SEXXY SATURDAY CUMBIA – DECEMBER

Artwork by Tropi Delia

 

So this is the last post from us for 2016 ! We believe 2016 was a very hard year for some but in general Cumbia has helped us through it and gave us that big smile we hope you are all having whilst reading this. Thank you so much for keeping this blog alive and generally giving us the love to carry on writing about this magical music.

 

THE SILLY TANG SELECTED

Kazike en Estado de Trance Mixtape 032 – Festival Nomade Colombia

To start my selection I have the pleasure and honour to present this absolute badman mix from a person that is very important to me! Yes: Kazike en Estado de Trance is his name and he is the person who taught me everything I know about classical vintage cumbia. A great person and also a great maestro. Here he presents to us a really well put together mix for the Colombian festival that is “Nomade” organised by Mr Toe. Enjoy!

 

La Orrorosa Feat. El Hijo De La Cumbia – Infeccion Tropikal

So now let’s get started with the cumbia punk, one of my favourite fusions within this musical scene. New track from La Orrorosa of the disc “infección tropical” with the participation of Emiliano Gomez (El Hijo de la Cumbia). The rhythm and vocals couldn’t go better together to be honest. Really powerful track which I recommend to any Cumbia-Punk lover.

 

Jota Karloza – Ugate Sooraj (SolSelectas)

So as I might have said before since I saw Barrio Lindo this summer I truly discovered a love for this downtempo minimal stuff and I have to say it is growing J On this particular track Jota Karloza brings us some deep ethnic vocals on a really rounded bassline. The label “Sol Selectas” always brings us the cream of the crop and on this one they have really upped the game once more. Recommended for any time spent on the beach or as my partner in crime would say in any hammock 😉

 

VIVOTROPICAL – Cumbia De Los Pajaritos (cover De Los Mirlos)

Who has seen “Stranger Things “? Well if you have, this is the Cumbia version of the synthesised soundtrack. Well not really as El Búho brought a version a while back. But you will see what I mean when you press play on this track. VIVOTROPICAL is a producer I have just discovered who seems very fluid and locked on his synth game! The beat is nice but very simple and lineal with this main guiro line, but the main work is in the composition and deepness of the effects. Brilliant vibes and I believe this has already reached our alien friends in outer space!

 

Metralleta De Oro – Doing Time (Sumohair Remix)

YES! It seems like Sumohair lives in a constant summer state, more productions he brings out, the more I need sun, cocktail and chilling L.A style. This refix of the classical “Sublime” track is all to love. Nicely made bassline rounding up some light drum breaks followed by some ragamuffin arrangements. What is there not to like about this eh? So go on if it is rainy or grey where you are close the curtains, get a cocktail and put volume on full blast!

 

Fokus – Amazonico

When Eastern Europe meets Colombian cumbia what does it give you, you might ask? Well I will reply with great joy: this is what it gives you. An absolute belter of a tune J a truly inspirational and nice friend has brought me this killer track a few weeks back and wow. He has also asked me to work on a colab with him so watch out in 2017 for the Fokus vs Silly tang stuff to appear. Coming back on this track with an amazing effort from a Jungle producer background and as always a superb construction with deep subs to get us jumping.

 

SCBdB – Jeden

So while we are in Eastern Europe I got sent this mix via soundcloud by this upcoming artist called “SCBdB” (be careful about the spelling he is meticulous) 😉 So this amazing journey within the deeper vibes of cumbia has totally rocked my world. On a different tip than the previous mix by KAzike, this takes us on a deeper more electro side of the spectrum. The great news is that you will be able to stream his first performance live on our first show of the radio via our: la Selva Radio J

 

Los Wemblers de Iquitos – Lamento del Yacuruna (Tribilin Sound Remix)

Back to basics children, back to basics. Every time I see a Tribilin Sound track come up I´m like a kid at Christmas, believe me. So when this appeared and I saw “Los Wemblers” and “Tribilin Sound” on this remix, every day is the 25th of December for me now. Really subtle as always but truly refined tune with this amazing guitar, that backs up the Wemblers. Some psychedelic notes in here and some really echoed out instruments: a perfect combination from the mighty Tribilin Sound aka Alvaro Ernesto.

