On this day we get to cover the massive remix compilation that precedes the mighty LP by the master of misery systems, MUST DIE! with CRISIS VISION: REDUX the album. The man himself handpicked some of the finest curators of bass music to absolutely crush every single track presented on the CRISIS VISION LP. We dipped into every track with a high interest and appreciation to artistic design remastered with each plate.
The first track to cover is a alternative version that MUST DIE! revised himself, the gargantuan track, “NIHILISM BEGINS AT HOME“. The track initiates with an eerie sort of “busy signal on the phone” style radiance, with a very horror sequel tonal ambience. A voice crawlingly speaks out, edging into a distorted, sustained sound that vibrates in and out, growing deeper and deeper. A large, screaming impact mashes with the sustained sound, progressing in loudness. The tension build here is truly unlike any other, the intro alone is a historic monument when it comes to any riser of a song. A voice echoes in the background, and a snare roll takes place, building to the insanity to commence. The pre-drop hits, a whiplash of sound like a bouncey ball of chaos rips in and out of the stereo field, filtering to it’s peak volume, then the kick pounds into the body of this beast. The groove pattern of this song is what stands out compared to the original release, with differentiating sounds. It has many similarities to the original, but takes a level up as to the point MUST DIE! was trying to get across with his round two swing with it. With extremely fierce crunches from the primary sound, like a plagued beast ripping through prey, the sound design demolishes listeners. The track ends with a clash, and slow breath down to its climax, digitizing to minor bits of high pitched sound, and a war drum to end all. It’s short lived, but the imprint it makes is some the most savage, audible destruction we have ever witnessed. This song is just as, if not more, bar setting as to the original, truly a wave maker in the bass music universe.
Secondly, we have the collab of kings, “LOL OK” with AKEOS and SKREAM, remixed by French bass house genius, Habstrakt. The intro starts off classily as the original, with an obviously lesser BPM, of horns harmonizing a melody, and a deep sub riser epically bringing a fuller spectrum to its basis. Subtle kicks ring in the background, grounding the intensity. This is quickly becoming a house song with it’s staple percussive pattern, and rattling build up. Habstrakt brilliantly utilizes the wind chime ring like sound design, initially used in the classic, to bounce off the kick-hat combo procuring the flow. He brings an insane amount of energy with this remix, it’s a fine differential when comparing from the original. The second drop still carries a massive power as the first, and the song closes with a snappy roll of the hats.
Next, we have “FUCK UR STYLE” remixed by the up and coming, new age riddim lord, SYZY. The track kicks off very different as to the original, with sort of popping frequency, one shotting in a relative manner as the vocal chops of the precursor. The vocal chops find their way to, with a harmonic arpeggiator conforming itself with the one shots, and developing the melody. A rapid drum movement brings the intensity with the arpeggiator stabbing louder, and a flat vocal calls for claps to bring on the rising. The drop happens, and SYZY completely reforms the character of the canvas to be. The sound design is like that of slicing katanas, clashing with a great metallic burst. The riddim pattern used is a complex animal, but so very powerful in its impact. There is no games being had in the remix, SYZY went full throttle when presented such an opportunity, and that is easily drawn just from listening to this. There is also a second drop in this version, with a breakdown that reflects a groove as the original, but with a more cyberpunk aesthetic to it. The second drop smacks with a fake out of the sound in the first, and then embodies itself with a wet blaster of sound, shooting off leads into colliding sword smashes. It then finishes with a faster arrangement of flow, really dragging the intensity to its threshold. An impact, and quiet sound of a horn, sweep, and animals chirping in the night carry the ending.
We then have “LIFE SUCK” with IMANU, remixed by the heavy hitting UK tear out champ, Trampa. The intro is a heavily reverbed rendition of the original. A classic Trampa lyric instantly hits off, and a colossal drum pattern commences. A granulated pad sets the vibe in elongated, chord patterns. This is a slow build, typically scene in Trampa’s style of writing, bring the utmost in a build for what is to present itself. The drop approaches with a hefty growling bass drive, and deep gangster rap type beat pattern. Then accompanied by the grittiness of Trampa’s high end reese bass to emphasize the guttural growls. This continues just womping with mad energy, a fair choice indeed MUST DIE! chose for such a masterpiece. The first drop ends, and the breakdown slides gracefully with a barrowed sweep, minimally gliding with intensity. Pads set it with dark rumbles, ever changing in note, and a pin point riser used to smack into the electric riff to begin. The granulated rings of epic proportion begin yet again, inviting the drum build. The second drop hits with the same occupancy as the first, still mashing away at the frequencies chaotically chattering in the air. A sporty arpeggiator projects in, and finishes out the song, with a lyric to capitalize it’s ending.
