• Sticks to the essentials
• SEVENN-ish pattern, focused on low-pitched vocal melody
• Entertaining experimentation
It’s been a while since I wanted to talk about Vion Konger, a blooming talent formerly discovered by Dannic some years ago (in fact there are some slight similarities in their styles). Well if you happen to be curious about his whereabouts, then yes, he’s in a good shape. With a couple of grand releases this year (specific recommendation: “Drama”), “Paris To Berlin” has managed to catapult itself onto our attention with its exploration of style and ideas.
Maxximize saw the potential and signed it, as the Bass House tune experiments with uncomplicated but effective rhythms, often heard in productions from the renowned Sevenn. Low-pitched vocal dominate in the background, as string-tight tension is maintained from the first. Gliding Reese bassline hovers with a synth-pluck/shot playing somewhere in the distance. It’s more than evident that the Russian producer wanted to “keep it to the basics”, showing off his gritty basslines and letting it do the magic.
As the drop barges in after a brief and escalating riser, the STMPD akin distorted and muted synths collide one after other restlessly. Amongst this, as one would expect typically, the pitched and mumbling vox plays along with the groove uttering the title of the song it’s featured in. And you thought the antics were over? Ah no, a slight hint of mischief comes with a female gasping (you can surely comprehend the rest); one element among the many others contributing to the frisky party-starting mood of this particular instrumental.
Lasting over a short duration of near 150 seconds, “Paris To Berlin” moves you (no pun intended) with its aggressive and crowd-hyping mentality that it’s producer has determined throughout. Ticks off one more style from the list of others that the uprising alias has adeptly done over the years, unfailingly!