EPIC BASS TIME

Porter Robinson has often been called a prodigy of the electro genre, so you know that when he releases his first full EP, electronic music lovers the world over took note. What made it an even bigger splash was that it was released on Skrillex’s OWSLA records. People looking forward to this EP for tracks similar to those that contributed to Porter’s astronomical rise to fame will be dissapointed, as Porter Robinson takes this EP as an oppurtunity to try out a multitude of different generes of the EDM scene. Read on for a highlight of the 6 tracks of the EP to see why change is not necessarily a bad thing.

The title track of the EP is by far not its standout track. In Spitfire, Porter dips his toes into dubstep, yet the song lacks originality due to the significant amount of help received by Skrillex. It seems all that is missing to make it unmistakable from a Skrillex track is the monster synth, yet Porter does add a little of his own flavour, making the wobbles extra scratchy. Spitfire sets of the sinister tone of the EP perfectly, a tone which is carried on through every track.

The sinister tone of the EP is immediately present from the get-go of this track, and again Porter tries out a little dubstep. What is entirely refreshing is that its visible that the style of the track is entirely his own, and when the bass drops…my God, its heavy, its scratchy, its in your face. To put it simply: its amazing.

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With Unison, Porter takes on an entirely different side of EDM. The synth and melody give this track an epic festival vibe, yet the Warp styled synth breaks and frequent breakdowns shows that Porter certainly hasn’t forgotten what got him to where he is. This should become a staple to every electro dj’s festival set, it’s that simple.

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To me, the standout track of “Spitfire” is Vandalism. An electro-house gem with clear influences of Porter’s original style, albeit toned down a little. The calm intro is misleading(and absurdly long, I mean it’s 3 fucking minutes long), but once it drops down into some heavy bass with hot vocals on top of its already sinister feel, hear this in a club and you will definitely want to do some nasty things to this song. Perfect to introduce Porter to the less hardcore electronic music lovers.

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Porter tries to give his own flavor to moombhaton, yet since it’s moombhaton i refuse to review this.

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The Seconds sees Porter Robinson return to his usual style, and honestly after so much change it’s a nice wrap up to the EP. It shows that the Porter we know and love is here to stay but he is also ready to take on the veterans which aren’t afraid to switch up their style.

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