Cello Fury – Cello Fury (2011 album)

Introduction: It’s been far too long…

 

Four people. Three cellists. One drummer. That’s all Cello Fury needs to succeed. And despite the simplicity, this band is able to work wonders with their limited options in sound. And yet all of these songs are beautifully unique. This is Cello Fury, both the band name and the album title.

 

Cello Fury – Infinity Rises (7.75): Cello Fury plays at a variety of tempos and in a variety of moods. Sometimes opting for slower sweeping melodies, other times putting full effort into conserving high amounts of energy throughout the song. This song definitely falls under the latter category through and through, wasting almost no time to squander over the slower melodies, except for maybe 8 seconds near the middle of the song and a slight bit of the outro (though the drum solo more than makes up for the second somewhat slower portion). Also, there’s some hefty amounts of syncopation in many of the upbeat parts of the song. It’s been too long since I’ve reviewed some good syncopated music.

 

This song likely has some of the strongest bass of the album and many other songs in their discography. It always feels quite prominent, very rarely fully outshined by the other two melodic cellos. It doesn’t necessarily keep a fully consistent pace either, often upping and slowing its tempos depending on the current mood of the song.

 

The melodic cellos have an equal amount of energetic variety. Constantly switching between the quicker melodies heard straight from the beginning and some longer more sweeping notes that allow the beauty of the cello to seep in at other points. I’d choose a favorite part of the song if I could, but there’s such a good variety of joyfully played strings, that I’m uncertain if it’s possible for me to choose any moment over another.

 

This song is definitely a good introduction to the Cello Fury discography as many of the things I said in this portion of this review could also be applied to several other Cello Fury songs. And yet, it still feels as if it has its own little twinge of flavor somehow. Regardless, this is just the tip of the iceberg when it comes to Cello Fury.

 

Cello Fury – Against All Odds (7.5): Against all Odds starts off quite near silence with only one cello in the distance growing ever closer with time. As it nears my ears, the other two cellists begin to introduce themselves, lightly plucking their strings for a bit as the song culminates into a tense build-up. With a couple of louder sweeping notes serving as a transition to allow the star cellists of the moment to rapidly increase their speed as the song builds up past the introduction into the main body.

 

From this point onward, the melodies remain relatively balanced. No insanely rapid strokes like in the introduction, nor any moments where one cellist overdominates the rest. I don’t want to say it’s uneventful as it does have a decent variety of melodies throughout its duration, but I’m not really noticing too many moments that stand out from the rest of Cello Fury’s work. There is a moment a bit over 2 minutes where the cellos almost seem to fade out for a second which gives a nice bit of unique flavor to this song and there’s a decent slightly cinematic outro that serves well as the finale. But when push comes to shove, the introduction really was the best part of the song as the tension there served as the most noteworthy note of the three and a half minutes.

 

Cello Fury – Anarchy (7.75): Anarchy. Pure chaos. That’s what the title of this song describes. Would I describe the song as Anarchy itself? Well, not fully. I’ve heard some artists push the boundaries and break the rules in order to create chaotic tracks of pure anarchy, but Cello Fury is not one of them. That being said, in comparison to much of the rest of the album, Anarchy does eventually feel as if it somewhat deserves its title as, by the end, each cello is playing its own melody, creating an interesting cluster of different tempoed melodies, that somehow still fit together.

 

But that’s not how the song began. It actually, starts quite calmly with the cellos blending together to make a much more uniform melody. This introduction is quite beautiful to listen to and I’d be perfectly content if that’s what the rest of the song sounded like as well. But switching the song into a new upbeat gear is also quite a pleasant ride, though in entirely different mood consisting of the usual melodic variety. Like I’d mentioned earlier, there’s a bit more variety in the melodic mood even between the different cellos as they play together at the same moment. I think what interests me most about this song, however, is the texture. There are a couple of points where the cellists push their instrument to the limit, creating a harsher sound in comparison to the usual smoother notes that we’re used to. And I feel that these moments provide the flavor that is unique to this song in particular.

 

Cello Fury – Pins & Needles (7): Pins and needles are sharp little things. Which is quite fitting because this song is quite sharp itself.

