While our contributions to EDM Reviewer primarily consist of the weekly recaps segment, we took a break this week to focus on reviewing Teminite’s latest album, Uprising. We’ll review each song individually and give out final thoughts at the end.

Uprising

The track starts off in dramatic fashion with classic orchestral elements and a Hardstyle-esque vocal that leads into what you’ll come to recognize as Teminite’s melodic synthwork that’s full of energy and dynamic life. There’s some subtle vocoder work on the vocals that build up to the first drop. Essentially, “Uprising” sets the stage for the album of the same name, introducing you to some of the themes and sound you’ll hear throughout the rest of the album. When the first drop hits, it’s reminiscent of the era of dubstep prior to the headbanging culture that it’s turned into today. The second breakdown doubles down on the orchestral elements as well as the rock elements through power chords and synth solo. There’s a strange build that’s extremely short, only two measures, before going into the second drop which methodically and predictably builds on the first. There’s not all too much progression and it feels sort of tacked on, especially due to the unconventional buildup. All in all, it’s a solid start to the album and prepares you for what’s to come.

80/100

State of Mind

This was the first Teminite track that I came across and instantly made me a fan. Then I saw the live music video and it made me fall in love. Just looking through the comments on the video, you’ll read tons of well-deserved praised for Teminite’s genuine musical talent both as a composer and performer. Watching him rock the keyboard in the beginning and pulling out his saxophone for the second breakdown just made me lose my mind. The lyrics and talkbox work in this song elevates this track to the next level. The piano, synths, sax, and dubstep elements come together for this perfect marriage of electronic and organic instrumentation. I will say that the saxophone part initially reminded me of “Careless Whisper” due to the iconic intervals used, however Teminite quickly makes it his own and he pours his heart out for the well-paced breakdown. It’s impossible not to get lost in this smooth atmosphere that he’s created in this six-minute track.

Moving over to the drops, the first one very clearly shows its brostep and dubstep influence but in a wonderfully understated way. The second just goes all out with seemingly endless solos and sense of dynamism that you just don’t see very often in this industry. The elements, while well mastered, don’t stand out in the mix as much as other dubstep songs that aim to be the loudest. This all creates for an enjoyable and powerful track without being overpowering. blends the familiar, simple elements of the genre with a complex melodies and effects. These buildups also rely on the tension created by the vocalists rather than a myriad of risers and snares like most other EDM tracks.

“State of Mind” is one of the few songs that I can listen to all the way through and be consistently entertained without having to force myself to listen. It exemplifies such a wide variety of Teminite’s talents from the live instrumentation to the talkbox sections, and the undeniably magnificent conclusion which never lets up but also doesn’t overstay its welcome. This compositional and technical masterpiece is by far my favorite track of the album and is the song I will show to anyone who says that electronic music isn’t “complex enough.”

97/100

A New Dawn

When listening to the album all the way through, “A New Dawn” doesn’t quite build off the powerful and emotional ending of “A State of Mind” as it starts off with a stark, playful melody followed by an accompanying funky bassline. The kicks, bass, and power chords come into the mix shortly after that. It’s a fairly standard electro format and arrangement style that works to a certain extent here. The first genuine breakdown continues this song’s pattern of methodically moving from section to section every eight measures. This ultimately makes the track feel rushed and formulaic as it goes through the motions. Here is the worst part: the usage of the “Feel So High” vocal sample. While Teminite’s audience and the audience that might have heard this sample before might not have that much overlap, from a critic’s standpoint it’s unfortunate to see someone so musically talented rely on commonly available vocal sample.

Moving on to the second drop, there’s a whole bunch of effects and crazy synth-work that works to generate its thrills and it is a joy to listen to with a pair of decent headphones as you feel the various textures of the bass growls and swipes. The third drop quickly follows the second and again, the pacing feels forced which causes the energy of the drops to feel undeserved. The third break is similar to the first and the fourth drop, while adding some melodic elements back into the mix, is nearly unbearable after sitting through the middle section of the song. It’s a shame that this track follows “A State of Mind” because the tempo, feel, and quality are just so drastically different.

68/100

Party Time

Just after reeling from the inclusion of the “Feel So High” acapella in the last track, here we have a song built around the horribly overused “Party Don’t Stop” acapella! Fortunately, this track is available as a free download, as it should be for heavily relying on this particular sample in its entirely with little to no editing.

The worst part of this song’s existence is just how incredible instrumentals are! They’re light-hearted, fun, and dynamic with a bit brighter sound than the other melodies and instrumentation on the album. There’s a sense of funk and joy in here that is completely ruined by the inclusion of that horrid vocal. The first drop brings the bass breaks along with other familiar Teminite signatures and the second drop is an incredibly heavy electro, bass house fusion which is infectiously good.

I can’t stress how much of a deal breaker this is for me as I’ve been ruined by past usages of this acapella and never want to hear another song that uses these sassy female vocals. I hope that he releases an instrumental version or a VIP with either no vocals or new, original ones. In terms of DJ tools, this is one of the only tracks that house DJs could use due to the BPM, so it’s disappointed to see all they’re offered is essentially a remix of vocals they probably already have in their collection somewhere. Hopefully, other listeners won’t be as familiar with this acapella as I am and will still get some enjoyment out of this track.

