafted synth designs. But what catches the conscience of the crowd is the precision of the audio engineering. Sounds layered together create an impenetrable wall of noise that rattles guts and claims souls simultaneously. It’s festival ready and will test the integrity of whatever speakers it’s pushed through.
“Pow Pow” can go ahead and claim it’s rightful position on your setlist. An ominous buildup hypnotizes the audience, dropping them into a vicious Riddim roller all at once. What follows is complete audio annihilation, and the pulsing synth constructions are designed to instigate egregious displays of gunfinger maneuvering. As with “Ghost Boogie” the prevailing characteristic of the tune is its creativity. The track pulverizes the audience with a range of clever design techniques, which will keep crowds hooked on every sound.
For more information on Hi I’m Ghost:
https://www.facebook.com/hiimghostsound
https://twitter.com/hiimghostsound
https://www.instagram.com/hiimghostsound/
https://www.youtube.com/hiimghostsound
https://www.hiimghostsound.com/
https://open.spotify.com/artist/7IyxUmBgkkV4jh7kHoip34?si=aOH-fQUFQGWPTM37n7LFtg
For more information on Firepower Records:
https://soundcloud.com/firepowerrecs
https://www.facebook.com/FirepowerRecs
https://twitter.com/firepowerrecs
www.youtube.com/user/FirepowerRecs
For Press Inquiries, contact:
Lee Underwood
Publicity Manager I Firepower Records I Twitter: @leeFPRecs
]]>Starting the EP is “League” featuring Datsik, and it’s a full-on audio assault. The tune leads in with a sinister buildup and drops straight into the purifying fires a bass fueled inferno. As the track cycles through various inventive beat structures, the alternating sound designs pioneered by both Carbin and Datsik engage with each other. The experience is like listening to two phenom musicians taking turns showing audiences the range of their musical potential. The result is a tune that is always reshaping itself into bigger and bigger drops.
“Twenty-2-Life” is Carbin at his most formidable. With a euphoric topline initiating the track and a powerful sub bass rumbling guts underneath, this future classic riddim roller is designed to leave audiences in puddles. Carbin’s notorious synth stabs only feeds the frenzy, and his wall-of-sound design technique ensures a total immersion in the tune. Carbin knows exactly what he wants to do, always has, and an even more acute sense of how he wants the audience to react. “Twenty-2-Life” is study in crowd control.
Next up is “Not Your ID”, and like “Twenty-2-Life” it pumps from the bottom to the top. A heavy sub-bass undergirds the tune, carrying it along like a deep ocean swell. Carbin sustains the wave with expertly arranged synth structures and layering designs that fill the entirety of the tune. As the track crashes onto audiences on the dance floor, they’re swept away into bass bliss.
“All Night”, featuring the crown prince of bass music lyricism, Armanni Reign, slows the flow of the EP down for a sexy trap-hop hybrid. Booties will drop, and as Carbin invites us to shed our often restricted day-time personas for the creative potential of our ratchet rave avatars, we’re reminded about the importance of getting deep, down, and low.
Ending the EP is “City Lights”, and it’s a gorgeous euphoric treatment of bass-hybrid theory. Similar to “All Night”, Carbin slows the dance floor down and centers the energy of the tune on the groove centers of our consciousness. These last two tunes reveal a musical intelligence that outstretches the frame of the genres in which Carbin produces. His range is unlimited and his style is impeccable, and both characteristics will carry Carbin into the upper echelons of Bass Music’s hall of heros very soon.
The Tracklisting for The Formula is:
For more information on Carbin:
https://www.facebook.com/CarbinOfficial
https://twitter.com/CarbinOfficial
https://www.instagram.com/carbinofficial/
https://www.youtube.com/channel/UCLjGG7UHLWH_o16m3zqd_OA
For more on Firepower Records:
https://soundcloud.com/firepowerrecs
https://www.facebook.com/FirepowerRecs
https://twitter.com/firepowerrecs
www.youtube.com/user/FirepowerRecs
For Press Inquiries, contact:
Lee Underwood
Publicity Manager I Firepower Records I Twitter: @leeFPRecs
]]>“Pressure Plates”, the first track of the EP, is a triumphant, beautiful, and uplifting track balanced expertly with a powerful bass line and the signature wobbles that makes a Datsik tune so immediately recognizable. “Pressure Plates” is a peak hour weapon and is designed to leave crowds melted into puddles on dance floors.
