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“Diamonds In My Mouth” leads the EP with a massive Riddim Roller, executed brilliantly against the backdrop of an epic cinematic soundscape. Huge, horrifying synth constructions shear through this track, severing sanity and urging on uncontrollable rail-riding. Michael White is all business. He’s got his foot on your throat and he’s pushing. It’s bonkers.
Michael White teams up with GARABATTO for “Make the Hit”, and although he slows down his vibe here, the bass gets deep, down, and low. There’s a subtle Moombahton swerve that makes the track sexy and intoxicating. This track is perfect for a mid set cool down, a groove-laden intermission, or for hooking up with your boo on the dancefloor. However you choose to enjoy this tune, it’ll melt your face.
For “Moves”, Michael White reveals his Bass House chops, and they are formidable. We even went to Bass House officiandos Ephwurd to get the low down. “Yep,” they confirm. “We play lots of his songs. We played ‘Moves’ on our summer festival sets.” Big and bouncy, “Moves” isn’t just extremely danceable, it’s an anthem, with all the components of a 2018 song of the year. We think you’ll agree.
Squaring out the EP is “Pleasure”, a collaboration with Rob Gasser. The result is a fun, melodic romp balanced against the heavier synth engineering of Michael White. This makes the tune frenetic and wild, moving audiences from one side of the emotional spectrum to the other in a mater of minutes. It’s a hugely enjoyable dance floor experience.
Tracklisitng for Diamonds:
For more information on Michael White:
https://www.facebook.com/MichaelWhiteOfficial/
https://www.instagram.com/michaelwhitemusic/
https://www.soundcloud.com/michaelwhitemusic
https://play.spotify.com/artist/0fkXyukXnUWN22x4ryLomM?play=true&utm_source=open.sp
https://twitter.com/MichaelWhite_
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
]]>“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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Los Angeles (August 21st, 2017) – Firepower Records is excited to announce the forthcoming release of Dack Janiels’ Dackwoods EP, which drops September 8th. It’s an absolute crusher. This will be Dack’s second EP release with Firepower Records, and it surpasses the level of savagery he injected into his first EP with us, Swangin, which is saying a lot—Swangin was some top level filth. Dackwoods reveals a producer who has become a pioneer in multi genre bass production movements sweeping the game right now. With deep roots in Hip Hop and Rap, Dack Janiels brings us an EP that will fit into any festival set list, leaving major DJs across the world wondering how their set was ever any good without these tunes.
The EP begins with the title track, “Dackwoods”, and it’s a pulverizing trapstyle roller. A slicing synth construction leads the tune over the low rumbling bass. Dack Janiels has created a tune that is festival ready, but would also sound sick AF rolling down Sunset Blvd on the way to the next function.
“Slaughter” goes 0 to Riddim real quick, and as that beat proves it’s capacity to annihilate bass hungry fans around the globe, Dack Janiels pushes its evolution. By adding huge, heavy synth components and more modern bass constructions, the tune is a big and tasty slice of the future of what Riddim will be.
Protohype and Dack Janiels join forces for “Savage”, and all the hype surrounding the tune is real, and has been supported by Excision, Snails, Uber, and Subtronics. Both Dack and Protohype have played this tune out through this summer’s festival season, and the reactions have been overwhelmingly positive. The sinister chord progression and west coast rap feel combines with Protohype’s stellar production prowess, and the result is a massive Dubstep anthem.
Squaring out the EP is “Extra Power”, and this is Dack Janiels’ attempt to KO the audience. Toggling between major trap styles and Dubstep beat constructions, the tune garners a complexity that allows for a major buildup and heavier drop. Dack Janiels builds in a wall of sound that puts the pressure on crowds and does not let up. It’s a dangerous tune, and for that reason, it should be used widely.