 

Usually when I think of Cello Fury, I think of longer sweeping notes, but this song has none of that. Every single note here is plucked rather than strung. Even the drums, once introduced resonate longer than these short plucked cello notes. making it perhaps the most unique stand out song on the album. Is it better because of this?  Honestly, I’m not sure. Now this song is a good one and I do find it fascinatingly different from the rest of the album. But, in the end, my preference is still the sweeping cello notes.

 

There are the light strength of funkiness to the plucks, meaning this song is certainly the funkiest on the album at some parts. But in many cases, I prefer beauty over funk. This album is one such case.

 

Cello Fury – Daybreak (7.75): Ok that plucky little break was nice and all, but I think it’s time to get back into the more upbeat stuff. Daybreak is one of the best examples of upbeat Cello Fury (other than maybe the very first track of this album, which you already know all about or maybe the last track of the album, which you don’t know about). This is especially apparent at the beginning of the song as each cello comes in one at a time, each of them starting off with that rapidity that served as the most upbeat portions in several other songs. Not long after that, the song admittedly does slow down a bit with slower paced melodies and a casually paced drumbeat.

 

But that is a deception.

 

I am uncertain if I’ve actually had a chance to review any other song that does this yet, but over the course of the next thirty seconds, the drumbeat actually gradually accelerates over the next thirty seconds, picking up the pace of the melodies as it goes forward. It’s not quite like the many double tempo switch-ups I’ve expressed adoration for in the past. This involves a bit more unique subtlety, and in many cases, I like it even more. The slowness of this section is not only temporary, it’s merely there to serve the purpose of making the rest of the track appear that much faster.

 

From there on out, I’m not certain if I have much specific to say about the song. There’s some good melodic development as usual from Cello Fury and the three cellists do a great job of dancing around each other. There are a couple of points in the song where there’s a slight calm, but it never lasts excessively long, the song always longing to return to the full paced drumbeat, complete with either longer sweeping notes or the exact opposite with much more claustrophobically rapid notes. All up until a bit of an abrupt ending.

 

Cello Fury – Middle Ground (7.75): Like Pins & Needles, Middle Ground begins with some plucked notes across each cello. But unlike, Pins & Needles, these plucks don’t stay excessively long into the song, breaking way for a slightly rougher rising note that leads into the usual sway of Cello Fury. As usual the two higher cellos dance around each other throughout the song while the lowest cello works in the background as a bassline that holds the rest of the song up. Except, I feel that bass cello gets a bit more of a spotlight here than it usually does, especially with the song’s final moments as the bassline fully takes over quite strongly.

 

That’s not to say the melodies are bleak and unremarkable. The song seems to switch back and forth between two moods (outside of the beginning and ending of the song). The first of the two is a bit slower paced. The drums are going halftime and the notes strung by these cellos are longer and more flowing, allowing for a bit more simplicity. At many other points in the song, the song picks up pace with a greater variety of lightly energetic melodies. Oddly enough, there isn’t actually much “middle ground” between the slower and faster portions of the song, wasting very little time while transitioning between the two states (though usually not too abruptly; the bass cello makes for a good bridge between the two sides of this dichotomous song, remaining the constant, highlighted element this song has to offer.

 

And there I go talking about the bass cello again. Just goes to show how important this lower cello is in making this song work as well as it does.

 

Cello Fury – Silenced (7.5): Silenced is fittingly the calmest song that this album has to offer. And while I typically think of the more energetic tracks of theirs, I can’t help but find myself entranced by these Cello solos. Well, all three of them are playing at once, but they are admittedly playing without any assistance from the drummer for once.

 

As usual, the three cellists, blend their melodies together seamlessly, but I feel like this track in particular really highlights the beauty the three cellists are capable of creating. While the song doesn’t build in intensity and energy like the rest of the album. I’d most certainly say it grows in beauty. Every moment draws me deeper into this lovely piece of work. I honestly have very little to say about it other than how lovely it is, but sometimes that’s all it takes.

 

Cello Fury – Odyssey (8.5): Of all of the songs on the album, I feel like this one most closely fits the ideal vision I have of Cello Fury’s work. Several of the songs on this album have been energetic songs that I’ll happily listen to again and again, but Odyssey is the song that feels most like a journey through sound, which is quite fitting because an odyssey is defined as an epic journey.

