Skrillex - Bangarang (EP Review)

Skrillex is actually a man called Sonny Moore who used to be the lead singer and guitarist in an emo band called From First To Last (They were actually quite good!). The band disappeared into obscurity after the release of their second LP and I thought that would be the last anyone would hear of any of them. This was back in 2004.

A year or two later, Sonny attempted a solo electronic project imaginatively titled 'Sonny'. It seems here he picked up a few tricks because in 2009 he released his first EP as Skrillex and blew the world of Dubstep wide open.

Skrillex, love him or hate him, is the most well-known name in Dubstep. He is adored by thousands of fans who strongly feel he is the cutting-edge of music progression this decade, whilst at the same time having an equal amount of people apparently hate his guts because of his help in the commercialisation of Dubstep.

I have to admit I found myself more inclined to the 'haters' camp even having listened to each of his new remixes. However, with the release of his new EP, 'Bangarang', he makes it very clear he is all about the music and all my prejudice about him melted away with the listen of one track.

'Bangarang' is seven tracks of Dubstep, Trance, elements of progressive house and guitars being thrown in and Skrillex seems to be evolving to use Drum and Bass and Jungle beats in a concoction of electronic beauty.

The first song is aptly named, 'Right In', as that's what he does. Less than 30 seconds from pressing the play button and the track is in full force. “It's another one!”  Says some person before blasting the bass. This is the only track he does on the EP without collaboration.

Swiftly to the second track, 'Bangarang', which starts off with some funky 70's style guitar, while the first collaborator Sirah (I've never heard of them either) raps. The drop is quite literally the most impressive I've ever heard him produce.

'Breaking A Sweat' is the third track. It is notable because the collaborators are the surviving members of The Doors (If you don't know who they are.... shame on you) plus an eerily accurate prediction (at about 2:35) from the late great Jim Morrison about the future of music. Great and intelligent DJ'ing from Skrillex.

The fourth track, 'The Devil's Den', features Wolfgang Gartner and is an absolute banger. Get a copy of it and play it at a party, make sure everyone sees you put it on. Everyone will love you. 'Right On Time', the fifth, features fellow electronic music artists, 12th Planet and Kill The Noise, a classic track setting the level for which all Dubstep should now be based. The sixth track, 'Kyoto', welcomes back Sirah from the second track to do some more rapping with Dubstep over the top of it.

The closing track is wonderful. 'Summit', has a simple riff but is majestic in it's delivery and builds and builds until you almost can't take it anymore. Ellie Goulding (also worth checking out her work) features and sings perfectly complementing Sonny's voice. On hearing this song, I downloaded this EP as fast I could, which inspired me to write this review.

'Bangarang' is the fourth EP by Electro House/Dubstep producer Skrillex. It was released for download on Beatport on December 23rd, 2011, was made available from other music download sites on December 27th, 2011, and will be physically released on January 24th, 2012.

Skipping Over Dubstep, Breaking All the Big Beats, an EP that Bangs Genres Together

(Big Beat / Atlantic Records) First released as a download from Beatport on December 24, 2011, widely released on all other digital sites on December 27th, and with a physical drop date set for January 24, 2012 Bangarang -- the fourth and latest EP from Skrillex -- has been introduced to the world as a spitting firework of a release. Fitting to be launched over the threshold of a new year, it's explosive and sounds like the measure of a moment of time.

The Grammy Award-nominated Skrillex tends to split listeners. He's a newcomer who had been around for quite sometime in a previous post-hardcore incarnation as lead singer in From First to Last. He's a Dubstup aficionado who doesn't always regard the rules of genre. He's a Bigbeat specialist who doesn't always treat rhythms as the genre police would expect. He's credibly recognized yet sometimes throws his credentials a curve ball. He's one of the most notoriously experimental names in electronica, yet he is fast to commercial success and to establishment of sound. He's bound to have those who disapprove; he is also destined to receive the adoration of fans who like their tunes club-banged into bewildered dimensions.

