19 years old and already a top-tier producer, Porter Robinson dropped his latest EP Spitfire yesterday. This is the first album to come off Skrillex’s new label OWSLA. To be honest, I just started writing for the Mixster a few weeks ago and am pretty new to writing about music. So being given the task of writing a piece on Spitfire, an EP with at least 5 genres and god only knows how many sub-genres of EDM, was no walk in the park. Porter Robinson is undoubtedly extremely talented and is able to dip his pen into whatever style of music he wants and make it sound stunning. On top of having unique originals, the record comes with five remixes from the likes of Mikkas, Downlink, Skism, Knife Party, and Kill the Noise.
The namesake of the album, “Spitfire” starts off with an eerie melodic build up. The futuristic sound has a deep industrial bass and a creepy music box riff that you would expect to hear when that doll from SAW pulls up in his miniature bike. Definitely packs a lot of energy. It’ll be sure to initiate either absurd crowd bouncing or a round of whiskey shots.
This take on the song from Kill the Noise ups the tempo and has that classic breakbeat bass n’ drum feeling. Throw some syncopated 808 kick drums and a few Skrillex-esque dubstep growls and you’ve got yourself an incredible banger.
The original version of “The State” is my least favorite track off the EP. The overly drawn out intro is only made worse by annoying spoken vocals that sound like an audio watermark from a bootleg song that was downloaded from Limewire. It does have some redeeming value in the drop, I must admit. The Skism remix puts a more demonic spin on it. It’s easy to picture the DJ dancing around to the spacey and confrontational vibe that this track brings to the table.
Vandalism’s ethereal echos, funky techno synth, and catchy vocals will make this a club classic in no time. This track seems to have the most remix potential (remixability?!); I would keep an eye out for some big names trying to put their mark on this track. I would have to say it probably has the highest potential to become a hit.
Can’t decide whether you like progressive house or electro house more? Then with “The Seconds”, you’ve found the right track! With his track “The Seconds” Porter starts off with a distinctively progressive house build and about half way through stretches out the shinny synth and drops the song into a completely different being. The fusion of electro and progressive house has never sounded so refreshing.
“100% in The Bitch” produces – more annoying spoken vocals. I feel almost like I’m listening to a pasty faced teenager trash talking into his xbox live head set. Once you get past the intro, comes a familiar tempo – one that has a Latin moombahton vibe to it. The song has interesting sample layers and is very multifaceted. This track’s juxtaposition with the electro house and dubstep songs is proof of Porter’s versatility.
Downlink‘s reflip of “100% in the Bitch” adds club orientated squeals and oscillations to the moombahcore drumline. I personally like this version better than the original. A large part of my preference is due to the fact that Downlink cuts out a large portion of the irritating vocals.
Unison has a festival ready synth punctuated by that unique sound that turns on the electro house light bulb in my head. This is just an all around fun track to jam out to. I wouldn’t be surprised to see this as the next anthem to one of the many up coming massives. (Bonus! Mikkas turned the song into a more atmospheric and open version but just as fun and grooveable)
My favorite track of the whole album. Knife Party turns Unison inside-out and creates a masterpiece. Although I hate to use the word, this is brostep at its finest. Listening to it in my car today gave me goose bumps and an incurable case of unavoidable head bobbing. I can’t to hear this on the dance floor; the energy this song has is only matched by that of the father of the label.