This song has really beautiful vocals from an uncredited vocalist. I can never resist singing along to them when I hear this song. I listened to this song a lot several years ago but I’ve kind of forgotten it more recently. I gotta listen to it more.
This song really grew on me over the years. CoMa’s vocals are beautiful and Haywyre’s composition and production is really cool. Two Fold Part 1 is probably my favorite album of all time.
This is the beautiful closing song for TTC’s Come To The End; Then Stop LP. The electric piano chords are very nice, as are Augustus’s vocals as usual.
The first of Popeska’s two Monstercat appearances, this remix is really unique and highly underrated in my opinion. While everything before and between the drops would make you think this is gonna be a generic 2013 commercial house song, the drops hit you with an unconventional and wild breakbeat thing. I am aware that this is no longer a Monstercat song, but I’m including it anyway.
I know a lot of people hated this song back in the day, though I’ve always enjoyed it. I think the way dwilly structures the song is really interesting. The intro develops a deep, moody atmosphere, and the descending pitch warp buildup is really good. It then further subverts your expectations with a very minimal drop.
The vocals on this song are really catchy. I love Brock’s falsetto. Bishu also adds his nice soothing bass drones, and the drops are nice as well.
This song has three different motifs with different vibes, at least to my ear, yet they all work together as one song. The start of the intro shows the first motif, which feels like old timey barbershop music. The second motif is the somewhat melancholy and atmospheric F minor chord progression with the vocal chops, and the third motif is the minimal and off-kilter drops. It’s an interesting song that I myself have forgotten about.
I was just reminded of this song today as I’m currently embarking on a journey to listen to every Monstercat YouTube upload song in order, and I remembered how I’ve always loved this song. The atmosphere it develops is beautiful, and the song as a whole is really excellently paced and executed. No part feels forced or out of place, yet it revels in its contrast between the dark and minimal first drop and the more hopeful atmosphere It develops throughout the rest of the song. Really a phenomenal piece here. I wish Zac Waters had stayed with Monstercat.
This is a really beautiful underrated song from Conro’s 2017 Connecting the Dots EP. The chords in the drop feel refreshing and nostalgic and the piano at the end is very nice as well.
Released not even one month after the Silk acquisition, this was Glaue’s first Monstercat Silk release (after the acquisition), and it was a very good introduction to his style. He would later release an EP including this song, which is made up of more beautiful music. This song in particular has very pretty vocal chop work and piano chords. Sadly, Glaue would only release one more EP on Monstercat after this a year later, and then would disappear from the label.
This is the song that introduced me to Aether, and it’s really beautiful. I especially love the first drop and outro, which have a kind of lonely feeling to them that’s also kind of peaceful. It feels spacious. I’d love to hear these two work together again.
This song really makes 6 minutes fly by. Especially in the first half trance part and the outro, this song strikes a nice balance of uplifting and dark, with a pretty and uplifting arp on top of a baseline that never lets you forget that the song is in F minor. Danyka’s vocals, while only occupying a minority of the song, are very nice as well.
This is the beautiful closure to Varien’s 2015 “The Ancient And Arcane” LP. The song strikes a very nice balance of darkness and softness, with the song beginning and ending with a darker atmosphere and wholesome-feeling vibes through the middle of the song. The lyrics are also very interesting to study here.
I can never resist singing along when this song plays. The vocals are really beautiful, and so is the song as a whole with its “mijor” tonality.
I am aware that this song has over 1 million views on Koala Kontrol, however, it seems like this song isn’t really remembered by the Monstercat community. I’ve always enjoyed this song. The usage of the Dorian mode, which is my favorite of the diatonic modes, is really nice. My only gripe is that the song is called “Stay,” which, along with “Without You,” is the most overused song title in EDM in my opinion.
Tut Tut Child, among my favorite 10 artists on Monstercat, was really good at melodic dubstep (as he was with all the genres he did). This, Hummingbird, and Plain Sight are both forgotten yet really amazing songs. This song in particular feels euphoric and transcendent.
Figured I’d revive two Grabbitz collabs that both have music videos and are both in E minor back to back. (Not done intentionally lol) But this is another song that is really beautiful in my opinion and that I have also, myself, forgotten about. The drops feel very different from the rest of the song, but I don’t mind. The choruses before the drops with those big atmospheric piano chords at my favorite part. The music video upload also features an aggressive explosion sound at the very end, which the official song does not. This song has a good message as well. All around a good song!
This was the collab no one saw coming of 2019. These two vocalist-producers worked surprisingly well together. I took a trip to Las Vegas and the Grand Canyon shortly after this came out, and so this song always brings back memories of that trip.
Here’s another song from Kill Paris’s forgotten “Galaxies Within Us” LP. FATHERDUDE is a great vocalist who also provides great vocals on WRLD’s “Galaxies” (I just now realized the similarity with this album’s name lol). I didn’t care for this one back in 2019 but it’s grown on me.