Blisspop Presents: Feedback Friday – August 24th, 2018

Here at Blisspop, we aim to show our audience who’s making their mark upon electronic music culture today. We sort through the good and the bad, bringing you the latest sounds. Back at it again with the latest edition of our series, Feedback Friday. This week, our group of Blisspop contributors includes: Connor McInerney, Alex Rubenstein, Patrick Blinkhorn, Justin Barini-Rivers, and Jonathan Sherman. This week’s music includes tracks by Rabit, Kid Drama, DLR, Ulterior Motive & Hydro, Mitski, Purple Disco Machine, and Replica. Check it out below and send us your suggestions for future Feedback Fridays on Instagram, Twitter, or Facebook.

Rabit – “7_SADE_VS_TRIPPY”:

Alex Rubenstein – Rabit has been one of my favorite producers for a while now so 2018 has been quite the delight. In addition to his album, Le Fleurs Du Mal, he has gifted us with two DJ Screw indebted, chopped-n-screwed mixtapes. His latest offering, Bricks In A Drought, is where this syrupy track comes from and it delivers on all fronts. The mashup of Sade and Trippie Redd works incredibly well when dipped in a healthy sized double-cup. The beat is as hypnotic as any legit DJ Screw production and you can tell Rabit is out to do both him and the city of Houston proud. Top marks all around. (8.5/10)

Patrick Blinkhorn – This isn’t really what I listen to, so this is hard for me to rate. I didn’t find this to be a particularly enjoyable listening experience. (5/10)

Connor McInerney – Rarely do I hear something as Houstonian as what Rabit is laying down (or rather, chopping and screwing) on “7_SADE;” a lean-dripped track that is as emotionally despondent as it is multifaceted in production. Rather than lose the forest through the samples, however, Rabit’s cut is concise and trippy, employing a solid phased-out bounce while modulating through a bundle of different soundscapes. To change so consistently while maintaining a consistent theme takes the chutzpah of a seasoned producer whose not afraid to risk it all. Rabit’s hustle doesn’t go unnoticed. (9/10)

Justin Barini-Rivers – This is everything I want from rap; the ethereal and smooth intro slides right into the majesty that is the beat. The drums knock. They sound like you’re outside of the party just enjoying the beats and fresh air. Sampling Sade’s rhythm guitars, then giving us her full voice was a highlight for me. This track cuts no corners; the lofi aspects meet my aesthetic and are beautifully chosen. I haven’t been this happy with a rap track in quite some time. It’s a heater! (9/10)

Jonathan Sherman – I feel like this track has a lot to offer, and I like how the vocals are cleverly placed throughout the track. I also enjoy how one can’t really tell whether the track is a future bass track, a drum and bass banger or a hip-hop gem. The use of the reverberating synth throughout the track adds a really unique element to the full ensemble. I, furthermore, appreciate the use of the competing vocals to make the track sound like an overdub DJ mix with a neat blend of soulful and deeper vocals. (7.5/10)

Replica – “Hope and Fear” (Original Mix):

Alex Rubenstein – I’m going to go ahead and guess that my fellow Blisspopian’s have already big up’d the kick so I won’t go there, but it is real nice. I dig the understated quality of this track. It feels almost surgical in its precision. While that is typically a positive note in techno, there is a part of me that wishes Replica got their hands a little dirtier on this one and added some grit to it. I find this just a bit too squeaky clean. (6/10)

Patrick Blinkhorn – Replica is flexing their production muscles with this cleanly mixed track. If I had heard this a year or two ago I would’ve been all for it. I still enjoy it now, but it doesn’t pique my interest as much as it might have in the past. (6.5/10)

Connor McInerney – That’s a hell of an infectious shuffle undercutting “Hope and Fear,” the sort of percussive backbone that’s infectious without being too showy. Additionally, Replica’s incorporation of tactile, atmospheric echoes goes a long way to building the type of ambience that’s neither menacing nor industrial. It’s just a clean track that pulls its punches but seems to represent Replica holding back from implementing more of a signature sound. It’s a great start but leaves a bit to be desired on my end. (6.9/10)

Justin Barini-Rivers – This track is worth a second listen at least. The drum programming is top notch, cutting in all kinds of lovely drum fills and white noise pushes. The kick had me from the start, but I make music so I can listen to a nice kick drum for days. This track is a sleeper; not too aggressive or flashy. This is going to move people on the dancefloor in the best way. The discipline and time spent to make this is always what I think about. This track is dialed and ready to work for you. (8.5/10)

Jonathan Sherman – This is a great techno track that has all of the right elements of a late club banger. The reverb on the synth has a really cool build up effect throughout the track, while the kick has that classic techno swagger that builds up and comes down as the snares change pitch and tempo. The kind of track you might hear at a techno rave in Berlin or Amsterdam, this track is sure to be fire among the deep techno crowd! (8.5/10)

Purple Disco Machine – “Dished (Male Stripper)”:

Alex Rubenstein – The first word that comes to my mind is corny. This is a cornball of a song for sure. I feel like I’ve been stuck in Willy Wonka’s factory for 8 hours and just cannot figure my way out. I honestly do not see the appeal here at all, sorry guys. (2/10)

Patrick Blinkhorn – Listening to Purple Disco Machine is tough for me; I’m usually fairly into the instrumentals, but the vocal samples PDM uses usually ruin their tracks for me. It’s the same deal here; the instrumentals are strong (minus that wonky synth that kind of reminds me of a Chucky dutch house synth circa 2011), but PDM messes up the track for me with the vocals that scream “cheese” in their context. (3/10)

