• Classic Big Room arrangements
• Appreciable distribution of signature sounds
• Dismal appellation
If our readers would reminisce for a while, they will recollect our concern towards Rave Culture, erstwhile known as the esteemed Mainstage, of being scarce of any other cognomens other than the heavyweight W&W and their dynamic protégé Maurice West. But they overcame it effortlessly, hosting prestigious artists like Will Sparks, Frontliner, Andrew Rayel and other renowned figures in the industry for some solid releases. Today, they have managed to deliver another bodacious and striking production from none other than the Dutch veteran Sandro Silva, teaming up with the Hungarian duo-logy SaberZ. An unexpected synergy, yet this triad have ended up with a vicious old-school energizer titled “Omerta”.
For listeners who grew-up to the flourishing Dance music period of the first half of this decade, can probably never get over “Epic”. The paradigmatic Electro House tune created by Marteen Vorwerk became to be a foundation for the thriving genre. SaberZ, however, have brought upon the modernized interpretation of it, a fusion of Big Room and Trance. However, “Omerta” clearly refrains from the latter style, which is sort of a blessing, since the specific sound has been rehashed and recycled lately. It rather leans more towards the Old-School sound, which we preferred.
Now, there is a heavy influence of both sides in this collaboration. Both the parties have done significant things for the song, which is unmistakably present. For instance, Sandro Silva infused his signature pluck-laden drop arrangement, while there is the presence of the reverb-heavy synths from SaberZ. The breakdown, which draws a parallel with Silva’s other workmanship, say “Payback”, utilises a playful and appealing melody hook. Thanks to the “Daft Punk” inspired warped vocal (which seem to be a Rave culture hallmark), the segment gets properly accentuated.
As anticipated, the louder section of the composition materializes with vibrancy. The hulking pluck-synth plays over the booming low-end saturated kick, whilst the second half musters the distorted saw-synths, equally upholding the ongoing cadence. Add to that, we have percussion-driven beat, which fits like a glove along with the bountiful groove. Our attention, however, fell on the mixdown, which undoubtedly was done impeccably, but sounded slightly unusual. Now, this perhaps could be intentional sound-design or layering, since the technical aspect of audio-production is whole another facet to writing upon.
Nonetheless, “Omerta” does stand out. We also noticed how it has been themed on “Casino”, a slight cultural misappropriation since the word translates to a rather Cimmerian elucidation. Apart from this, the Dance-floor weapon has proved its capability, all credits due to its meticulous creators.
What do you think?
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