Auspicious Dubstep visionary Mersiv returns with a healing collab project with peer virtuoso, Fryar. Finding placement on WAKAAN‘s cathartic 2020 catalogue, Paradise routes energy to fans over two sonically robust bass tracks.
The Mersiv Sound Project is the brainchild of Anderson Benoit Gallegos, who has been developing his own unique, “pretty-dark-loud” style of bass music. Since setting off on this journey in 2015, the Denver-based virtuoso has enveloped his music with the intention of bringing people into the present moment through an immersive experience. Fryar is the electronic project of Matthew Fryar. Based out of South Carolina, the producer aims to capture hip-hop oriented, underground beats with melancholy driven melodies to showcase a contrast between disoriented sound design and polished harmonies. While the two have previously toured and performed together, this is their first original collaboration. Fryar had the following to say of the two-tracker:
With both songs, Andy and I wanted to convey a healing/uplifting sense towards the listeners. During the current time and political climate we feel like positive music is necessary for us that want to see better days.”Fryar
The Paradise EP opens with a powerful title track that helps set the healing intentions of this ambitious, yet brief project. The production opens to a spacy, harmonious soundscape; looming sonic aesthetics that serve as clouds to the distant, warped bass that begins to creep in. Hip-hop vocals fade in as weaponized synths and bass begin to layer in progressively. The vocals echo in introspective messages to the listener as the music becomes more momentous, delivering titanic and percussive waves of emotion throughout the build. The track takes over a minute before the 1:20 mark delivers a riveting and electric drop, one that ricochets vibrant sounds like water fleeing from a puddle splash.
The second track of the short player is “In Motion,” which Mersiv has been teasing on socials and in sets since 2019. Whereas the first track is more vocal in its intention, the second selection opts to fully flush out the colossal production style that the project finds its backbone. The production similarly wades in via a distorted style, but rather than wait a full minute-plus to deliver, it explodes at the first drop. The result is an overwhelming flood of music, washing over the listener in a therapeutic burst of energy.
Paradise exhibits what’s exciting about bass music today: music that is fueled by macro-intended vitality, but can provide something intimate and personal all the same.