There are a few producers whom Troy is observably in awe of. One of them is Virtual Riot. Last year, Virtual Riot joined Datsik’s Ninja Nation Tour and was often spotted providing free production tutorials on his laptop for any who would listen. Rumors about his ability to produce a tune on the road and then play it out that night increased the developing mythology surrounding him. So when Troy began to tease a massive collaborative project, the bass community went haywire. “Warriors of the Night” and “Freakuency” are those tunes, and they are as sinister and pulverizing as you can imagine. The tracks bring forth a few of the motifs pervasive in both the artist’s work–the Ninja and the customs surrounding this secretive warrior class and mosh pit inducing buzzsaw synth engineering. Samplings of traditional Japanese instrumentation create eerie and distant tones, but when the Riddim-inspired bass drops, it’s an all-out assault on your psychic core.
Datsik’s ability to merge the Rap and Dubstep world are the stuff of legend, and this EP reinforces that claim. Two tracks, “Bad Behavior” and “You’ve Changed” feature show-stopping Rap lyricism, and both are festival ready. For “Bad Behavior”, Datsik teams up with Ganja White Night and lyricist T Rabb, and this particularly lethal combination is a monster dead set on ripping your sanity apart. A big, bouncy bass line rolls underneath a generous sampling of Ganja White Night’s phenomenal production potential. Scorching synth stabs ignite the tune and T Rabb’s lyricism brings it to a white-hot heat. Ganja White Night has been making a steady rise through the industry, impressing promoters and talent buyers with their incredibly diligent work ethic and professionalism. No surprise Datsik brought them in for a collab.
The young Mech Hop King JPhelpz offers up his talents for “Ronin Riddim”, and the result is a satisfyingly crunchy romp through the Riddim equivalent of feudal Japan. JPhelpz has released prolifically with Firepower Records, and his skill has increased exponentially with each record. Datsik has cultivated his unique power, and it’s clear with this tune that JPhelpz is ready to be a Ronin—a masterless samurai. The tune is heavy, perfected, precise, but it’s the clever mech sound that shines through this riddim heater.
As a grand finale, Datsik harnesses the power of Excision and Dion Timmer for a collab that is specially designed for head banging. Might as well harness the potential energy of an exploding star, because this tune’s detonation will have lasting ripple effects across the dance music universe. The history Datsik and Excision share is legendary and well documented. With Dion Timmer’s fresh vision, the tune will not be stopped.
For more tour info and tickets visit -> www.ninjanationtour.com
The track listing for Master of Shadows is:
For more information in Datsik:
https://www.youtube.com/officialdatsik
https://www.facebook.com/djdatsik
https://www.instagram.com/datsik/
For More Information on Firepower Records:
https://soundcloud.com/firepowerrecs
https://www.facebook.com/FirepowerRecs
https://twitter.com/firepowerrecs
www.youtube.com/user/FirepowerRecs
For Press Inquiries, contact:
Lee Underwood
Publicity Manager I Firepower Records
T: @leefprecs
Gram: @leefprecs
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It’s an honor to have the “Head Crush” creator himself, BadKlaat, remixing “Monster”. Hailing from Gloucester in the UK, BadKlaat was responsible for fashioning riddim into what we know of it today and championing it to its current point of prominence. Innovative is an understatement, and his skill comes through immediately on this remix. BadKlaat begins the tune with a throwback hip-hop beat, a kind of homage to the old school hip-hop roots of Datsik, Jayceeoh and Redman
As he feeds into the drop, we hear the classic BadKlaat rhythm lead the tune over the top of a cheeky riddim roller. The result is entirely devastating. This has set-list weapon written all over it.
Dubloadz has spent his career breaking barriers in the bass music game. He’s a fierce enemy of the status quo, and just when audiences think they have him figured out, he rearranges everything like a constantly re-forming labyrinth. If a true measure of a producer’s prowess is how they handle a remix, this remix of “Monster” shows an artist who is at the height of his creative genius. The remix takes on a life of it’s own spurred by an almost complete re-working of the original components. Dubloadz grafts his own style and aesthetic over the top, interspersing his quintessential audio oddities and beat signatures throughout. He took the track nuclear, and now this monster is a world-consuming leviathan.
