Showing posts with label beatmaker. Show all posts
Showing posts with label beatmaker. Show all posts
There’s a pure, shining spirituality dwelling within Wisconsin singer/producer, Tanner Mitchell Zingsheim’s, recent cut, “V01D”. Under his alias, Spectrum Bender, the Colgate, devout Christian seeks to seal every last one of us in a vacuum of love; doing so through a marriage of poignant proclamation and prismatic production. The lustrous track kicks off with a buttery chord progression; satisfied solely by a recurring kick-drum, and Bender’s gentle croon. It is incredibly minimal in the totality of its glory, before converging into several evolutions of grandiose, pop production. Once upon the hook, “V01D” accelerates its aforementioned kick drum into a progressive, four-to-the-floor rhythm, backed by glittering, electronic percussions. Eventually, these elements transcend into instrumental interludes, where a trotting kick and 808 snare carry a surge of intricate key and synth breakdowns. Near the end of this productive gorgeousness, we are circled back to Bender’s chorus, where he once again breathes “Into the void we welcome love”. 

Verily, this Midwest talent puts God and Christ first; as there is a holy undertone to this entire creation. His attention, and furthermore, appreciation for detail results in a heavenly, pop opus only the heartless could reject. Even as “V01D” goes quiet, at the end of its two minute and twenty-seven seconds of excellence, that won’t be the end of your engagement with Bender. You’ll be dying to explore the rest of his magical catalogue. 

“V01D”[Download]
Checkout The Spectrum Bender Collection on Soundcloud here: 





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It is seldom that you find a creative who simply knows how to fit things together. One who can select from a diverse range of art, and put together his own unique masterpiece. Such an artist can be found in DJ Nomis, and his recent single, “Girls Are No Fun” is the epitome of that talent. The track pulls from Youtube for its musical, Bruferr Beatz-produced instrumental; Post Malone’s record “I Fall Apart” for its chorus, and is fulfilled by DJ Nomis’s own verses. The Suffern, NY creative whirls about in his own melodic world on the record; slipping between deliveries and flows at his distinct leisure. Post Malone glides in near the tail end of the record with his own autotuned verse, stemming from the aforementioned “Stoney” cut, and such adds a beautiful, finishing touch to the anthem. “Girls Are No Fun” is a powerhouse, built brick by brick by DJ Normis. Throw this single in the right club/festival mix; and the crowd’s certain to detonate. 




“Girls Are No Fun ft. Post Malone [Concept]” 




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One of the most indisputable objects in our universe is Truth. Truth is a titan, that has historically opened the eyes of millions and led to irreversible changes within societies all across the globe; both personally, and with people as a whole. As Philly-NYC producer, Klem, likewise demonstrates to us, Truth can also lead to one amazing record. A four-minute sonic escapade, “The Truth”, feat. Rino, is Klem’s breakout single from a mysterious, upcoming project. On this venture, while guest rappers take the reigns as far as vocals go, our East Coast beatsmith diving completely into production. And in this sonic sea, he swims flawlessly. The track commands attention from the jump; showing unique character through an ambient pad and EDM-esque bass frying in a bed of vinyl crackles. Eventually, in tandem with the verse of Rino, a loop of conventional, boom-bap hip-hop drums are introduced, and the record immediately gains traction. Rino drops gargantuan gems about the notion of Truth, and its impact, while Klem guides us on an aural adventure. There is a moment around the 1:15 mark where a sweet melody of rhodes keys come in, giving the instrumental a completely different flavor. Then, at about 1:45, a gorgeous, soft-rock guitar rift splits the mix, seasoned by series of melodic, reverberated licks. To tell the Truth, this is one of the most progressive, yet gratifying instrumentals I have heard all year; and if this is any preview as to what Klem has in store for us on the album, he is most certainly holding a masterpiece.



“THE TRUTH” Stream/Download:

7 Questions with KLEM


1. When did you you 1st begin making music?
KLEM: Alright so I first started making music when I was 13, I’m 23 now so it’s been a solid 10 years of learning production. I started my musical experience though when I was 9 and learned how to play the trumpet. I then learned to the play the guitar when I was 12 and got my first audio interface at 13. It was an old Line 6 pod audio interface that came with Ableton.

2. What genres do you specialize in?
KLEM: I grew up listening to a bunch of genres. Between Red Hot Chili Peppers, Blink 182, Elton John, Eminem, Tupac, and Johnny Cash - I grew up with every type of music and found ways to appreciate everything that was made with hard work and determination. I have been working with alternative rock for a long time and then started working with electronic music when I was 15 (it was my Deadmau5 phase and electronic music and dubstep was bumping everywhere) and recently that turned into working on hip hop beats and phusing that with typical electronic and alternative instrumentation.

3. What hiphop producer has influenced you and why?
KLEM: I absolutely love the guys that help produce for Kendrick Lamar, Run the Jewels, and clipping. That includes Top Dawg, El-P, William Hutson, and Jonathan Snipes. They all aren’t afraid to try something different and new. They don’t really care if people love or hate it because they are always against the grain of what’s popular and it seems like they are all years ahead of everyone else. They take risks and most of the time it works out beautifully.

4. What kind of equipment or programs do you use for making a beat?KLEM: I use Ableton as my DAW with plenty of plug ins by izotope, Line 6, and many third party company plug ins. I use a focusrite pre-amp with my arsenal of condenser vox and instrument mics. I have a Taylor acoustic guitar along with an Ibanez semi-hollow body and another Ibanez solid body guitar. Everything I do with my beats come from either my Arturia midi controller or sounds I record myself. I also sometimes use some samples through splice when I want to add another layer to my tracks.

5. What is the concept behind your new project? 6. What artists are on the project and how did you connect?
KLEM: The concept behind my new project has a lot to do with nostalgia - either sonically, lyrically, or both. I found a lot of vocalists from around the US using Instagram, Fiverr, Facebook, and even some home town friends. I wanted to create a sonic soundscape with different vocalists for each song. There are also a couple instrumental tracks as well. I’m throwing all my chips down and putting my all into this project because I want it to be something to be proud of. I love the sounds from the 80s and I really dig vapor wave / aesthetic art styles and I wanted to find a way to paint that picture with sounds. Some of the artists include Rino, Keybeaux, Woodsy Wasabi, preachblvvk, Jordyn Oran, S-Class, and Nekrog

7. What does the future holds for your career?
KLEM: Well that’s a real open ended question. I’m working on a separate alternative/folk/rock album with an awesome producer, Josh from Invengo Productions, which might be out in the winter, and I’m hoping to release this current HipHop project in October. It’s going to be called Aesthetic and I can’t wait to see how it’s received. My current single, The Truth (feat. Rino), has been received very well from most listeners so I’m excited to see where this project takes me. I love working with and collaborating with others so I’m just excited to see where this all takes me.


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From off of the success of "Vacancy", on-the-verge beatmaker, Jordan Everist, brings you another innovative collection of musical landscapes for the soul! "Call It A Night" is 4 new beats that show his depth and creativity as a producer. Stand out beats include: the smooth back of the club vibe of "The Beginning"; the mid-tempo story-telling on"Before the Party"; the exciting audio and organized chaos on "Relapse"; and the soulful trap remix of Bonnie Tyler's '83 hit Total Eclipse of the Heart on "Tonight". -Carl BFM Jones



Known more for his laid back, somewhat melancholy style, Jordan Everist comes through with a project that explores his more aggressive side. Light, kind of subdued melodies pair wonderfully with the hard punching bass, This project is perfect to listen to in the car with the bass all the way up.Plus, it's a free download! Be sure to check it out!