THE THRILL LYRICS NERO PRO
Take Health’s track Stonefist, on which Pro Tools mistakes and glitches are building blocks of the song, or the Diplo, Skrillex and Justin Bieber track Where Are Ü Now, where Bieber’s pitched-up vocal is turned into an unlikely synth line. In 2015, it’s noise, not maximalism, that’s becoming the weapon of choice for producers. Four years ago, Hudson Mohawke and Rustie were flirting with the same uncompromising mix of burgeoning bass and arpeggiated synths, and if Nero’s take on that style sounded slightly reductive then, it sounds positively atavistic now. That reveals the other issue with Between II Worlds: it feels like it is looking over its shoulder rather than trying to map out where things are going. The work of Ferry Corsten, Paul van Dyk and Gouryella would be good fits alongside the majority of Between II Worlds, so much so that the “past” referenced on Into the Past (Reboot) would probably be some time in Ibiza circa 1998. Dark Skies see them revert back to a dubstep buildup/drop formula that borrows from the reach-for-the-lasers hedonism of trance, which is one of the most obvious references on the album, despite their claims to be moving towards house and techno.
Satisfy snaps the album out of the funk with an electroclashesque bassline that mutates and morphs into something akin to a straightforward version of LCD Soundsystem’s Yeah. While EDM has since taken the most crowd-pleasing aspects of dubstep (the drop, the unrelenting, wobbling basslines) and built shrines to its own ridiculousness in the form of Las Vegas residencies (Vegas staple Calvin Harris earned $66m last year, according to Forbes) and festivals such as Tomorrowland and Electric Daisy, Nero have always seemingly had slightly loftier ambitions. Along with Pendulum and Chase & Status, they took a maximalist approach to dance music, breaking it down into big, chunky blocks of synths and bass, which, when they broke into the wider consciousness with the single Me & You in 2011, sounded intriguing, if at times rudimentary. Daniel Stephens, Joe Ray and Alana Watson come from the same dubstep-meets-drum’n’bass world as Chase & Status (who signed them to their MTA label) and their career has been an exercise in a very particular kind of pop music. Even though songs like “Into The Night” and “Dark Skies” were performed in some of their shows before the album was even announced, the lack of releases from Nero left many fans without much to listen to until the single “Satisfy” dropped in May of 2014.I f you want to know who’s responsible for making the sub-low sound of British bass music a chart staple, you could do worse than look at Nero. Nero’s Between II Worlds was the group’s follow-up to their debut record Welcome Reality and spawned huge singles including “The Thrill” and “Two Minds.” It reached number one on Billboard’s Dance/Electronic Albums Chart and was the band’s newest material in four years. The same message appears on their Facebook page as well with an image of one of their recent performances Much like how they teased Between II Worlds with a twenty-eight minute and eight-second track on Soundcloud titled “UPDATE”, the latest message from Nero might show promise for incoming new music in some way, shape, or form. Today, the trio’s Twitter handle dropped a cryptic message that ends with the words “coming soon.” Without much context or direction to any other webpage for more information, we can gather that Nero has been up to something since their album dropped last September and are now prepared to reveal their latest efforts. Now, news has surfaced that the group might be releasing more music sooner than we anticipated.
Almost a year ago, electronic band Nero delivered a sophomore album that reached far and high as one of the best electronic albums to come out of 2015. Alongside albums such as In Colour by Jamie xx and Adventure by Madeon, the Between II Worlds painted a narrative of love and heartbreak by combining the haunting voice and lyrics from Alana Watson with the layered and precise productions from Joseph Ray and Daniel Stephens.
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