60/100

Standing Tall

After two arguably disappointing tracks, we come to this much-needed break from the sharp synths and dubstep influence. “Standing Tall” starts off with some funky chords and ORIGINAL sassy vocals that are breathy and expressive. Switching the electronic drum kits for a disco kit and toning down the synths for a lighter touch works to great effect here. Even though the style is different than the other tracks, it still retains all the melodic integrity and soul of Teminite’s signature sound. The “drop” crams a lot of subtle elements which come together nicely with Jonah Hitchen’s vocal performance. The vocals come through clear and the soundstage is a delight for audiophiles. The kick is a bit on the weaker side but it contributes to the overall nostalgic, old school feel of the track. The track goes on a bit long with an unnecessary second drop that doesn’t build on the first in any meaningful way. The third drop, characterized by a compelling, extended talkbox solo that jumps from octave to octave is a real treat. Another suggestion would have been to fade out the ending rather that cut the song off so abruptly. Overall, “Standing Tall” is a welcome break from the chaos of the first half of the album.

84/100

Make Me

“Make Me” takes the album back to standard EDM fare starting off with some auto-tuned vocal chops and 8-bit synths. The drop goes much harder than you’d expect given the fun break and buildups. Asian, tiny, short, video game music. Auto-tuned, fun. Drop so fucking heavy compared to the fun build. The stand-out feature of the drop is its chromatic elements but otherwise it’s fairly characteristic fare as the rest of the album. Again it blends dubstep with flashy melodies and interesting effects. The second breakdown also uses the same tricks as the other tracks as well as same synths. There’s a sudden switch to a quiet, acoustic breakbeat section which I expect was put in so that he could use the same build as the first. It’s a strange arrangement choice, especially given how much more powerful the second drop is. As we go into the second half of the album, the tricks become more apparent and what used to stand out as original starts to become the expected.

79/100

Rattlesnake

Dramatic piano, atmospheric effect, power chord build, broadway strings, and ethic vocals samples lead off this track. It feels a bit rushed and forced as again it feels like we’re just going through the motions. Even with Evilwave providing some of his sounds and tricks in the mix, this track starts to fall in line with the rest of the album. While this will probably be identified as “the ethnic one,” there’s not much else to help distinguish this one from the others. I suppose this is where we get to the structure of the album where we discuss how many listeners will add their favorite tracks onto their playlist and when those tracks get old, they go back and find their new favorites from the album. This track certainly has its place on the album, but I don’t think it’ll be anyone’s first pick.

80/100

Monster featuring PsoGnar & Chime

This was one of the tracks that was hyped in interviews for being representative of all the artists involved. We’ve got vocals and input from PsoGnar paired with Teminite’s instrumental, alternative rock take on dubstep and finally Chime’s influence on the drop. The lyrics are hard hitting and tackle some difficult issues that face musicians and professionals as they strive to achieve their goals. In addition to the surprisingly rawness of the lyrics, this is one of the few songs in a major key on the album but despite the stereotype that songs in major keys are happier sounding, I would go so far to say that this is the darkest track in the album. The album as a whole goes back and forth tonally on the spectrum of joyous songs and straight up headbangers, and now we’re taken on a detour by three extremely talented musicians and they explore some important parts of the industry that often don’t get enough coverage. “Monster” is another stunning masterpiece that blends these artists’ styles, tackles some honest and relatable issues, all while maintaining a sense of dance and energy.

92/100

Crushing on You

After the heavy, honest turn from the last track, “Crushing on You” seems to be Teminite’s future bass experiment. Partnering with Georgia Denham, we get some solid Nelly Furtado vibes paired with some distractingly positive lyrics on the verge of cheesy. It’s an interesting change of bass but the future bass drop is surprisingly empty compared to what I have come to expect from this album. The flesh out as they progress but it’s definitely not as engaging as the other tracks on the album. Adding to the cheesy factor is the inclusion of a chime-like instrument that soars over the track. It’s an interesting look into other potential avenues that Teminite could go down in the future.

82/100

Ascent

We end the album on a track that’s been out for three years or more. Previously released as a free download, Ascent has some old school Monstercat vibes. A fairly standard midtempo track that has a retro feel to it and filled with Teminite’s signature melodic flares. The second breakdown takes an acoustic turn with the percussion and quiets the mix down to make room for some soaring vocals. Then part of the drop melody takes over and serves as the buildup, I suppose. One of the weak points throughout the album have been the unconventional and often lackluster builds leading into some of the drops. These strange leadups make the energy of the drop seem unwarranted and unearned. As an finale, this track doesn’t end the album as powerfully as some of the other track could have. It’s particularly strange to have a DJ outro for the ending with little fanfare.

78/100

Final Thoughts

Considering how in-depth we’ve gone with the single track reviews, I’d like to end with just a few final thoughts. “Uprising” is certainly a testament to Teminite’s abilities as a musician and composer. He’s doubled down on a signature sound and made a full length album from it while throwing in a few interesting tracks as well. As the album progresses, we start to see some of the same elements and tricks repeated which lessens their value but gives fans more to love. The dubstep tracks on the album should be considered truly game changing for the added integrity, attention to detail, and true craftsmanship that was put into their creation. Looking through the comments on Teminite music on YouTube, you can find many fans giving their admiration and saying that they look up to Teminite for inspiration. We’re looking forward to the next generation of producers that will learn from the excellent parts of this album and use it to make their own masterpieces. As for Teminite himself, now that this chapter has ended, we hope that he will continue to explore his sound and develop it as he begins working on his future releases.

This review was written by The QR Network, who will be releasing an exclusive interview with Teminite in the coming days.

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