Next, we have the track “Don’t Even Bother” featuring the Pom Poms, and remixed by Never Say Dies newcomer, Nitepunk. The song rings off with lyrics of the original, but whole new vibe setting. A bit of festival trap type beat to introduce itself, something we are very much behind, this track is already showing strong intention. Right to business, Nitepunk hassles the drop presence into somewhat of a hybrid DnB style/house experimentation. Newly implementing a fresh sound to this song, along with it’s complex, intense drum pattern. Leave it to Nitepunk to change everything you think you know when it comes to music, and making it a revolutionary experience into sound. The way he takes from the vocals and reiterates the flow is a speechless experience. Covering this song is like a journey into a new sense of being. The second drop brings a mad drive, absolutely moving to the core. Party vibes are afoot in this portion of the track, definitely capable of getting the masses on their feet. The song ends with a cheering foley layer, and a lead blipping to its conclusion.
We now have one of the most important pieces of this LP to cover, and the first to show face when this compilation was leaked, and that is the remix of “SARROW TECH” by Good Times Ahead. MUST DIE! said himself he was extremely honored to have one of his favorite artists to take the reigns of this song and go about, so there is a lot of emotion and respectful bias that follow with this track’s redux. Definitely also a huge favorite, and played all across a spectrum of renowned artists, there is a lot of proving to come from this remix, and it delivers beyond any standard we could ever set. It initiates with a different beginning than the original, of sirens and string like singular chord leading the front line of this track. Drums begin and lead into the miniscule, rapid fire vocal chop melody as of the original. It’s quite immaculate how harmonious this twist of vocal and melody combination is, still mind blowing even in the classic rendition. Still carrying with much of the same energy in the intro, and stand still lyrics intruding with visions of an audible universe. A dance, electronic element of drum pattern begins to ignite the rise in energy with a fresh repetition of vocals. Then, it drops into a booming, high bpm saturation of a dance track, bringing out the highest version of the lead sounds energetic bounce. So minimal in body, yet so immensely satisfying, this track remix is ridiculous to wrap one’s head around. The first drop transitions into a new sound on it’s alternate half, with the same percussive pattern, with a touch of festival aesthetic to please. It gleams out the end, and begins to shutter into the breakdown. The vocal harmonic begins yet again, trailing towards yet another masterful secondary body. The lead sound yells in the background, approaching it’s target timing. The second drop hits with the response sound of the original, but terraforming it to lead the chaos. This time, the beat interchanges to a trap like bop, consistently changing into a monstrous variety of sounds. It then glacially exits with a slow moving riddim pattern, and sub bass that pulsates in and out, and sirens to cut the ending. Indeed a track unmatched, and very well executed in the highest regard.
Next we have “Body Scream“, remixed by the up and coming mad man of heavy dubstep, Jiqui. The track begins with a similar intro as the classic, same shake and string instrument type synth to carry. A bit more stretched out this time, introducing and distorted scream with a punchy bass line to follow. Jiqui takes it further with multiple impacts to compliment the bass, and phasing the mid bass line. This not a typical direction of his, but this track is still amongst the DnB realm. Less hyper than the original, with a more metallic presence is the sound design the heaves the weight of this creature. The heavy dubstep ground and pound vibe is still valuable in this style he brings, it has Jiqui written all over it, but in beyond a special manner. He reenters the sustained bass, manipulating it yet again as an immense riser, compromising to the second drop. This time, the sound becomes more gritty, with a sharper mid frequency. Continuing for a brief time, it leaves off with a warping sound, moving in and out, until finally closing the track.
Coming up next, we bring on “HELLBURST“, remixed by one of NSD prince’s of darkness, BadKlaat. The track begins on a brighter note than the original, with a touching, simplistic piano pattern. Going into a sort of chanting loudness that choruses up the building structure of this plate, mild chords lead to a drum rise. Almost sounding like a raw style banger, it is quickly cut off into a viciously, ravaging heavy dubstep drop, bringing on a meanest forwarding sound to be. This has BadKlaat plastered across its face, beating up the sound waves without remorse. The colorful touch of melodies are finely pinned between the main impacts of the lead sound. The second half of the first drop rests on transitioning harmonics that emphasize BadKlaat’s growing style. It’s crazy how well he implements his growth in even a remix track. The breakdown replicates the intro with yet another hardstyle/dubstep hybrid build up, and the drop is brought in with such savagery, just ripping sounds waves to shreds. The drop quickly cuts, and subtly concludes the end of the song.
Following up, there is “ERROR” collaborated with Onumi, remixed by Slippy. The intro follows very much in suite as the original rendition, but with more impactful energy, and at a mildly quicker pace. It builds to the drop, and instead of a dubstep influence, it renders as a hybrid trap composition. With relatable sounds at use, but this time intelligently improvised to cover a longer spectrum of time, and with great width. The spaciousness and flow of this track is truly epic, Slippy did not hold back his advancing capabilities when rebuilding this beast. Half way through, the drop backflips into a new age dubstep drop with slight tear out level distortion of impacts use to drive the energy here. The breakdown induces yet again, with a grand melody of loud chords heading the drive into the next sequence. The second drop finds lead, and smashes into a massive wall of melodic sound. This time in a beautiful setting washing over the listener, changing the emotional with a harmonious top end. This piece is a string of the heart puller, really bringing together so much feeling that is not quite as easily found in the rest of the album. It then transitions much like the first drop, into a modern dubstep pattern, reaping havoc, and uprising those angry stomps back to the floor. The song the exits gorgeously with light plucks and an orchestral ending.