 

Julio Inti – Cumbia Dub La Venenosa vol7

Here we have another fusion which I love within this Cumbia world, Dub and Cumbia mixed together in a superb mix brought to us by “Julio Inti”. As you may know this is an area of expertise for me and I have to say hats down to one of the best compiled mix of these two genres meeting each other. Run go tell your friends!

 

LolaManola – Psicosis Fem & Sziget Fest (presentación)

Here she is, our famous local from Madrid, “ Lola Manola”!! Very young on the capital´s scene, she has really made a great effort and impression on us. We have had the pleasure of hearing her a couple of times now and believe me she knows what she is doing. Here is a mixtape she brought us as promotion for the two nights she rocked in Madrid, “Psicosis tropical” and “Conspiraciones Tropicales”. Get your ears around it and it will make you digest a big New Year lunch or brock out to a pre-new year party J

 

Aslán Dub System feat. Jef Stott – Soñar (Global Barrio)

The label Global Barrio which is new to me has had an amazing impact bringing some quality music to our ears, thank you Aslan Dub. Trust me this compilation is pure gold! I have chosen this particular track to present it to you because as I said earlier Dub and Cumbia I just love it. But this is not any Dub, the production and slickness of these sounds are real soft and marvellous. Really great, great work thank you so much.

 

RCA & Tropikhongo – Delicia (Bleepolar Remix) (Regional Label)

Our friends from Regional never sleep, FACT. No, only kidding, but they are really active all the time which is a blessing for our scene. Here is a remixed Ep by RCA & Tropikhongo called Delicia. I chose this version because of its dancefloor potential. I can promise you that this track by the Colombian “Bleepolar” well mixed is a killer for the hips!!!

 

Turbo Sonidero Presenta: Kumbias Macabras en Acetato (Records)

To end my part of the selection for this year and this month who else than Turbo Sonidero! If you know how to get hold of these guys please contact me via “Silly Tang” as I have some projects but never managed to get in touch J To get back to this mix, it is as always very true and generous on the cumbia level. From the first tune you can hear the purity of the music that these boys bring. I´m a real big fan of this collective.

 

KAYGEE SELECTED:

Rio Mira – Adios Morena (AYA Records)

This was released just after our post last month and has been on repeat since then ! The original tune is simply fantastic, and is followed by 4 great remixes by Nicola Cruz, Kaleema & Chancha Via Cicuito, M.RUX, and Midnight Ravers. Adios Morena is the first single of Rio Mira’s forthcoming first album ‘Marimba del pacifico’ so make sure you keep en eye out!

 

Barrio Lindo & Wende Wen – El Humo del Fasito (Damas Gratis cover)

Stream: https://barriolindo.bandcamp.com/track/el-humo-del-fasito-damas-gratis-cover

Barrio Lindo teamed up with Wende Wen for a new ep, which includes this beautiful chilled out cover of Dama Gratis’ tune “El Humo del Fasito”.

 

Matanza & Oceanvs Orientalis – La Luna Y El Lobo (Jhon Montoya Expedition) (Shika Shika)

Waow waow & waow ! What a great journey !! I love the slow & minimal aspect of the original tune, but I must say Jhon Montoya absolutely nailed it with this remix. The progressiveness and atmospheric violin he adds is just perfect ! That’s another one that has been on repeat for the past month.

 

El Búho – Mañana En Tepoztlán (Pata De Perro Remix) (Global Barrio)

I’m a big fan of the band Pata de Perro and a huge El Búho fan, so this could only be a winner for me! They have added a proper live dubbed out groove to the original tune and it sounds great! As mentioned above by the Silly Tang, this tune is part of an amazing compilation, Global Barrio’s Vol. 1, so make sure you check out the whole thing.

 

Mercedes Nasta – Paricutín (El Búho Edit)

The man never stops and it’s becoming a monthly tradition to post about his new tunes and edits, with this one going out to Mercedes Nasta. He’s done it again and manages to take us on a wonderful journey into his world accompanied by Mercedes Nasta’s lovely soothing voice.