 

Now while, the first forty seconds of this song may start out even calmer and closer to silence than Silenced itself, you shouldn’t be fooled. For that is only the first forty seconds. And as soon as those forty seconds are over, the song begins to pick up pace, slowly building up with the two upper cellos working in tandem to create a tense nerve wracking feel with the bass cello stabbing in the distance. As the song builds it begins to pick up more pace as it goes on, eventually breaking out into flowing melodies that conjure images of a ship swaying in the waves as it sails through an ever-increasing storm. It’s a magically glorious feeling that serves as my favorite minute of music that this entire album has to offer.

 

Throughout much of the rest of this song, these beautiful, yet varied, melodies take up most of its duration. Though there is a small bit in the middle of the second half that interrupts the flow with something a bit harsher. It’s a short interlude of synchronized stabs and I feel it leads to a great reminder of the intensity that this song had began with in its build-up. It’s a bit jarring, and yet it fits with the overall mood of the song, nonetheless. Just a slight bit of variety to enhance the flavor of the rest of the song before it returns to those beautiful flowing melodies for a finale.

 

Truly the most interesting song that this album has to offer.

 

Cello Fury – Down the Road (6.75): This song and the last two form a sandwich. A sandwich made of soft warm and relaxing bread with some nice spicy excitement packed in the middle. And while this slice of bread isn’t quite as soothing as Silenced. I mean it has a slight drumbeat this time, so you know it’s a slight bit more energetic. Just a slight though. It still is quite nearly as gorgeous with a more classical feel to it than much of the rest of the album (or at least compared to Odyssey). Unfortunately, this relaxing classical vibe also is rather riskless, which leaves me very little to talk about. It’s relaxing, but Silenced is more relaxing. It has some neat plucks here and there, but that’s Pins and Needles’ specialty. Like many of the songs in this album, the cellos weave in and out with one another to create a beautiful arrangement of complimentary melodies, but every song does that.

 

So, while Down the Road is a good song, it is also the least exceptional.

 

Cello Fury – Shockwave (8.25): Shockwave, however, if a fantastic example of the speedy skill of Cello Fury’s members. There’s a tension built in the first ten seconds of the song as each cello introduces itself with a longer note, eventually coming together for a chord before immediately capitalizing on the aforementioned tension by throwing the song immediately into the most rapid paced melody on the entirety of the album. A rushing feeling leading to the main body of the song, a conversation.

 

This conversation takes place between two of the cellos in particular, the midrange cello and the uppermost cello in pitch. Very rarely do the two cellos actually sing in unison, but instead find themselves tossing the focus back and forth, one cello playing the spotlit melody at a time, while the other cello backs them up. Because of this back and forth, Shockwave treats us to one of the most varied collections of melodies on the album (it’s either this or Oddysey). Every melody flows beautifully into the next, even when it seems that the two higher cellos are arguing for attention Also, because I’ve been ignoring the bass cello for so long I do want to mention that it has some great moments as well such as that note midway through the song that serves as a powerful transition from the musical conversation to the slightly more harmonious chorus.

 

But it’s the calming bridge that allows this song to become whole. Alone it simply serves as a break between the last chorus. One cello spreading long notes to serve as the structure holding up the other two. One cello plucking softly to keep with the calm atmosphere. And one cello above them all, playing a melody that beckons the other to join in and it’s here, in one final chorus that everything truly begins to come together, the two arguing cellos now playing in unison. A fitting finale to this song. A fitting finale to this album.

 

Conclusion: As I bring the first unscheduled review to a close, I find myself at a loss for words. I’m not speechless from amazement as it’s simply a good album, not a fantastic one like Andy Hunter – Life or THYX – Headless. I just feel that Cello Fury’s work is pretty self-explanatory. It’s a simple setup that happens to make some glorious magic in the form of this debut album and the other two that are currently in existence.

 

But I’ll get to those at a later date. I’ve got my eyes set on some more familiar artists for a while. In fact the next review contains a familiar song. A song that you will soon find very familiar.

Daily Hat Track: Roundup October 2019

First off before we get into the biggest Daily Hat Track summary of all time, I want to take a moment to make an announcement on scheduling in case you’re not looking at my Twitter. There is no longer a schedule. Now, that I’ve got myself a full-time job going on, there is absolutely no possible way I can keep up with one review a week, regardless of how motivated I am. And on top of that, the stress I’d receive from trying to review so much would get to me and make it impossible for me to enjoy reviewing. So, from now on, I’m going to be sending out reviews whenever I finish them in my free time. I’ll still be spending significant time reviewing. I’ll just have some longer breaks between longer reviews and maybe some shorter breaks when it comes to tiny reviews (One of the near future reviews is only 5 songs long so I can’t imagine I’ll spend excessively long on that one).

