Shane The Crane
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Shane The Crane

Las Vegas, Nevada, United States | Established. Jan 01, 2016 | INDIE

Las Vegas, Nevada, United States | INDIE
Established on Jan, 2016
Band Electronic Hip Hop

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The best kept secret in music

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"Shane The Crane Album Review"

So, Shane The Crane is an electronic music producer that you'd mostly likely find on Soundcloud, but unlike many of those guys he appears to have the backing of a record label Beatdek Records, and from what I can tell this doesn't appear to be a vanity label, it actually has a few artists behind it. From a lot of the blurbs it looked to be skirting the edges of modern popular trends in electronic music with a slightly weirder twist on top - so okay, I'm kind of on board, this could be interesting, so I took a look at his debut project STC - how is it?


Honestly, a little tough to say. I'm definitely not going to say that STC is bad - in fact, and I know this will sound cynical as all hell, but it did exceed my expectations, it's very listenable and I can definitely see an environment where this sort of music will do quite well. But that said... this is one of those cases where I came to electronic music in a way I'm not sure most people did, in that my primary exposure came either from what we hear in the mainstream or some really weird experimental projects. This project I'd argue sits in the middle, and as such it hits a bit of a weird note: not quite as catchy as I'd normally evaluate EDM in the mainstream, but not experimental enough that I'm encountering sounds and styles I've never heard before, which means I'm not sure it's got a high replay value for me, if nobody else.

So okay, what exactly is this project? Basically, we've got nine songs that criss-cross a couple different subgenres of electronic music. You have primarily ambient or downtempo pieces, like the echoing darkness of 'Depression' with its slow sandy percussion or the clicking against the muted pianos of 'Waiting For STC' that eventually breaks into a popping sound, flattered hi-hat effect, and a chiptune-esque noise that I really couldn't stand, all the way to 'The Birth Of STC', which is a simple but melancholic piano composition with hints of strings and thin shifts within the mix that's actually pretty beautiful even as it gives way to a wave of sharper, glossier synths. One thing that is consistent, though, are the sparse-feeling arrangements - even with instrumentation that feels more organ added in like the textured percussion on 'Her Orion' or the clicking, choppy strums on 'Arabic Hippies', that bass kick is nearly always at the front of the mix driving the momentum, and nothing feels wasted or otherwise here when it doesn't need to be. Of course, this is a mixed blessing, especially when it comes to tonal choices, because when this record slips towards material that's less organic or more trap flavoured or even just sound effects I don't like, there's absolutely nothing to distract from it. For instance, while I don't mind some of the drippier effects that pepper this record on a song like 'Goo' and I do understand why the baby noises fit, that squealing pieces that ascends up the scale against the snares and stuttering nursery box twinkles didn't click for me at all on an other side solid piece. It's a similar case for 'Bubble Gum Pop Music', which literally features at its foundation a set of popping noises and a flat vocal sample that just didn't evolve or shift enough in its tone to really connect for me. 'Culture Club' has something similar with its distorted popping vocal samples that are then shifted up and down the scale, but that song also highlights that some of the more interesting organic percussion doesn't exactly have a pickup with a lot of depth - it feels thin, doesn't quite mesh with the rest of the mix.

But if we're looking for a characteristic of this project, it would be how disconnected a lot of these instrumental ideas feel, and really how on the noise they align with the titles of these tracks. With the exception of some flattened pickups and a few moments where the mix depth can deceive you, many of these sounds or progressions sit adjacent to each other in the mix but don't often interact or blur together in a way that suggests a lot of cohesion. And again, that's a blessing or a curse, depending how you look at it: if you like the tones or progressions or you can ride off that harder bass kick, you're going to like it, but when you get a song like 'D220' with that honking vocal sample that plays off a rubbery block of trap percussion with the heavy clap, it really got on my nerves in record time, especially when the most changes that occur within the mix are changes in tempo or rhythm, not precisely melody. That leads to another issue, and that is that these songs don't quite evolve as well as they could. There are changeups, but outside of 'The Birth Of STC', they don't really build to a crescendo or more extensive progression, which doesn't help these songs feel fleshed out, or build more a sense of unique identity for Shane The Crane. That's arguably the element that holds STC back the most: a lot of these pieces feel like solitary ideas, but little in the compositions that will help flow into full-length songs that have a unique instrumental identity. Yes, in tonal choice you get a series of popping noises and squawks that really aren't my thing, but you need more than just tones to flesh out who you are as an electronic artist.

Or let me put it another way: I can see why some critics have called this more of an EP than an album, because EPs are often intended to get out a stream of ideas without requiring the fully-fleshed out compositions that would comprise a bigger piece, and considering how short much of this project is in terms of the song lengths and overall - it's around thirty-three minutes - it often feels like one. And hey, let me stress this, some of the ideas have promise: the blends of more organic tones with the sharper beats to have swing to them, and with a fuller instrumental pickup I can see there being potential even if its not fully blended, to emphasize that clash. But I also think I'm probably not the best audience for a project like this, and so while I'm giving it a very light 6/10, I encourage more electronically-minded fans to give this a look regardless. It's a sparse project, but an intriguing one, and for a debut, you really can't ask for more than that. - Spectrum Pulse


"Shane The Crane Album Review"

Got some fresh new tunes for you to start the Week. Let me introduce Vegas’ Shane the Crane, a tip hop project surrounded by mystery. Although his identity is still unknown, he has made some inroad in the industry after he released his remix of “Heathens” by Twenty One Pilots.