 

LEDA Edits Vol.1 (Fertil Discos & Folcore)

We mentioned their campaign last month and here are the first two versions of this incredible forthcoming double-vynil, which will also include great artists like Chancha Via Circuito, Tremor, Tonolec, Intiche, King Coya, Soema Montenegro, Miriam Garcia and Doma Tornados, among others. For now, here is El Remolon’s deep bass driven remix, and a wicked progressive edit by Barda. You can still support the campaign on: https://www.indiegogo.com/projects/el-camino-de-leda-compiling-leda-valladares-music#/

 

Bomba Estéreo – Raíz (Nicola Cruz Remix)

This is an absolute beauty of a tune! Nicola Cruz just landed! He brings so much texture and depth to the remix, incorporating Liliana Saumet’s voice perfectly ! It’s part of Bomba Estereo’s brand new ‘Amanecer Remixed’ album so get on it while it’s hot !

 

Señor Chancho Meets El Buga – Conga Dub (Shango Records)

Fresh sounds straight out of Shango Record’s oven with this banger by Señor Chancho & El Buga. Pure dubby tropical sounds with wicked flutes and synths to groove up the whole thing, without forgetting a fat beat and a fat bassline: I love it ! This tune is part of the ‘Bora Bora’s Mist’ Compilation, which is full of other great tunes so make sure you check it out: http://www.junodownload.com/products/bora-boras-mist/3303520-02/

 

La Walichera – Sendero (King Coya Remix)

Out on La Walichera Remix Vol. 1, here’s King Coya’s cumbia bass remix of the tune Sendero. He brings an original intake to the tune, with very few drums and nearly no kicks but it works really well.

 

Eduardo Zambrano – Llamacornio (Edmoon Records)

Let’s travel to the Andes with Eduardo Zambrano’s new album. I had been waiting for this one, and it was definitely worth the wait. His music is hard to describe as it covers many genres whilst incorporating different influences, and that’s part of why I love it! He brings a potent electronic touch to the more traditional and emotional side of his tunes, switching from one rhythm to another so smoothly, and always progressing along the tune.

 

Lascivio Bohemia – La Cumbia Quitapenas

Yes yes and more yes ! Another great project by the above mentioned Eduardo Zambrano is Lascibio Bohemia, and it’s hot ! He goes back to the more traditional side of things on this one and brings to us this beauty, with heavy guiros and powerful flutes! It’s part of a new 3 track EP so hit play and enjoy the whole thing. “This is a tribute to Sixto Silgado, Paito & Los Gaiteros de Punta Brava, life was better after having seen them live”

 

VA Hystereofônica Vol. 1 (Tropical Twista Records – 2016)

Very happy to hear Tropical Twista’s first compilation entirely dedicated to female artists: “Here we have artists that come from different branches that ensnare the electronic Latin-American scene in the most variable sonic textures and beats per minute. There are twenty-two women involved in this project – and only women – , some already established and some new potencialities among them, gathered by Ágatha Barbosa (Cigarra) in a big net on the Hystereofônica project.”

 

The Nu LatAm Sound – Ecuador Episode 3 – The Andes Sounds (ZZK Films)

Here’s the third episode of ZZK’s series on new Latin American sounds, focusing this time on Ecuador and the Andes Sound. It’s always a pleasure to watch these episodes. Enjoy ! The fundraiser they had put in place to continue these audiovisual projects was reached so we can expect more to come 🙂

 

Paloma del Cerro en Tomate la tarde

Nice interview with Paloma del Cerro + live performance on Argentinian TV.

 

Don Plok – Mercedes Sosa – La Carta (remix) (La Bicha Producciones)

Don Plok in the place straight from Argentina with a live remix of Mercedes Sosa’s ‘La Carta’.

 

Chancha Via Circuito ft. Miriam García – Como Noide (en vivo en La Trastienda)

Chancha Via Circuito’s live performances are becoming more and more impressive, and including more & more people to the show; here’s an extract of what went on in La Trastienda

 

Sonido Gallo Negro – Mambo Egipcio

Brand new bangin’ psychedelic cumbia by Sonido Gallo Negro, announcing their forthcoming album ‘Mambo Egipcio’

 

Son Palenque – A PILA EL ARROZ

Son Palenque have just brought out a brand new video clip straight from the beach for us to enjoy.

 

Festival Nomade 2017

For those of us who couldn’t go to this lovely festival in Colombia, here’s a little glimpse of what went on ! Festival Nomade has another editon coming up in Chile so keep an eye out !

 

Fania Presents: MANANA Cuba Festival

Great insight into the legendary Fania Records label and the recent Manana Festival which took place in Cuba not so long ago, bringing together both traditional and electronic worlds by including a fabulous list of bands and djs.