Aside from anything, the Bangarang EP stands as a flash-bang of ambition. With a host of contributing artists -- Sirah, The Doors, Wolfgang Gartner, 12th Planet, Kill the Noise, and Ellie Goulding -- appearing across the eight tracks, the diversity is stunning. There's a generosity of spirit from all involved; The Doors, appearing on “Breakn' A Sweat,” was recorded as part of the Re:Generation Music Project -- a movie that married musicians through the ages with contemporary DJs. The track -- for all of its surprises, atmosphere, beat, and lifted vocal commentary -- still sounds exactly as you'd expect if The Doors had ridden the snake into the future to the point where production techniques and the Collective Unconsciousness were ready to receive the message. Hooks are strong, beats are big, and the beauty of the track unfolds like a potentially stormy ocean.

Production across the EP is all Skrillex. Regardless of genre and regardless of what he's handling, the man just brings the best out of sounds. Until you hear it, you'd consider terms like 'cubism' somewhat pretentious when discussing music, but what he achieves with deconstruction, reconstruction, treatment, and fill-ins is other-worldly. Ignore what you expect to hear or what you're told is acceptable, commercial, or credible; listen to the sounds and you'll see that music is nothing but a whole bunch of noise assembled in such a way that gravity can sometimes be ignored and space sometimes has additional dimensions. Phil Spector's Wall of Sound is the closest production reference you could make, but only if you'd smashed in the wall and rebuilt with mirrors, flame, liquids, and glitch.

Sonically, this is a massive EP. Volume begs and deserves to belong over every track, but this isn't a simple dose of bombastic floor-fillers. Ellie Goulding brings ethereal strains to “Summit” and proves that some mountains are both earthly and above the clouds. Her voice here is perhaps as cool as it has ever been. Closing track “Orchestral Suite By Varien” builds on the concept of air and height and feels like take-off. Fans of Skrillex will use tracks like this to illustrate the breadth of the man's vision; the detractors will level some kind of nonsense to do with lack of focus. The fact is that it's just this kind of track and the multi-palette approach that displays a larger truth.

As with the Re:Generation Music Project, the Bangarang EP underlines that music doesn't know its own color, a song has no sense of genre, and emotional content shouldn't be checked against categories, sub-categories, or codes of conduct. In that sense, Skrillex is a purely innovative artist. In the sense of what's hip, what's acceptable and expected, he may occasionally falter, but that's because he's paying attention to the tunes and not to the accessories and attachments. Add volume and await the Grammys.

Skrillex drops new beats in time for the New Year

Rating: 5/5

 

The day before Christmas Eve, dubstep sensation Skrillex announced he had bestowed a new batch of electronic music upon the world. It was an early Christmas miracle for fans, over 2.6 million of them.

One of Bangarang EP’s major highlights is the list of guest artists, including 12th Planet, Wolfgang Gartner, Ellie Goulding and Sirah. 12th Planet is currently finishing up a tour with Skrillex that stopped by Tallahassee during finals week. The timing didn’t prevent the show at the Moon from selling out.

Bangarang makes an evolution in Skrillex’s sound very evident. Elements like the signature high-pitched voices and shouting are still mixed in, but the songs definitely have more depth and are driven by better beats. A lot of it seems more groovy than heavy. Fans of house music should notice some similarities, too.

Overall, Skrillex is demonstrating that it’s not just about bass drops. There is still plenty of innovation left to do in the genre.

Skrillex also has something bigger to prove. He’s nominated for multiple Grammy Awards this time around. The rising star of this genre competing with the world’s most popular recording artists would have been unthinkable only a couple years ago.

The album is legally available through the BeatPort website at a total cost of $17.43. For only seven songs, the price seems uncompetitive with what you would pay on the iTunes Store, for example. It is unknown whether it will be available elsewhere or for less money any time soon.

“Go pirate it if you don't have money..I just want you to have it... or you can buy it here..either way I'll love you,” Skrillex said kindly on his Facebook wall. Fans can make the call whether to follow that advice or not.