 

Not that anyone will notice but I’m also shutting down my Patreon. No one was really donating anyway, discouraging me from making any review previews and really just discouraging me from reviewing in general, because at this point in my life, it’s not looking to be really possible to just use this site as a launchpad into becoming a full-time creative. I’m already working on finding another route so we’ll see how that works in the future, but for now, this is going to be one of several hobbies that I’m simply doing for fun.

 

Anyways, it’s time for the October Hat Track Summary. Likely the longest Hat Track Summary I’ll ever do. September might not have existed, but I made October a double month to make up for it, even if it devolved into an early November onslaught of chaos at the end there. Let’s see what tracks got shared before that happened, and while that happened.

 

Daily Hat Track: October 1 track 1 (Danny Barranowsky – Mausoleum Mash)

 

One of the most iconic tracks from one of my favorite games thanks to it’s use in the opening cutscene and one of the game’s early levels. I honestly discovered the soundtrack before the game but I love both.

 

Daily Hat Track October 1 track 2 (Bliss – Blaze Up)

 

Bliss is one of the best psytrance artists in recent years, if not the best. He’s been on a roll for much of this decade. This release from last month, for example, is a lovely mixture of playfulness and badassery.

 

Daily Hat Track: October 2 track 1 (Seven Lions & Ciscandra Nostalgia – Serpents of Old)

 

This must be the oddest creepiest thing to come from Seven Lions as far as I know. And as someone who is quite a fan of the odd and creepy, I find this to be one of my favorites from him.

 

Daily Hat Track: October 2 track 2 (Saltillo – Following Evelyn)

 

Alright, let’s follow up the pleasantly ugly with the pleasantly gorgeous. I feel this song is my favorite from Saltillo, mostly thanks to the vocal samples about growth, change, and finding one’s place in the universe.

 

Daily Hat Track: October track 2 (Reliant K – The only Thing Worse than Beating a Dead Horse is Betting on One)

 

This is way outside my usual genre but can we just take a minute to appreciate how much Relient K was able to pack into a song that barely surpasses a minute?

 

Daily Hat Track: October 3 track 2 (Openwater & Matt Vice – No Regrets)

 

I guess today is a nonelectronic day as this one is more of an inspiring combination of orchestral, piano and a slight bit of rock. And it’s a worldview I really need to adapt if I’m going to move forward.

 

Daily Hat Track: October 4 track 1 (Sam Maher – New York)

 

I’ve really been getting into handpans as of recent and this is guy is my personal favorite handpan master. Here’s about six minutes of unique handpanning. Enjoy.

 

Daily Hat Track: October 4 track 2 (Shirobon – Regain Control)

 

I find Shirobon’s retro style quite interesting. This song about regaining control over one’s life (expectedly relevant to me) is a great example of Shirobon (Born Survivor is better but I shared that long ago).

 

Daily Hat Track: October 5 track 1 (Icon of Coil – Dead Enough For Life)

 

I haven’t posted a sufficiently existentially edgy song yet this month so this one goes out to the crippling depressive angst of getting stuck in a monotonous cycle with no eacape all while feeling dead inside.

 

Yay

 

Daily Hat Track October 5 track 2 (Rootkit & Anna Yvette – Against the Sun)

 

Probably favorite song from Rootkit, though I believe one influence of that could be that I believe Varien had a small hand in this as well. And considering Varien is one of my favorite artists of all time… Yup.

 

Daily Hat Track: October 6 track 1 (Assemblage 23 – The Noise Inside My Head)

 

The noise inside my head could possibly be a simple tune that turned out to be an earworm… Or is it the dark existential insomnia-inducing thoughts that appear so regularly that they’ve unfortunately become the norm?

 

Daily Hat Track: October 6 track 2 (Squarepusher – Mutilation Colony)

 

A beautifully ominous beginning eventually transforms into a distorted nightmare. An interesting unconventional journey.