 

As always, here are some of the mixes which I have had the pleasure of hearing over the past month:

Cal Jader’s Tropicalista Mix 2016 – Sounds and Colours

Stream on: https://www.mixcloud.com/soundsandcolours/cal-jaders-10-dance-floor-heaters-for-2016/

 

Dr Gato – after temazcal

 

IST 062\Rafael Aragon – Casa Caos

 

Shika Shika Showcase en Xaman

 

Barda Mixtape 036 – Festival Nomade

 

We hope you have enjoyed the read and we look forward to more cumbia-tropical action in 2017 !

It’s looking hot and tasty so get ready for it!

Happy New year to all of you from La Selva

Webiste: laselvaradio.wix.com/laselva

Facebook: https://www.facebook.com/laselvaradio

“The only thing I need is HUGS” – 2016 with Dead Stare

forestmetal

Little more than a year ago, I wrote what is possibly my most personal and emotional piece ever written on Generation Bass: the in depth interview with Dead Stare’s Gergö (Hungary) and Edgar (Mexico/US) about health, injustice, passion and music. The post struck a chord with many people and was shared widely, reaching for example boombahchero pioneer DJ Orion, who invited them to revive the Subguey series in September this year.

Dead Stare continues to occupy a remarkably unique position, outsiders in both the Hungarian and the North American ‘global bass’ scene, where the sounds of the BABYLON label and La Clinica on the one hand and NAAFI on the other, are setting the tone. Dead Stare’s blend of sounds is squeezed in between the EDM branch of global bass and the darker experimental club sounds that don’t really fit in ‘avant-garde club’, dark trap or witch house either. And now their enthusiasm for the boombahchero genre has given a whole new spin to their direction.

I recapped with Gergö for a look back at the turbulent 2016 and the future of boombahchero.

GB: Have there been any hopeful developments in the treatment of the brain tumor?

G: Unfortunately, absolutely nothing. Only for the worse. If its getting bigger, it can fuck up my eyesight. In the last few days a lot of things were too obscure, way too obscure, so we need another tumor test ASAP.

On a side note, I love how you guys wants to send me money like you, Orion and First Gift and Edgar, but I hate money. And as I said, we can’t buy an operation. In this situation Money can’t help. I could buy some clothes and food which would be really cool, but today I realized I don’t need money. The only thing I need is HUGS!

GB: But at some point you will need an operation I suppose, right?

G: I don’t know, but pretty sure yeah. I need to do another test. Probably in January.

Also, doctors announced now rhat , in this situation, the epilepsy is more dangerous than the tumor. It would be better without the Tumor, but still dangerous. They can’t operate epilepsy. I have medication, but I don’t really know what to say. I need to take it for a lifetime, but I’m always positive you know.

GB: Is the epilepsy a reason not to operate on your brain?

G: Nope… Luckily they can still operate me, but then I’ll still have the epilepsy which is more intense.

GB: But that’s no reason for the doctors to say, lets keep a tumor in your head that threatens your eyesight, that’d be bizarre…

G: I know man.. I’m just saying. I always went with high hopes to all of the appointments. I want to get rid of it ASAP. But I had enough time to learn to live with it.

Dead Stare x Wost – Brinquen

GB: You were supposed to fly to the US for the promotion of the Subguey release, but that didn’t hapen in the end right? How do you feel about being so far separated from Edgar, especially now Dead Stare is growing?

G: The US trip is still possible, I just need a bit more time, hopefully I can tell more news about it. Edgar understands that I can’t travel to the US yet. He always encourages me to do gigs alone in Europe. Hopefully it will change soon. We really get along.We can always fix all of the “problems”, this hasn’t a big one to be honest.

Even by playing separate gigs on two sides of the ocean we influences each other. The video from my gig at Cross Club inspired Edgar to play boombahchero at a popular deephouse night, and people told him it was the craziest set ever.

GB: Cross Club?

G: Cross Club is a club in Prague. Chong-X booked me because he liked our Subguey mix. It was literally unreal. It was supposed to be a boombahchero set but for some reasons I played 30-40 mins of Moombahton… then Chong came to me and said “WE WANT BOOMBAHCHERO!!!” I switched to it immediately, and like woah. Man, it was clearly one of the best moments of my life.