Next on the radar, there is “Choose One” made with LINK, and remixed by the master of wickedness, TYNAN. The beginning of the song starts in backwards sectioning as to how the classic does. First with a chopping of the original vocals, and the old school action melody, versus the other way around. Same risers are in use, with some fresh lyrics implanted in the energetic elements. The drop slams in with the poster TYNAN sound, the screaming sniper popping off at hectic levels of anarchy. This song is madhouse of flow and artistry. Leave it to TYNAN to take something and turn it into a black hole to rip apart time and space with his heater of a signature sound. Without even hearing this song, you know who the man behind the madness is. After his classic flow, he manages to mash dubstep sounds with a raw style flow, completely changing the rules. The song goes into break and arpeggiates back into a build. Dropping again this time with a bass house structure. What a genius way to execute a track to its fullest. Amongst so many amazing tracks, this one eats all the cake for me, what a diverse piece of audible art. Simply mind-blowing to put it in the most layman terms.
Up next we have another one of the tracks that held great significance with the initial release of the originals album, and that is “Nerve Damage“, honorably remixed by long time badass, Tisoki. Many elements are replicated in the beginning of this track, but shortly lived and some new vocal chops begin to rupture what is revised in this song. Building rapidly, the drop quickly approaches with a significant switch up in energy in comparison to the original. Tisoki uses his producer magic, and curates what was once a heated dubstep killer, to a minimal bass, almost neuro, house track, and we love every second of it! The sound design is respectfully entirely renewed in this track, giving it a revised purpose, and a clean breath of atmosphere. This one is pretty short and sweet, and incredibly well done. The exit is simple, with an echoing of the primary vocal, and a whispering ride of short chords.
Next, we introduce “DELETE IT ALL” featuring Ducky, remixed by the melodic riddim junkies, we all know and love, Oolacile and Aweminus. The men don’t shy from change, and start the song right off with some punk rock vibes, using the originals lyrics. Rock quickly changes to an electronic setting matches with the guitar rhythm, and shortly dropped with a hardstyle/hybrid trap basis of sound. The drop moves rapidly, and rides right back into the punk rock element. Instead of electronic now, a guitar solo pops off with drums pushing in tough. The song builds again, and this time drops a melodic riddim sound, but restructured as a trap drop. This song is nuts, it literally has a listeners brain firing off in all directions. This song should be a staple of these two artists genre twisting insanity, they are literally capable of whatever is put in front of them, and then some. The song rides out with a sustained deterioration and a scream glitched to pieces, so epic.
Second to the finally, we have “Wherever You Go“, remixed by our beloved Krumbo, aka Kompany. The intro shows a lot of similar elements, but this time with Kompany´s atmospheric whispers that delve so much emotional uprising in his production. It rises to an arpeggiator that tones so beautifully and loudly, the attitude of this tracks sets off with perfection. Then the darkness oversees with heaving, glitchy impacts, respiration intensity in and out. The build begins now, and creeping to the moment we’ve all been waiting for. The drop hits with that classic Kompany swagger. Sound scaping a new world with his noise of digitization and 8bit matter. Man is on a whole other level when it comes to this kind of thing. The groove is so significant, it’s a bond unmatched when it comes to creating and recreating things in his own image. Like laser cannons, his sound lays waste to the battlefield this track creates vision for. The second drop presents liquid plucks, but so extended out, it’s hard to define the sound exactly. So many intelligent sounds are harmoniously pieced in this track. The drops ends and reinstalls secondly to a simple, old school play of wide chords. Then whispers rejoin the journey and carry the song to it’s exit.
Our last contestant is the many times revised behemoth, “Chaos“, remixed by Frantik, supposedly the ultimate winner of the remix contest that was. The song sees it’s typical intro we all (probably) know. It starts very melodically as compared to the original and then cuts straight to the chase of the clapping build. The drop hits, and the pre-drop initiates the phase of madness, hitting with supremely chuggy lead sound. It goes in and out of repetition, answered by glitching laser slices. This redeemly continues, truly complimenting this songs purposeful composure. The breakdown happens, and is continued with it’s staple driving sound. Build begins again, and drop two punches through. The same chug is used, but at a tighter rate of spaciousness, and responded with a more balled up version of itself, giving it a rubbery, metallic gargle. The song tips off with a retro piano sound, and ends.
Wow! That was an intense coverage of music from so many ends of talent. An incredible roster of individuals to take on such a task handed down from pioneer of what we know as bass music to this day. We are incredibly ecstatic and honored to have been given the opportunity to write about a goliath of an album. We really hope you enjoy this read as much as the music at hand!
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