 

Daily Hat Track: October 7 track 1 (Rotersand – Hey You)

 

I shared Rotersand’s Not Alone a long while back and I consider this to be its companion song. The music sounds quite a bit different and there’s a bit more dark was in there but the theming and structure are similar.

 

Daily Hat Track: October 7: track 2 (VNV Nation – Homeward)

 

Several of the recent hat tracks (as well as today’s review) have been focused more on a great personal meaning. That’s what happens when one is in a big transition in life. I just hope I can keep home in sight.

 

Daily Hat Track: October 8 track 1 (Aviators – The Path Home)

 

Remember when I’d reviewed Aviators’ Aeterno? Well, a couple weeks ago, the man released a remastered version of a few of the tracks off that album and many are a vast improvement. I think The Path Home benefited the most

 

Daily Hat Tracks: October 8 track 2 (Neilio – Captivating)

 

I don’t care much for the musical content of this Monstercat classic (hardstyle just isn’t my thing), but the lyrical content is a glorious illustration of my relationship with music so I quite enjoy the song otherwise.

 

Daily Hat Track: October 9 track 1 (Bruderschaft, Apoptygma Berzerk, Icon of Coil, VNV Nation, and Covenant – Forever)

 

What I love about Bruserschaft is that it’s four futurepop artists all collaborating all at once. And as a huge fan of futurepop I obviously enjoy that. And Ronan Harris from VNV Nation at the front is definitely a treat.

 

Daily Hat Track: October 9 track 2 (Lindsey Stirling – Shadows)

 

I’d originally discovered Lindsey when this song was featured in a video by Nerogeist called the guardian, which you should also definitely check out as I’d argue that it’s just as beautiful as this song.

 

Daily Hat Track October 10 track 1 (Beborn Beton – Another World)

 

This is way too catchy for it’s own good. Such a specific concept too with the singer being a spirit from the beyond the grave warning a loved one to leave his resting place alone, for he has found the afterlife.

 

Daily Hat Track: October 10 track 2 (Rameses B & Aloma Steele – Darkest Place)

 

This one used to be on my top ten Monstercat songs of all time though it admittedly has been slipping back a slight thanks to my attention being drawn elsewhere. My DnBias keeps me coming back to it though.

 

Daily Hat Track: October 11 track 1 (Neelix – Mosquito)

 

I’ve shared a remix of this song before quite a while ago, but I want to take a step back and admire the original version with its dramatic tension, danceable drive and distorted mosquito sampled synths.

 

Daily Hat Track: October 11 track 2 (Deltron 3030 & Del the Funky Homosapien – 3030)

 

I like to share a lot of songs depicting the future. Often they’re hopeful, bu this one is a bit bleaker. I never minded bleakness though long as it’s not too destructive, which this isn’t.

 

Daily Hat Track: October 12: track 1 (GUNSHIP – When You Grow Up, Your Heart Dies)

 

The title alone makes me a bit existential what with my dispassionate disposition towards the world of adulthood. But the song itself is a bit more uplifting than it might initially appear.

 

Also it has a sax so yes.

 

Daily Hat Track: October 12 Track 2 (Nana the Shrimp & DZA – Speedball)

 

Seeing as the song’s name is Speedball, it understandably fast paced despite not having an exceptionally high BPM. Though there is a switch up in the middle that allows for an interesting lightly accelerate tempo change

 

Daily Hat Track: October 13 track 1 (Nobody Beats the Drum – Natural Thing)

 

This song sounds more technological than natural so I’m not fully certain how well the title and vocals fit. But the song is a nice multileveled trip nonetheless.

 

Daily Hat Track: October 13 track 2 (Mahamudra – Shadows of Courage)

 

This song depicting a strangely ominous mixture of desperation and victory was hiding deep in the shadows of my musical memory.

 

It resurfaced recently.

 

And I’m so glad it did.

 

Daily Hat Track: October 14 track 1 (Le Matos – La Mer Des Possibilités)

 

Le Matos is one of many synthwave names I enjoy. I’ve chosen this song in particular to share due to its arpwork and the fact that the title translates to “The Sea of Possibilities.” A sea that I should look on with hope

 

Daily Hat Track: October 14 track 2 (Varien – Teva833)

 

I’ve established before that Varien is one of my favorite artists. The man has massive spectrum of moods that his song can adhere. And when it comes to the darker trippy stuff from him this song is certainly top notch.