I mean, for me personally boombahchero is very special, a magic experience that takes me to a perfect world without pain, and where everybody just smiling and dancing with crazy moves. But that night this actually came true.

GB: Can you tell more about your experiences with boombahchero?

G: It’s the most underrated microgenre now. I always knew the potential, but when I saw people’s reaction in Prague, I realised its even stronger than I expected. I’m just obsessed. I never thought people can feel boombahchero this way.

Another time is when I sent this Miami bass demo to Astronomar’s label Main Course. He said the track is really cool, but… SEND ME SOME BOOMBAHCHERO PLEASE. Like, I can’t believe this. A month ago I told Edgar “Everybody wants Boombahchero” but I was just joking. It seems it’s not a joke anymore..

I want to inspire people to create more edits as well as originals. I started a new project, organising a boombahchero compilation with all original tracks. First Gift from Sweden, who already made a lot of sick boombah tracks, is helping me, along with Orion. Maybe its a bit too early to announce it since we don’t really have anything so far yet, but I’m excited so I wanted to talk about it.

Dead Stare’s ‘slow boombahchero’ remix of Gingee‘s track Escape

GB: Coming back to the Main Course label, do you have mainstream ambitions?

G: I want to grow, and want to spread our message all around the world. I want shows and meet new people. I want to talk to all of my followers and help out others with food, clothes and inspiration. Big labels are the key. If I can take over some big labels that means more shows and more attention. It would be our biggest goal to have a release on a label where a global bass artist never really released anything.

Its hard because I want to keep the Dead Stare sounds but sometimes the success requests things like that. I think an oldschool miami bass track with some acid vibes would be enough deadstare. I’ll try to make a very unique track with rare sounds and of course acid vibes. Maybe its still EDM, but Im pretty sure we can make a good EDM track with a pure oldschool vibe and a unique beat.

Dead Stare’s intense, dark-epic boombahchero remix of Monsters On The Horizon

GB: What’s up with the baby sounds that come back in several of your tracks?

G: We never talked about this so far, but nothing can make me more angry when I see somebody hurting a baby. I seen a fucking intense video of a mom kicking, hitting, hurting her daughter with things and I was literally in tears. Maybe that’s the deepest reason why I want to grow. I want to show people that kids deserve way more attention and love. Some parents prefer to give them easy distraction instead of talking to them. These things make me angry. We are using baby sounds to give a voice to them in this way.

Maybe some of our fans still think we are just a random project, making stupid ironic shit, but we have some serious messages. I’m not saying I can change the world but maybe I can inspire a few people that understand what we’re about.

GB: Any last thing you want to say to Generation Bass readers for 2017?

G: If you got an unreleased boombahchero track, we would like to hear: [email protected]

Dead Stare – Másnapos (“hangover”), Original Mix

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Generation Bass Presents: GBMIX#11! Wu

golddwu-lordofdarkworldrender

At the end of a musically confused 2016, which saw the evaporation of online aesthetic and sound hypes, our attention is shifting from avant-garde pioneers, to people who are experimenting with new ways to build more solid, multi-genre scenes and concepts IRL, independently from the accelerating pressure of net-trends. Wu, from Rotterdam, is of that category. He pushes his eclectic blend of club and bass genres as a formula for darker dancefloors. In this sense, he fits the broader movement of developing multi-genre club scenes that has been a continuous engine for innovation for about a decade, from GHE20G0T1K to Swing Ting to Endless. The exciting thing is that the final outcome of such initiatives, can be quite different in each individual case, and the central starting points to build on can vary from genres as diverse as techno, grime, hiphop, dancehall or even experimental stuff like noise or algorave.

In this energetic mix, Wu shows the potential of the growing interest in grime, UK club and vogue/balroom sounds as a starting point for a vivid, multi-genre club underground.

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Renick Bell and the Promising Future of Algorave

renickbell

One of the tragic side effects of always being tuned onto the most innovative and culturally challenging music is that you’ll get bored ever more easily. Nights revolving around one specific genre, like techno or DnB, can annoy me to death. But also in the worlds that I’m active in, like global bass or ‘avant-garde club’, there isn’t much that can amaze me with the same power any more as when I was still new to all these things. Between my early Soundcloud days and now, the “‘this BLOWS my mind” feeling has gradually faded from multiple times a day to often months without. Simply because I’ve heard so much of the most fantastic stuff already. But last month I had a life transforming experience in a way I haven’t had since my early days of music digging, not while surfing Soundcloud in solitude for a change, but on the middle the dancefloor, walking into a liveset from Renick Bell.