Tracklist for “Monster” Remixes:
For more information on Firepower Records:
https://soundcloud.com/firepowerrecs
https://www.facebook.com/FirepowerRecs
https://twitter.com/firepowerrecs
www.youtube.com/user/FirepowerRecs
For Press Inquiries, contact:
Lee Underwood
Publicity Manager I Firepower Records I Twitter: @leeFPRecs
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As “Monster” cranks up, Redman doesn’t skip a beat. He explodes out of the gate in a “homicidal flow”, strafing the tune with an aggressive round of potent lyrical wizardry. Redman’s signature swagger cuts through the rolling bass line, and his rapid-fire vocal cadence is reminiscent of the famous UK grime lyricists. The bridge between Rap and Bass Music is crossed all the time these days, but Datsik and Jayceeoh construct a tune that harnesses the strength of Redman’s skill, rather than detract from it. The song is still quintessentially wubby, and, like with every tune Datsik and Jayceeoh have produced, easily recognizable in style and substance. With Jayceeoh’s production aptitude added in, the track transcends any simple description, and the result is dance floor bomb, an absolutely vital set list weapon.
#WEAREMONSTER
For more information on 1000volts:
https://soundcloud.com/1000voltsofficial
https://www.facebook.com/1000voltsofficial
https://www.instagram.com/1000voltsmusic/
https://twitter.com/1000voltsmusic?lang=en
For more information in Datsik:
https://www.youtube.com/officialdatsik
https://www.facebook.com/djdatsik
https://www.instagram.com/datsik/
For More Information on Firepower Records:
https://soundcloud.com/firepowerrecs
https://www.facebook.com/FirepowerRecs
https://twitter.com/firepowerrecs
www.youtube.com/user/FirepowerRecs
For Press Inquiries, contact:
Lee Underwood
Publicity Manager I Firepower Records
T: @leefprecs
Gram: @leefprecs
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Los Angeles (July 17th, 2017) – Firepower Records is excited to announce the release of the rapidly rising dance music production wizards Bandlez new EP, The Heist. Although this EP is set to drop August 4th, the tunes have already stolen hearts and have broken onto the biggest festival stages on the planet. It was love at first listen for the Firepower Records boss, Datsik. One of the tunes on the EP, “Bing Bong”, has remained a staple in his set list for some time now. If you were at EDC Las Vegas, maybe you even engaged in some vociferous headbanging as Datsik dropped the track amidst fireballs and lazer beams. Bandlez have an immensely successful future ahead of them, and we couldn’t be happier to cultivate them into the bass music bandits we know they will be.
First up is “The Anthem”, and listeners are immediately introduced to the superb audio engineering know-how these boys possess. The intro is intense and cycles through numerous classic and newer bass music themes. The drop hits, and the Bandlez fly out of the gate. With sections of the tune toggling between modern dubstep and riddim constructions, the tune ratchets up a wickedly complex wall of sound. The tune reaches its climax at a frenetic pace but then resolves into a beautiful melodic section—a clever decision for such a heavy tune.
Following “The Anthem” is “Keep It Trill”. Again, the Bandlez prove their musical talents with a euphoric melodic intro. As the beat drops, the tune breaks into a Drumstep beat construction and a more focused synth-and-stab format takes over. But the marquee section of the tune appears when it breaks down into a dual trap-moombah beat. The result is an extremely danceable section. Moombah has a way of eliciting all that sexiness from the body and translates it into body movement.
Datsik has had “Bing Bong” operating in his set list for a while, setting it loose on audiences around the world. One listen to the tune and it’s clear why this is one of his go-to tunes: it’s equal parts heavy AF and light and playful. One of the track’s defining components is a scorching static and sub-bass pairing designed for the creation of filthy bass faces. Just when you think you’ve got the track dialed, it breaks into a modern dubstep headbanger. The duality of the tune makes it extremely versatile in any set list.
“Bubba Bounce” sounds like the name. Utilizing a Bounce and Moombah rhythm, the tune channels a lot of energy into the hip area of a dancing body. This is a “grab your rave date and grind” type of tune. To the Bandlez Credit, they’ve locked onto the idea that even bass music is dance music, and if we aren’t dancing then what are doing?
Rounding out the EP is “Run That Shit”. The playful side of the Bandlez comes through in the punchy intro, but like any bandit, they’re capable of deception. The drop hits, and the track breaks into headbang territory. Your hands are up, you’re on the floor, and the Bandlez are pilfering your pockets for valuables. By the time the track ends, you don’t know what hit you.
Tracklisting for The Heist:
For more information on Bandlez:
youtube.com/channel/UCGIgis0D-hpmcishU9C7eKA
For more Information on Firepower Records:
Beatport.com/label/firepower/24439
For press inquiries, please contact:
Lee Underwood
Publicity Manager I Firepower Records
Twitter: @leeFPrecs
Gram: @leeFPrecs
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