• A deeper sound from Seth Hills
• Engrossing vocal presence
• Shorter duration as usual
If we recount just a few steps back in the spectrum of modern Bass/Electro House, STMPD created this wave of new sound that saw a crossover between underground grit with snappy and glitchy rhythms. This became the trademark leading to many upcoming and renowned producers alike to experiment with the sound. A leading figure in ushering of this new signature was Seth Hills himself, whose eccentric and singular method of arranging caught much admiration. For today, we have something different than usual from him, named “Solitude”. Mark this one, as it very well could be a new start for the alias.
Over the last months, it has become more than obvious that the mentioned style from the Dutch imprint has saw a steep decline, albeit other independent names are still dabbling and creating impressive results (such as the remix I discussed in the last article). Yet, this will continue if one of its significant figure continues towards alternative paths, and perhaps for the better. Since as early as 2018, Seth Hills was busy concocting his ingenious variant of club music, getting early signings on Axtone and soon after in his new residence, STMPD. Other names like Loopers, AYOR and Julian Jordan joined this trend and collaborated with the said creator, unveiling hits like “Out Of Control” and “Backfire”. But one thing was becoming imminent: this infectious and unheard brand was quickly resorting to repetition of elements, say the samples as they became widespread and easily imitable (those masterclass packs were the coup de grâce, honestly). Leading this was my fading disinterest, which rose to a point that all subsequent instrumentals in similar construction sounded utterly average and not as driving as it did before.
So “Solitude” is a welcome change, call it a breeze of fresh air. It does not go ostentatious as the former additions in his discography, and thus in a more deeper state. The vocal delivery from MINU does the magic, breathing life to the otherwise mechanical rhythm. Here we have the usual Reece bass growling underneath, with arpeggiated plucks making their appearance. Clean and uncluttered schematics appreciates the nuances of the leading voice, and the drop brings in the vox with a pitch down, intensifying on the bassline with droning synths. All nicely and neatly done, except the duration perhaps. For obvious reasons, two minutes abbreviates and takes away from an otherwise building-up experience, familiar in this sort of tracks.
“Solitude” may not have striking palette of one-shots and dynamic FXs, yet it upholds a simplistic and suave characteristic much needed.