Tracklist for Dackwoods:
For more information on Dack Janiels:
https://www.facebook.com/DackJaniels666/
https://twitter.com/dackjanielsdub
https://www.beatport.com/artist/dack-janiels/398586
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
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Pre-Order the Sensei EP Here: https://FirepowerRecords.lnk.to/Sensei
For Ninja Nation Tour show/ticket details visit www.ninjanationtour.com
The EP itself is the result of a full immersion into the serious study of bass bad-assery. Nearly a decade has passed, and Datsik has risen through the ranks of masters in the sonic arts. But if a student is focused, disciplined, and patient, his skills will supersede his Master’s. Datsik has proven his aptitude for this game over and over again. His talent is unmatched, but it isn’t his alone. All success is gained by standing on the shoulders of giants, and now Datsik has become the Sensei, the Teacher, beset with a severe responsibility to ensure the next generation of young producers continues to improve the scene and push the envelope of bass to the edges of the known universe. This EP is the textbook.
Starting the EP is the title track, “Sensei”, and it sets the tone immediately. The classical stringed instrumentation places us squarely in Feudal Japan. The track is a Ninja assassin, precise in its technique and singular in its goal. The buildup leads to a drop that strikes its target hard and clean, a clear indication of mastery on all sonic levels.
For “Nasty”, Datsik teams up with Virtual Riot, an impressively lethal combination of force and audio experience. Virtual Riot’s unique sound design and guttural growls is immediately recognizable in the track, but with Datsik’s touch, the track hits head-bang territory before you can say “neckbrace”.
Beloved L.A. Rapper AD and Datsik go in big with “Wreckless”, and the result is a phenomenal piece of Bass brilliance. AD also brings to the track his legacy as one of Compton’s modern Rap heros, and he is notorious for grinding alongside fellow south central native Kendrick Lamar since the beginning. His reputation precedes him, and as he raps in “Wreckless” you feel that history balancing perfectly with Datsik’s musical vision.
“Just Saiyan’” comes in hard and doesn’t let up. The track pays homage to Datsik’s fascination with the extraterrestrial warrior race of Saiyans in Dragonball Z. The allusion works well—anyone that knows the peaceful man behind Datsik’s nom de guerre would agree that a Saiyan could very well be his more aggressive alter ego. Pumped out of a 100k plus watt sound system, the bass undergirding the sinister synth stabs has all the potential to summon the Saiyan in everyone on the dance floor.
Datsik exhibits his range with “Fly Low” featuring the lyrical swordplay of Lox Chatterbox. Hailing from the bucolic coastal town of San Luis Obispo, California, Lox Chatterbox has made a name for himself through his infectious vocal gymnastics and has appeared alongside EDM and Rap greats like Ice Cube, E40, and Atmosphere. The song itself takes on the more euphoric components of Lox Chatterbox’s words, soaring high at times while always keeping the classic Datsik wubs close at hand.
The town of Kelowna, British Columbia, has produced two of the most monumental Dubstep icons on the planet. Both Datsik and Excision cut their teeth cultivating the dance music scene there, and eventually took their talents to the next level. As two massive acts independent of each other, their track “Redemption” brings them together for an insane collaboration of filth and dance floor destruction. Excision, who’s penchant for engineering wall’s of sound with the force of a category four hurricane smashes against the low frequency wubs and synth stylings Datsik is known for. (bolivarescapes.com)
Zach the Lad has re-emerged for another mission alongside Datsik with “Gravity”. Zach The Lad officially went public earlier this year with his debut EP Black Sheep on Firepower Records. His technique shows a producer who has an absolute control over his creative vision. “Gravity” reveals this genius through a gorgeous musicality, the inspired chord progressions, and an incredible attention to detail. Datsik considers Zach The Lad one of his most respected producers, and if anyone has something left to teach him, it’s Zach. Even Senseis have Senseis.