 

Daily Hat Track: October 15 track 1 (Matduke – Shivers)

 

Another classic MC hard dance track (I shared Neilio’s Captivating earlier this month). But I prefer Matduke. And this is my favorite Matduke as it has the most satisfying variety of the early days of MC hard dance.

 

Daily Hat Track: October 15 track 2 (Rezonate & Ashley Apollodor – Rebirth)

 

My favorites from Rezonate are songs with a chill introspective perspective. This is the most uplifting of the bunch with extra focus on embracing positivity rather than letting go of negativity (there’s a difference).

 

Daily Hat Track: October 16 track 2 (Moby – Lift Me Up)

 

I heard Sesto Sento’s remix first (even though I was already familiar with Moby via Natural Blues and Why Does my Heart Feel So Bad).

 

This song is a much happier alternative to those two and it’s just as beautiful.

 

Daily Hat Track: October 17 track 1 (Tut Tut Child – Talking of Axes)

 

Talking of Axes is clearly appreciated by me as a song involving both rock elements and some good electronic basslines. And that’s not even mentioning the syncopation.

 

Daily Hat Track: October 17 track 2 (Juno Reactor – Pistolero)

 

Pretty obvious that the ever present guitar is the absolute star of the show in this one. Really sells the western vibe this song seems to aim for (everything else about the song is great too, but guitar is what I love).

 

Daily Hat Track: October 18 track 1 (INTERCOM – Truth and Malice)

 

My favorite nonInfected Mushroom song to make it on a MC Rocket League comp.

 

It transitions perfectly between beautiful stringed sections and groovy basslines sections seemlessly, likely thanks to the vocal chops.

 

Daily Hat Track: October 18 track 2 (Phaxe – Angels of Destruction (Neelix Remix)

 

I will likely eventually share every combination of Neelix and Caroline Harrison eventually as they sound so gorgeous together.

 

While this is no Makeup, it’s still up there among my favorites from the two.

 

Daily Hat Track: October 19 track 2 (Jilax & Durs – Conquer)

 

Continuing on a psytrance roll, I’m going to share a bit of a recently fresh psytrance track. There’s some nice dramatic near cinematic tension in places and whenever it’s building itself up, it does so nicely.

 

Daily Hat Track: October 20 track 1 (Grabbitz – Better with Time)

 

I’ll admit that I’ve lately felt stuck in that place where I’m seeing life as a boring movie, desperately hoping it all gets better with time.

 

Hence I enjoy this song.

 

Plus syncopation of course. That’s always loved.

 

Daily Hat Track: October 20 track 2 (Niteppl – Can’t Stop Now)

 

Seeing as I’d discovered  this song in my early Spotify days, this one feels like an inspirational classic to me. Sure the lyrics are a bit repetitive, but the funky vibe and piano bridge more than make up for it.

 

Daily Hat Track: October 21 track 1 (Absurd Minds – The Question)

 

Have I done a song yet on the nihilistic questioning of reality as we ponder the slow transition to dystopia that society is trending towards?

 

Well if not, here’s an example.

 

Daily Hat Track: October 21 track 2 (The Anix – Interferance)

 

A bit of an oddly creepy maybe edgily unhealthy love song from The Anix for this one.  Kind of like anything I’d expect off of FiXt. But there’s also just that hint of existential that keeps me coming back.

 

Daily Hat Track: October 22 track 1 (Altered Frequencies (Phutureprimitve edit))

 

I’ll be honest, I haven’t actually taken the time to listen to the original version of this one yet. But hey, I do know that Phutureprimitive’s edit has a great blend of sounds (including guitar) that hits the sweet spot

 

Daily Hat Track: October 22 track 2 (Daniel Deluxe – Darkness)

 

Darkness is unsurprisingly quite a dark song about eternal darkness. Go figure.

 

Thematically, I’d say it’s similar to Gunships’s Dark All Day, albeit this one doesn’t have a sax so it’s obviously the lesser of the two.

 

Daily Hat Track: October 23 track 1 (Neilio – Obsession)

 

Oh this song sounds nice and romantic at first…

 

At first…

 

Daily Hat Track: October 23 track 2 (Covox – Attack Vector)

 

I don’t know if I’ve ever really posted chiptune Hat Tracks that often. In the right hands some cool stuff can be made in the genre. Here’s one such song, albeit it’s the second half where the song really shines.