I had a chance to check out his latest album, STC, and I loved it. At first, I was not sure what I was gonna get with it, but after listening to a few tracks, I was digging it. On this 9 track album, you have some creative beat making that is completely different from anything i have heard of recently. Splicing together tons of random samples, with steady, pop-friendly hip hop drums creates a truly unique listening experience. One thing I can say for sure is that Shane the Crane is the master of originality.

Peep the EP below and leave your thoughts in the comments. If you are digging it like we are then pick it up from your favorite digital retailer on November 7th 2016. - BoomBoomChik


"Shane The Crane Drops Debute Album"

It would be wrong, perhaps even futile, to ever attempt to generalise the ambiguous Shane the Crane sound. And that’s just how he likes it.

After releasing a clutch of singles through all-encompassing electronic dance imprint, Beatdek Records, STC has now released his debut full length album, the seemingly self titled, ‘STC’. Fans of the Las Vegas up and coming producer, who typifies himself with the use of a yellow bird like character crudely placed on different images for use on his flourishing social media channels, are right to be excited for it.

STC is as diverse and experimental as any of Shane the Crane’s previous material as the mood sways from plodding post dubstep melodies, such as opener ‘Waiting For Shane’ to the surreal electronica of ‘Arabic Hippies’ and ‘Bubblegum Pop Music’. Throughout the nine tracks Shane experiments with some minimal trap and chill step on numbers like ‘D220’ and ‘Depression’. But STC is not all about distorted electronic dance rhythms ,’Goo’ is a fine blue sky hip hop cut whilst ‘Her Orion’ boasts a left-field house tempo with cinematic, film score qualities. The digital album closes with the poignantly named ‘The Birth of STC’ wrapping one of the most enjoyable and delectable sounding debut efforts we think we have ever had the pleasure of hearing - Electronic Rush


"Shane The Crane Releases Arabic Hippies"

Shane The Crane is a relatively new (at least to our radar) producer whose trippy, far out productions have up until now been represented via a kooky, graffiti like image of a birds head. STC released his debut track ‘D220’ on digital imprint Beatdek Records.

His follow up ‘Arabic Hippies’ gets underway with washed out riffs held together by snappy drums. Whilst the beat stays simple it’s one that creates a minimal, lo-fi sound juxtaposed with Congo like drumming that ring out over zig zagging melodies.

We’re really digging the originality in what we’ve heard so far of Shane The Crane’s music and can only look forward to hearing more.

Here’s what label, Beatdek had to say;

“Head nodding, hand clapping and one leg shaking; listening to Shane the Crane’s ‘Arabic Hippies’ will make you want to break out and do all three! It’s searing, snappy production and Samba inspired melody providing the perfect mix for yet another weirdly wonderful digital offering by Shane the Crane.”

Shane The Crane’s ‘Arabic Hippies’ is currently exclusively available via Beatport. - Electronic Rush


"Shane The Crane Album Review"

Shane The Crane makes all kinds of music. He resides in Las Vegas, known for the most exciting nightlife in America. In case you don’t know, he’s one of those producers who keeps a mysterious identity completely hidden from fans. After all, what people do care about here is the quality of music, and of course, I can guarantee the self-titled album ‘STC’ won’t let you down. Shane The Crane’s rich sound material features 9 tracks and most of them are influenced by Tribal music. Here you’ll have a fusion of edgy Trap, Downtempo, and Electronica. This talented artist is definitely breaking the boundaries of EDM music. Get ready for a new music revolution!

Check out my track-by-track review of Shane The Crane’s ‘STC’:

1 – Waiting For Shane Here he knows how to call the attention of the listeners with an instrumental intro. Enjoy a downtempo melody composed of the sound of a ticking watch…

2 – Arabic Hippies The title track is funny. A slick mix of tribal and happy beats that will make you want to have a drink and shake that body. I love the upbeat rhythm and the howl/whoop sound effects too.

3 – Bubble Gum Pop Music The happy vibes continue on the third track. If you’re using headphones in order to experience to this album, you’ll greatly feel how the bubble gum explodes in your ears. A cool song that plays with the listeners’ imagination.

4 – Culture Club Also carries the Tribal sound that we all love, in particular, at the beginning of the track. Pretty nice African-esque drums across the entire song. As a result, we have a catchy jam.

5 – D220 Honestly, I do not know what’s the meaning behind the title of this short length tune. However, I appreciate the Minimal/Trap feel to it. Actually, this was the debut track of Shane The Crane on Beatdek Records. Simply brilliant!

6 – Depression Here the artist experiments with the Downtempo/Ambient genre. This could perfectly be part of a movie soundtrack. I am pleased to know he has produced something different with a cinematic tone.

7 – Goo Another chilled track, but this one has a cheerful sound. Nice chimes and electronic music beats that create the right ambient melody. I like the energy this tune spreads in my room.

8 – Her Orion The three-minute track features dark, tropical and mystical rhythms. Perfectly produced and original. A slow-paced production and pretty Tribal in my opinion…

9 – The Birth Of STC A beautiful instrumental melody for a good album finale. It was chosen wisely by the producer who has proven a versatile creation. The last track will take you on a musical journey of complete relaxation! - ElectroWow


Discography

Discography: Albums: STC (Released November 7, 2016) Singles: D220 (Released August 8, 2016) Arabic Hippies (Released Spetember 5, 2016) Her Orion (Released October 6, 2016)

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Bio

A bird mutant from Las Vegas. He describes his music style as Electronic/Trap with natural elements. He had his first release with STC on Beatdek Records to positive reception. Have been featured on many blogs like Spectrum Pulse and support from many artists

Band Members