Immediately when I heard the robotic abstract beats and alien ambient scapes while seeing the hypnotising coding lines glide and morph over the big screen, I knew that I would write a Generation Bass post as soon as I had the occasion. And doing a quick search I also realised that this is the first-ever Generation Bass post about algorave. Developed in the underground of tech enthusiasts, the technique of using software code commands to generate live music has been around for more well over a decade, yet hasn’t crossed paths too much, not with the ‘post-internet undergroud’ and let alone with global bass. It’s logical why.

What has fuelled the internet hypes over the last decade has mostly been driven by the products of the democratised accessibility of simple production and sharing techniques, which has enabled teenagers from around the world to develop new styles and subcultures that are often quite simple in the production process but creative in the way they bring together cultural elements available via the internet. The development of a whole new kind of instrument, especially one that requires very specialised knowledge only shared by minor section of the population, is a diffent world. In 2013, when the algorave first caught attention as an upcoming scene, Vice notoriously called it the “future of music, for nerds”. This esotheric character is one that algorave hasn’t managed to shed so far, at least in my perception, interesting mainly as a mere nice idea for people passionate about exploring the possibilities of coding as a human craft with vast latent cultural potential. All of this might well change soon, both because the coming generation will hopefully have much widespread knowledge of programming, but also because, as the craft matures, its fruits will improve and diversify. The previous generation has witnessed the shift of electronic music in general from an experimental niche genre pioneered by a small bunch of wire enthusiasts to the most widespread, popular way of making music. And with the potential of open-source software, in principle accessible to anyone anywhere with an internet connection, coding as a new form of musical expression may well be on its way to be embraced by marginalised people to articulate political realities that go beyond the privileged bubble of nerd culture. After all, the ongoing historical development of music is essentially cultural heritage x socio-political context x technology. And that is why, on the brink of 2k17 it is more urgent than ever to start talking about algorave on Generation Bass.

Enter Renick Bell, a Texas born, Tokyo based programmer, musician and teacher. His abstract, visceral sound, shared by artists like Partisan, Morten HD or Sentinel, has attracted the attention of avant-garde platforms such as J.G.Biberkopf’s Unthinkable series on NTS, Quantum Natives and Infinite Machine and has doubtlessly also been shaped back by these movements. More importantly, the amalgam of sounds combined in these music scenes has brought algorave in direct contact with the musical heritage from marginalised global club & bass undegrounds as well as with the socio-political contexts of the struggles of oppressed people for alternative futurisms. This happed very literally on Native Self, where Renick’s set was immediately followed by Terribilis playing baile funk and Lisbon batida.

During Native Self there were, as is common in the Algorave scene, no additional visuals apart from the real-time projection of the live coding process: a form of opennes to visitors with knowledge of the technology and an invitation to contribute.

His most recent official release Empty Lake EP, which came out in October this year, on the London based experimental label UIQ.

His most defining works: a series of tracks called “fractal beats”, drawing from genres like footwork, gabber, psytrance, techno and noise, but with the improvisational chaos of experimental jazz.

Moving into melodic territory, with poppy vocal samples, his sound becomes essentially identical to the sonic palette that I typically categorise as ‘avant-garde club’

Renick’s collab from half a year ago with the Japanese experimental club producer KΣITO

“Beats for traditional dancing”, a composition where live coding and otherworldly electronic sounds become antirely one with the spirit of Jazz

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Liquorish Records – V.A. Riddim All Stars (Compilation)

riddim-all-stars

Liquorish Records is a forward looking label, curated by DJ and scene builder Oomboi Lauw, who is always a step ahead in signalling what is missing in the music scene, globally but especially in the home city of Amsterdam. Initially this started with creating an outlet for the unique, grime inspired twist on footwork by the Surinamese producer J(ay).A.D. This love for uniqueness and boundary pushing club and bass has grown into an impressive series of EPs and compilations where Amsterdam based talents like J(ay).A.D and Noam Kamal appear alongside international artists from a broad spectrum of scenes and genres.

