This is kinda the point, and it's obviously a personal one: Putting in 'more' bass would have been very much possible. The track leaves space for more audible information in the low end, just layer stuff on top of the sub, cut around crossover. It's a question of frequency sculpting. You keep the Oomph for the belly and add more audible information for ear candy. The roll of below 40 doesn't necessarily contradict this, so it ain't a question of one or the other.

The key of the track is irrelevant for this. You can layer your sub harmonically regardless of it. Just don't overdo it and keep your low end even.

Some tracks you love instantly. Some tracks take quite a few listens to get in to. Tracks you've grown to love you may well end up liking longer than the instant loved tracks. A new artist may write a track that would be a grower if only people would give it more than one listen. Established artists with a following can write "growers" in the knowledge that a lot of their fanbase will give a track a chance. That's a privilege they've earned over time.

Obviously you can't please all of the people all of the time. Some will never like a track and some won't give a track another listen if it doesn't grab them straight away.

I wasn't sure about 'Fight Fire With Fire' on my first listen. Took about 4 or 5 listens to get into it. I woke up a day or so later and the song was going in my head. It's a grower for me.

I have to agree with James Jupiter on this one. It is a grower while LUTS for example was instant hype for me. Now Im enjoying FFWF more than other tracks from NS.

That's pretty much what I took from all this. Well, who am I to argue with someone who decides after a tonne of listens that a song is good. Each to their own and all that!

I think I'll be happier if/when an instrumental gets released. I'm just not a fan of Hoggog's vocals.

Putting more bass in it while preserving the structure of a lyric oriented track would not have been possible without compromising its point. It IS a question of one or the other. The key of the track IS relevant. You seem to know your way around production, so don't let me stop you from sculpting your way around that sub zone to make the track better. You HAVE to make the kicks and subline dance together ALONG with the vocals and synths. Show me. I'm convinced it's not possible to make it sound good without a compromise like this. A subline would mute the flow.

Having said that, I'd rather have bass closer to the gates of hell like the one Liam put in this one than go a few notes higher.
Ride in a car with a good subwoofer and play this song.



Nice cherrypicking you got goin on. Read my previous reply to joyintheplace's post.
It really just comes down to replay value.

I like it more and more

Same. Liked it first time, now even more. Best track so far with the most going on.

Instrumental released? Yes.

This was the first one written. Would like to know what order the tracks were written after that.

this thread.


Forget the oil, forget the water wars.

The Bass Wars turned the world into a mad max style wasteland...

It wasn't even shredded for real!

Wait... wrong thread.

Biggest grower yet. Only wish is that the vocals were extended a bit. This IS hip hop- rap- whatever. The songs don’t evolve or keep growing, it’s a slab of beats and sounds. Liam’s use of that basic idea is spot on.

‘Mothafuckin’ bit gets me every time.

So is the lyrics

EVERYONE! TIME TO MELT YOUR MOTHERF***ING FACE YO!

Or

HIT REWIND! SOUNDS THAT MELT YOUR MOTHERF***ING FACE, GO!

To me it sounds like "Everyone", but what do i know, its punk-rap.. or something.

How on earth do you pronounce Ho99o9?