12 Songs, 52 Minutes

EDITORS’ NOTES

The Miami electro duo Klaypex is known for its ability to bend time. Once Johnny Atar and Mark Emmanuel take to the decks, it’s easy to get so lost in deep dubstep grooves that before you know it, the sun has risen and it’s six in the morning. The title cut of 2012’s Ready to Go has everything you need: sweeping synth lines that stop and flutter like strobe lights, infectiously danceable beats, androgynous vocal samples, and a fathoms-deep bass wobble that rattles the solar plexus. Don’t be fooled by the simple jungle rhythms that introduce “Crazy.” As soon as that low end seeps in, the song gets anthemic with stormy synthesizers, big booming beats, and a gargantuan bass that drops like an elevator with cut cables. The rhythms drunkenly stumble around the beginning of “Hello” before jumping back on the tracks and chugging along with a locomotive flow. Not even halfway through, the tune drops dancehall hammers that sound tailor-made for smiling, sweaty faces and a sea of hands in the air. “Song 12” closes with a gradual swell of distorted tones.

EDITORS’ NOTES

The Miami electro duo Klaypex is known for its ability to bend time. Once Johnny Atar and Mark Emmanuel take to the decks, it’s easy to get so lost in deep dubstep grooves that before you know it, the sun has risen and it’s six in the morning. The title cut of 2012’s Ready to Go has everything you need: sweeping synth lines that stop and flutter like strobe lights, infectiously danceable beats, androgynous vocal samples, and a fathoms-deep bass wobble that rattles the solar plexus. Don’t be fooled by the simple jungle rhythms that introduce “Crazy.” As soon as that low end seeps in, the song gets anthemic with stormy synthesizers, big booming beats, and a gargantuan bass that drops like an elevator with cut cables. The rhythms drunkenly stumble around the beginning of “Hello” before jumping back on the tracks and chugging along with a locomotive flow. Not even halfway through, the tune drops dancehall hammers that sound tailor-made for smiling, sweaty faces and a sea of hands in the air. “Song 12” closes with a gradual swell of distorted tones.

TITLE TIME
3:49
4:04
4:54
3:16
4:03
3:45
4:39
5:19
5:01
3:41
3:49
5:49

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