Review: Borgore – #NEWGOREORDER

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T.H.E
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There are few EDM artists that own their reputation quite like the bass behemoth known as BORGORE. The native Israeli turned LA party prince released his debut album #NEWGOREORDER last week and in doing so, solidified himself as one of the most raunchy and dare-we-say it, “ratchet” producers on the block. Some may call his tunes misogynistic and the catalyst for the spawning and demise of “bro-step,” although it is clear that the more he is criticized for immaturity, the more he is going to rub it in our faces. It’s time for Borgore to retake his spot amongst the best bass music producers in the game. It’s time, for #NEWGOREORDER!

Everyone’s always known BORGORE to produce one of the heaviest and most bizarrely energetic Dubstep sounds and while every artist branches out to try new things, it’s nice to hear that classic bone chilling sound that just stops your brain waves for a few moments. The highly anticipated 14-track album is packed with speaker shaking tunes and is now available. The album has 14 tracks which range from the dubstep sound most in the scene have come to associate Borgore with, to trap, and even “just cool bigroom” festival sounding house tracks. NGO has four tracks that feature Borgore contributing his own vocals and it shows him at his filthiest.

A fan of the classic film, “A Clockwork Orange”, BORGORE tapped that movie’s incomparable Malcolm McDowell to voice the’ #NEWGOREORDER ‘manifesto on the LP’s opening track. It starts off subtle, washed out, a soul clap building anticipation and interest followed by Malcolm’s awesome vocals. BORGORE’s “#NewGoreOrder” is essentially a fascist totalitarian regime run by horny teenage dudes. The next track “Syrup” which fans have also named as “Thirsty” after hearing it at festivals showcases BORGORE’s immense talent in music production. Borgore dips into trap with an attempt at a minimal, fittingly syrupy DJ Mustard type beat. Instead of brining in Waka Flocka Flame, like he has in the past, or some other rapper, BORGORE takes on the spitting which is spectacular. Easily the heaviest track on the album, it features chaotic synths and grinding chainsaws that leaves everybody in the crowd in raptures. This 808 heavy track opens up with a minimal, southern hip hop style beat with original lyrics provided by the man himself. His rapping style falls kind of stale in the mix, although it doesn’t appear as though he was trying to impress with a nuanced flow, but instead provide a straightforward context for the track, which was later to be obliterated at the drop.

‘Hate’ also known as BORGORE’s love song comes in like an offensive attack with strong drums adorned with whiplashes and power packed drops. He gets most emotionally vulnerable by saying, “I can’t describe love, but I can feel it.”He then goes on to say what he would do to that good, angelic girl that he loves followed by “Fuck her like I hate her” showing what BORGORE’s way of love is. This big room number is built for the main stage and leads in with more original vocals that will likely cause some quarreling amongst fans. The track describes the confusing tugging and pulling of emotions when developing a relationship with someone and the natural inclination we have to destroy the things that we love. The opening vocals leave an impression that is supposed to aggravate the listener. That way, when the beat drops and the listeners are swept away by pounding kick drums and an enormous detuned synth, they are caught questioning, “I’m not sure if I love to hate this track or I just hate myself for loving it.”

‘Last Year’ features BORGORE’s lyrically unapologetic vocals aimed against all his haters set over an undeniably huge bass production. This track is pretty anthemic as it is filled with the kind of chorus you can imagine thousands of people singing along to while swaying and waving their hands in the air. Also, this tracks marks his collaboration with Steve Aoki which makes this track the headline track of this album.

The album is also graced by BORGORE’s classic ‘Decisions’ featuring the ever-lovely Miley Cyrus, which rounds out the collection of menacing tracks well with a taste of all that is good on the producer’s latest project. This track was made to destroy dance floors and presence of calm melodic intros sets the stage for heavy bass lifting the track to a whole new level. It is easily his most recognizable work to date in the public eye.

‘Pinata’ featuring “Swing” collaborator Jake Sgarlato is a track to watch out. This solid 128 BPM cool track represents the sound on the bass-based album – which is more than appropriate given trap’s roots. This one is focused around a central melody that carries the track from beginning to end but is interrupted by a progressive style drop that will be very familiar to summertime festival attendees. The track is one of the few on the album that has no lyrics other than the ever-present, interchangeable vocal sample that signifies the drop.

’Ratchet’ is a masterfully crafted track which will remain in memories of his fans for a long period. Starting with some deep slow kicks this song was almost good, but then he pulled the corniest of all cornball moves and gave a unapologetic mind blasting shift through high voltage beats and plush basslines forming a wonderful gem – ‘RATCHET’. This one stays true to the 808s while mocking the classic childhood tune, “If You’re Happy & You Know It.” BORGORE weaves glitched vocal samples between more signature mid-bass growls and classic hip-hop synths to comprise a rowdy trap piece that will have you repeatedly singing, “If you’re ratchet and you know it”.

‘Body And Soul’ featuring Yael and BORGORE vocals is filled with some hard trap drums here before wrecking Yael’s soulful voice with some very intense, machine-fueled zaps.

’Kill Them All’ starts off with distorted synths filled with beep sound in a perfect manner setting the stage for Adi Ulmansky’s dark yet impactful voice. This track will remind you of 80’s disco track combined with groovy dubstep sounds making it one of those unique tracks highlighting BORGORE’s specialty. ‘Turn Around’ marks BORGORE collaboration with Dan Farber starts off with unapologetic vocals followed by a psych dubstep sounds. Those vocals shows the level of BORGORE’s frustration combined with rough and edgy basslines making this track a must hear for those who have been betrayed and irritated by their female lovers.

The #NEWGOREALBUM is nowhere near a ground breaking album, but it doesn’t leave much to be satisfied sonically; there are soaring build ups, grimy bass drops and dubstep sounds. There just isn’t much that will be regarded as a new take on the ever expanding world of EDM. A solid endeavour for a true first studio album for BORGORE will be sure to find a home in nightclubs and the festival circuit over the upcoming summer months. BORGORE has evolved into a genre-bending composer, who combines elements of main room electro house, trap and dubstep with original vocals to create a signature sound for his debut studio album #NEWGOREORDER. ‘NEWGOREORDER’ indicates that his popularity is not beholden to any individual style, genre, or current music fad but instead to his unique talent as a lyricist, musician, producer and irreverent personality.

#NEWGOREORDER is available today at all of these outlets:

Beatport

iTunes

Amazon

Spotify

– Review via Samir Goyal

T.H.E
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