Connor McInerney – I legit was scared when I heard that opening synth line; the type of 2kooky4u, left-field synth that, if handled incorrectly, could just ruin a track. It speaks to PDM’s ability to make fun, devil-may-care heaters like “Dished,” which is a polished, clean bop. (9/10)

Justin Barini-Rivers – I love club sweat and expect nothing less than dope music. Purple Disco Machine didn’t disappoint. This is a catchy, throw-your-hands-in-the-air kind of tune. Disco house vibes are all over this track. The vocal lines are awesome. It has this call-and-response quality that is magnetic. This is full on happy vibes and dancing with your friends. A solid tune all around, especially because I love disco. (7/10)

Jonathan Sherman – Made by one of my all-time favorite Disco House artists, I can’t wait to see this track dropped at every disco party around the world. The melody is so catchy and has that quintessential ’80s vibe’ to it with a cool reverberating congo part. I also really love the vocals “rub it in, rub it in.” The harmonic synth at the end creates for such a climactic and dynamic end to the track. Purple Disco Machine has had a tremendous year, from being featured on BBC Radio 1’s Essential Mix to their imminent return to DC at Flash nightclub on September 12th. (9/10)

Kid Drama, DLR, Ulterior Motive & Hydro – “Dredger”:

Alex Rubenstein – Admittedly, I am not the world’s biggest drum’n’bass fan yet this tune had me breaking out glow sticks in my living room and giving my girlfriend a light show. Not sure exactly what role the 4 producers each played here, but the combination leads to a fun tune for sure. I love the bass here as well. I’m going to have to give more DnB a chance now. (7/10)

Patrick Blinkhorn – I love the beat in this track. The bass is a bit too abrasive for me, but other than that, strong track here. (7/10)

Connor McInerney – Now That’s! What I Call Classic Drum and Bass (a short lived compilation.) It’s a shame I can’t do parkour through an abandoned industrial park in 1990s Scotland to this track, but I’ll take what I can get. “Dredger” is a wild ride made all the better by the production team’s dedication to keeping shit weird and, dare I say, a bit scary? More of this soon, please. (8.2/10)

Justin Barini-Rivers – Biiiig Tune! I am all about this old school roller. I do enjoy the more aggressive and surgically clean DnB (e.g.: Noisia,) but there is just something about this old style that will always work. The track builds elegantly into a monster of a track. The eerie piano builds right into to proper set of drums. This is the kind of track that you rinse, cut back and play again. With the class of producers involved it’s no surprise this track works exactly how you want a record to. Those people will be sweating and jamming to an array of dark textures. (9.5/10)

Jonathan Sherman – Although I’m not the biggest drum and bass fan, I really enjoy the creative use of vocal synth on this track. I feel like it adds a unique dynamic to the track and makes the listener actually understand the emotion and direction that the vocalist is trying to go in. The cool use of harp and string sounds intermixed with the dynamic FX lines makes for a spacey and futuristic sound. (7.5/10)

Mitski – “Why Didn’t You Stop Me?”:

Alex Rubenstein – I’ve heard lots of good things about Mitski, but this is actually my first introduction to her music. I’m a big fan of how she can be simultaneously triumphant and melancholy. The individual elements, from the guitar to the electronic pulsation to the emotionally resounding vocals, come together to form a successful and creative song. I’ll be digging deeper into her catalog, that’s for sure. (7.5/10)

Patrick Blinkhorn – This track gets 3 points for the guitar lines, 2 points for the arp bassline, -1 point for the awkward-feeling vocals in the intro but 5 more points for the intriguing and often weird harmonies between the vocals and the instrumentals. If I did my math right, that’s 9/10 — yup, sounds about right. (9/10)

Connor McInerney – Damn, Mitski, why am I crying in the club? I definitely feel like the whole FF crew is feeling some type of way and ready to turn up from this week’s selections, mine included. I’ve followed Mitski’s releases for some time now and “Why Didn’t You Stop Me?” is a perfect mix of old and new. It’s pulsing synth backbone, accentuated by screaming guitar overlays, builds to a triumphant explosion of sound; a defiant denouement of love lost (and it’s only the second track on the record.) Furthermore, the track’s key modulation and intrinsic difficulty keeps the listener interested from start to finish. Over all, this track is a resounding success from one of the best artist’s in the game. (10/10)

Justin Barini-Rivers – I love this track. From the premise of love lost to the rolling bassline, from inception to design, “Why Didn’t You Stop Me?” is lovely. Rarely do I enjoy vocal takes like this, but she’s got me. This is so unique and magical; I love the zany nature of the arrangement. She introduces instruments in ways I wouldn’t, but it works so well on this track. The beautiful and raw nature of this track has me looking forward to hearing more from this record. (7.5/10)

Jonathan Sherman – What I enjoy about this track is the combination of indie styling with techno and disco touches. The unique pitch and lyrical direction speaks to the eclectic influences that are embodied within. I look forward to seeing what else Mitski comes out with! (8.5/10)

The Winners and Losers:

Mitski — Why Didn’t You Stop Me? – 8.5/10

Kid Drama, DLR, Ulterior Motive & Hydro – Dredger – 7.84/10

Rabit – 7_SADE_VS_TRIPPY – 7.8/10

Replica – Hope and Fear (Original Mix) – 7.3/10

Purple Disco Machine – Dished (Male Stripper) – 6/10