F.O.O.L: The Game Review
Published: November 12, 2012
By: Jordan Calvano
Swedish duo F.O.O.L (Fuck Our Ordinary Lives) produces music that ameliorates your everyday bullshit, while injecting unrelenting electro into unsuspecting bloodstreams. There’s no room for mundane afternoons around their electrifying melodies, and don’t even think of complaining when F.O.O.L’s visceral drum patterns kick in.
On the group’s latest burst of rampant creativity, they give us The Game. First up is the title track, which blasts open with contrasting drum work and a robotic voice greeting listeners with “Welcome to the game.” Harmonious, Feed Me-esque synths gracefully build from the entrancing intro, instantly strapping any listener into the front seat of a getaway car.
“Smasher” features the meticulous production of Australian producer Redial, and combines eerie synths synth lines with menacing bass bursts. Raw energy is instilled in your head with each poignant dub womp, while simultaneously creating unadulterated immersion throughout each soundtrack worthy build.
“Drama” kicks open with abundant doses of charismatic melodies, before unleashing relentless bursts of pounding dub tones. This mesmerizing fluctuation effortlessly weaves two opposing forces into one hell bent banger.
“Knockout” strays from the gritty electro sound most often heard on The Game, and provides fans with a genuinely atmospheric intro and trenchant D&B feel. This is F.O.O.L at their very best.
The triumphant Swedes prove once again they can’t be stopped. The duo continues their unstoppable spree of jaw dropping releases, while compiling a no holds barred style of genre crossing bass music.
Swedish duo F.O.O.L (Fuck Our Ordinary Lives) produces music that ameliorates your everyday bullshit, while injecting unrelenting electro into unsuspecting bloodstreams. There’s no room for mundane afternoons around their electrifying melodies, and don’t even think of complaining when F.O.O.L’s visceral drum patterns kick in.
On the group’s latest burst of rampant creativity, they give us The Game. First up is the title track, which blasts open with contrasting drum work and a robotic voice greeting listeners with “Welcome to the game.” Harmonious, Feed Me-esque synths gracefully build from the entrancing intro, instantly strapping any listener into the front seat of a getaway car.
“Smasher” features the meticulous production of Australian producer Redial, and combines eerie synths synth lines with menacing bass bursts. Raw energy is instilled in your head with each poignant dub womp, while simultaneously creating unadulterated immersion throughout each soundtrack worthy build.
“Drama” kicks open with abundant doses of charismatic melodies, before unleashing relentless bursts of pounding dub tones. This mesmerizing fluctuation effortlessly weaves two opposing forces into one hell bent banger.
“Knockout” strays from the gritty electro sound most often heard on The Game, and provides fans with a genuinely atmospheric intro and trenchant D&B feel. This is F.O.O.L at their very best.
The triumphant Swedes prove once again they can’t be stopped. The duo continues their unstoppable spree of jaw dropping releases, while compiling a no holds barred style of genre crossing bass music.
Tags: Electro