The Tracklist for Sensei is:
For more information on 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
Firepower Records
Twitter: @leeFPrecs
]]>Bear Grillz is not your run-of-the-mill EDM insider. The only shady backroom deals he’s making is how to sneak more gummy bears and honey into the green room. He is not from the EDM establishment. And yet, Bear Grillz is one of Firepower Records best selling artists. He’s toured with Datsik, and just finished a monster U.S. bus tour with Excision. Last friday, it was announced that he would reveal his true identity on the Jerry Springer show, which will remove that last bit of secrecy surrounding the personae we see on stage and in social media. We got Bear Grillz to sit in the Firepower Hotseat so he could clear up a few things for us. Here he is, ornery as ever.
The new EP, Mo Honey, Mo Problems, is stacked, and it seems that you revolutionize the entire EDM world with every release. How does this release prove that all people really want is more EDM and that they want it now?
Beatport sales statistics.
What are some pre-show rituals you have that people may not know about?
Obviously with all my fur it gets very sweaty on stage, so I like to take an ice bath before I go on. Once I fell asleep in it for an hour and a half and my knuckles went black. My tour manager had to thaw me back out again with a hairdryer while I stood there naked. Good times.
You’ve just finished with the massive Paradox Tour with Excision. What are some ways you decompress from something like that?
I literally spent about 3 days sitting in a dark basement masturbating listening to Shania Twain. It was a weird week but it brought me back to reality.
It’s rumored that you will be revealing your true identity soon. How will that go down?
It’s gonna be on Jerry Springer. I’m told they’re expecting the highest viewing figures of all time, but I’ve also been told in the past that eating raw Ostrich is good for the common cold and that drinking groupie’s tears is an aphrodisiac, so naturally I take everything with a pinch of salt.
If fans wanted to buy you gifts, what would would be on your amazon wish list?
The things that are on my wish list are not generally sold on Amazon
Buy Mo Honey Mo Problems on iTunes here: http://bit.ly/MoHoneyIT
Buy Mo Honey Mo Problems on Beatport here: http://bit.ly/MoHoneyBP
]]>“Fuck Bitches Get Honey”, the first track on the EP, sets up a common problem among those struggling to reconcile their celebrity status with a basic need for the bear necessities. It’s a particularly complex conundrum for Bear Grillz. The track goes large immediately, spotlighting the familiar buzzsaw synth and big dubstep beat structure fans have come to love. New to this EP, though, is a heightened emphasis on melody creation through the use of sweeping euphoric synth arrangements. By pre-empting the international big room sound and forging it together with sawtooth synths, the track transforms into a mind-altering face-melter. This technique is perfected in “Everyday”, which leans on chiller and funkier musical components. Bear Grillz isn’t a softy, though; it doesn’t matter how many hugs he gives to fans before and after his shows. He wants to rage and expects the same from his audiences. So despite the clever key progressions and melodic overtones, the track drops into headbang territory real quick.
It’s not a new move for Bear Grillz to tease out multiple dance music genres within his tracks. “Going Down (Under)” is both an homage to his love of all things Australian (we have it on good authority that more than a few Aussie DJ’s have attempted to smuggle Bear back to Sydney in their suitcases), and his love of dance floor mosh pits. “Going Down (Under)” has at its core a Hardstyle beat structure designed to incite heavy moshing during peak hour. But when the track drops back into a filthy lazer-infuzed Dubstep section, the only option is to promptly lose your mind.
Rounding out the EP is “Back On Top”, and it’s quintessential Bear Grillz. Returning to musical themes of past EPs, the track toggles between familiar synth arrangements and vocal samplings. It’ll make the BG purists smile, and it feels like getting a big furry musical bear hug. The biggest part of this track, though, is the drop. The buildup makes you ache with anticipation, and when the drop hits, it cleaves your sanity cleanly and completely away from your mind. Any follower of Bear Grillz knows how much work he puts into ensuring his drops are insane. This track is no exception.
The track listing for Mo Honey Mo Problems is:
For more information on Bear Grillz:
For More info 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
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