Oversaturation, by definition, is a solution that contains more of the dissolved material than could be dissolved by the solvent under normal circumstances. A given example is economists that discuss at great lengths how various markets are on the brink of extinction due to the overabundance of a said solvent and how a correction needs to be made to restore some order to the solution (or in this case society). Though the economy is not a topic of discussion that I’ll dwell upon in this post, I’ve recently seen firsthand how too much of a good thing in the music world can sometimes have an unpleasent effect on ones everyday life.
For the past few months our eyes and ears have witnessed the rise of the most rapidly growing genre to come out in the electronic music market in our time. For all the hullabaloo that surrounded dubstep during its growth, never have I seen a genre so widely used in such a relatively short amount of time like that of trap movement. It’s easy to trace the evolution of the genre on our site and many others by just looking at the post history for the last few months. Needless to say, I trapped myself so hard that listening to music became more like listening to THIS all the time.
With my thirst for listen to every new bit of music at an all time low, I looked towards the past with hopes that it would inspire some sort of revival within me. After rifling through oldies from the likes of Crookers, Deadmau5, DJ Shawdow, and The Bloody Beetroots, my refresh took me to a forgotten gem that brought back memories of the very first music festival John and I attended what now seems like a millennia ago. On a fateful Sunday at Lollapalooza, a young and highly energetic German producer graced the Perry’s Stage as the night fell and delivered one of the best performance’s that still ranks in my top 5 list to this day. I’m talking about non-other then the electronic/techno mastermind that is Boys Noize.
In 2007, Alexander Ridha burst onto the scene with the now legendary Oi Oi Oi LP that showcased the immense talent he possessed at producing original music that first was displayed on remixes of Fiests My Moon My Man and Shiney Toy Gun’s Le Disko. Fast forward 2 years later to his second LP accurately titled Power which proved to be one of the most groundbreaking records of the Net Generation. Keeping his recipe for success simple yet beautifully unique is what has made Boys Noize a king among men in the electronic world to this day.
When the announcement came up in June that Alex was back in the studio cultivating new sounds that would be featured on a brand new LP released this year, the rumor mill was buzzing in anticipation and the question of if he’d dabble with the trap side was on many fans mind. Well I’m happy to report that Out of the Black is 100% trap fee with Boys Noize sticking to his own method of creating music that differs from any of his colleagues in the industry past or present. With 12 songs on the LP (15 if you buy the iTunes version), Alex packs a serious punch right from the get go with summer releases What You Want and XTC occupying the the first two spots. Then you have a a hard-hittng electro chune titled Missle that oozes of classic Boys Noize featuring a customary robotic voice sample. Stop has all the makings of being a track that receives touches from anyone brave enough to remix this TURNT UP tune. Ending with Got It that features “rap game proper” lyric from Snoop Dogg brings the album full circle on its coarse of becoming another amazing installment in the Boys Noize catalog. October 8th is when the album is set to release and I’d like to personally thank Alex for literally providing me with an escape out of the black (no pun intended). Enjoy mes Amis!
What You Want
Ich R U
Circus Full Of Clowns
Got It ft. Snoop Dogg