 

Daily Hat Track: October 24 track 1 (Lauren Bousfield – No Clocks No Mirrors (For Joey))

 

I’ve always loved Lauren’s fine line between the calm and the madness. And this song does a great job of bouncing back and forth in between the two extremes.

 

Daily Hat Track: October 24 track 2 (Tokyo Machine – TURBO)

 

This recent release is likely one of the only Tokyo Machine songs I truly enjoy. He just doesn’t fit my groove. I think I was in the right mood when first listened to this one as I was driving in the middle of the night.

 

Daily Hat Track: October 25 track 1 (Vexare – The Clockmaker)

 

I will admit that I prefer that calms and the moments of the ticking clock more than the main drop, but there is somewhat of a classic feel to this one. Not super dirty like some dubstep but it still hits nice and hard.

 

Daily Hat Track: October 25 track 2 (Carpenter Brut – Roller Mobster)

 

Been listening to an above average amount of Carpenter Brut as of late, likely one of the greatest artists of all of synthwave. Choosing one song to highlight is nigh impossible so I just grabbed one of his most popular.

 

Daily Hat Track: October 26 track 1 (Muzzy – Spectrum)

 

Easily one of my favorites from Muzzy. It has it all: beauty, intensity, meaningful lyrics. It’s just a lovely song that few, if any can top (maybe the Wrong remix but that doesn’t take the beauty cake)

 

Daily Hat Track: October 26 track 2 (Muzzy & Droptek – Warhead)

 

Long as I’m on the topic of Muzzy, here’s one of his most badass tracks. A collaboration with Droptek that feels as if it’s in the same vein as Endgame. And I love Endgame. So I love this.

 

Daily Hat Track: October 27 track 1 (Infected Mushroom – Cities of the Future (extended remix)

 

The best remixes have the ability to improve upon the original while still keeping the heart of what made the original so great. This is a great example of such a remix of a song I’ve already fully reviewed.

 

Daily Hat Track: October 27 track 2 (Ace Ventura – Hello?)

 

Imagine. You’re driving through the night listening to music, some new, some old. One of your favorite song ends with a good 5 seconds or so of near silence and then out of no where you hear it:

 

“Hello? Anybody here?”

 

Daily Hat Track: October 28 track 1 (Krama – Master of Elements)

 

This song served as my introduction to Krama, one of the best artists of Spintwist (other than Neelix of course)

 

Oh and this apparently has a quote from Doctor Strange in it. Didn’t notice at first but there it is.

 

Daily Hat Track: October 28 track 2 (SCNDL & Timmy Trumpet – Bleed)

 

Meme

 

Daily Hat Track: October 29 track 1 (Sesto Sento – Zoombai Warriors Surfing on a Small Chapati Sound in the East of Parvati (Megamix))

 

This insane mashup is made up of several songs by 9 different psytrance artists, including one of my very favorites, Bliss. Absolutely amazing piece of work right here.

 

Daily Hat Track October 29 track 2 (Savant – Change)

 

Multigenre songs with tempo changing switchups are some of my favorites. So what of this song? A full constant switchups multigenre cluster of fantasticality, constantly accelerating until the very end before breaking down.

 

Daily Hat Track: October 30 track 1 (Ehrling – Thokoloshi)

 

Ehrling is always a pleasure. Probably because saxophone is always a pleasure. And Ehrling nearly always has a saxophone present. Like many of his songs I love the bouncy sax vibes the song has to offer.

 

Daily Hat Track October 30: track 2 (Wisp X & Xomu – Lumina)

 

Now the reason I’m particularly enjoying this song isn’t because it’s breaks (though syncopation is still expectedly awesome, but it’s because it had some gorgeous piano melodies at the forefront.

 

Daily Hat Track: October 31 track 1 (Direct & Mr Fijiwiji – LA2016)

 

Direct and Fijiwiji are always a great combo, but I’m honestly just here.for the vocal chops.

 

Daily Hat Track: October 31 track 2 (Savlonic – Computer Guy)

 

Sir Weebl, the main man behind Savlonic may be responsible for memes, but this one is so incredibly catchy that I’ve gotta throw back to it. And it’s slightly more serious than his more well known stuff.