He released his debut album, AraabMuzik Beatz Vol. He started drumming at just three years old and had become a proficient keyboard player and music producer by his tenth birthday. He uses MPC to produce rapid, rhythmic drum patterns and creates melodies with samples and other sounds. He first rose to fame after showcasing his skills of making live beats and instrumentals on a Music Production Center drum machine. At this point, that’s the real dream.Abraham Orellana, better known as his stage name AraabMuzik is an American record producer and disc jockey. But honestly, we just want AraabMuzik back. He could become David Guetta after this he could also become DJ Mustard. But for a producer who's now sailing along a flooded production market, his only buoy here is to try anything once. It’s understandable to approach Dream World with demands for the mind-fuck AraabMuzik delivered on his debut. Speaking of throwbacks that don't really work, Araab inexplicably revisits dubstep with “Try Me” and “A.M.”, where the genre's signature “womp womps” are literally just that.
“50 Box Of Swishers” could have done without Kobe, despite his “I came to get fucked up” crooning over a hard hip-hop beat like he’s Tony Sunshine during the Terror Squad reign. But on the flip side, there are other tracks where the vocal features seem extraneous. A collaboration with producer !llmind proves successful, as “Dream” highlights the vocals of newcomer Vchaney on a track that travels along the same vein as a Tinashe or Jhene Aiko joint.Īraab even traipses smoothly into house territory on “Chasing Pirates,” while his collaboration with Dvnk Sinatrv (“Waiting For”) is near perfect minus the Zedd-ish build-up synths-the same crime is committed on “Stadium House.” A few tracks are begging for any one of the rappers in AraabMuzik’s rolodex, from the subtle boom-bappery of “Train Wreck” to “Left Side,” which recalls Scott Storch's stint with the Roots on keys. “Mind Trip” and “Faded” bring it back to the Electronic Dream era, pairing the producer’s knack for ethereal voice samples with his hip-hop bassline foundation. Opener “Adonis” blends Araab’s MPC proficiency against choir chants and electronic key tones, reflecting a cult-meets-church vibe. Thankfully, the dreamier cuts are there-and arguably the best parts of the album. So what we’re left with on Dream World is a solid project that flies in multiple directions. Clams and Fraud have popularized that atmospheric aesthetic, but other producers have taken to wedging random electronic blips into their work in an effort ride the trap house movement.
The experience is there, but the project breathes an unspoken awareness that his signature sound is no longer just his.
They say to tailor your resume for every different job that you want, so going by that theory, Dream World would land AraabMuzik in any career field. A flood of mixtapes and EPs arrived in the sizable gap between Electronic Dream and Dream World, yet AraabMuzik’s place in beat-making feels uncertain right now. Videos circulated of him flapping his arms over the device like a Hindu deity, solidifying his dexterity as both a hip-hop producer and a catchy electronic one. It would be remiss to say AraabMuzik (born Abraham Orellana) invented the subgenre cloud rap, but he provided a sturdier framework for it, while producers like Clams Casino and Harry Fraud unlocked a bevy of samples often ignored by Araab in exchange for his rapid-fire MPC flexing.
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