Usually focused on the higher BPM range, Riddim All Stars dives into the dancehall roots of contemporary club music, with half-time downtempo and mid-tempo riddims that freely blend tresillo patterns with double-time percussive filling and a wide variety of synths and atmospheric effects. Also exciting about this compilation, on the brink of 2017, are the different music scenes and genres from which it brings contributors together. There is ‘avant-garde club’ producer Zgjim from the Angry Youth collective, as well as barefoot pioneer and global bass OG Stereotyp (vienna), Generation Bass afiliated footwork producer Sarantis, dancehall minded UK club innovator Cardinal Sound and dub junglist SeekersInternational and more, all on the same compilation.

I had the honour to spin some tunes together with Zgjim, Zoltan J(ay).A.D and C_DR_C on the release party in Amsterdam last week and especially the brooding, budding scene energy made me realise that if there is any release that gives me a positive insight in the new directions music can take in 2017, it is definitely this one!

>> BUY HERE <<

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Tracklist:

  1. ZgjimRiddim
  2. StereotypWoi Riddim
  3. ZoltanDhl Riddim
  4. SarantisBash Version
  5. TS Repman$$$ Printer Riddim
  6. SeekersInternationalCausation Version
  7. C_DR_CU Don’t Know My Whereabouts
  8. J(ay).A.DNyan Riddim
  9. Cardinal SoundMarch Riddim

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Once you see this, cumbia will never be the same any more (100% real no fake)

marcianito

100% real, above top secret footage of a martian who happens to dance exactly like me in the club (I can’t get over this!).

The original joke, putting a gif of a dancing alien to Antonio Ríos’ song Nunca Me Faltes, which went viral this summer… and evolved into this…

So much for the c l i c k b a i t part. Everybody is done with hypes and I don’t care if it is relevant or not to still talk about old memes on the brink of 2017. Cumbia will always be relevant so shut up. Same goes for vaporwave.

Usually, blends between genres occur when specific, different genres come to occupy an important role in the the cultural sources consumed by an individual, either by growing up with it, being part of a specific cultural environment, or by having any other kind of connection with it that sticks for some reason. At some point, somebody realises that a combination between the two genres is possible and starts experimenting, either as a joke or as a sincere expression of their reality. Usually somewhere in the middle. Like with any cultural translation, something is first imitated and then translated into the new context, developing a ‘homegrown version’ of something that may or may not start living a life of its own.

Vaporwave is of course no exception. I have pointed out before how vaporwave caters to a collective memory of long days of luxurious mall shopping with your parents, television commercials, videogaming and the first aquaintances with the life-changing influence of computers. This shared experience of growing up with these things is mostly specific to affluent, white, suburban Americans and don’t necessarily have the same subconscious connotations in other parts of the world.

CYBEREALITYライフ is one of the earliest ones introducing the genre to Mexico, fully integrated in the entirely internet-based, largely anonymous vaporwave scene. An old track from 2013, with all the tokens: slowed-down, chopped and looped soulful mall music, presented with mystifying Japanese script: nothing that gives away that this was made in Mexico. Nowadays he largely left vaporwave for a broad variety of other styles.

マクロスMACROSS 82-99, also doesn’t make any notable use of Mexican cultural elements and is even heavier on the pseudo-Japanese kawaii-disco flavour.

Munchi recently showed this video, dating from back in 2010, produced by video artist Rollz Royce for the T Tauri Trap House collective (which included artists like Zakmatic and Chippy Nonstop) who experimented with tumblresque aesthetic net-trends, fused with sounds, predating ‘avant-garde club’, which leaned more towards global bass than towards the post-internet lineage of seapunk, vaporwave, meme-rap & cybernetic club. Even though I would now automatically connect these aesthetics to future funk vaporwave, the connection makes total sense, since these sounds in fact draw from the collective memory of growing up in the 90s but in the Latinx community.

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One of the most obvious ways to give a Latin twist to vaporwave is to vaporise the homegrown versions of the kinds of music vaporwave is usually based on, like this edit of a 90s hit from the Mexican singer Luis Miguel.

And from there it is only a short step to vaporising cumbia. Mexican vaporwave producer A. Rivers recently released a mini album with 3 ‘made in Mexico’ vaporwave tracks, two of which are based on cumbia.

https://soundcloud.com/arivers-radionstalgik/sets/beta-release-2-5-mini-album

Mexico is not the only country where somebody got this idea, Falsorwave そして、通過 Chile is a Chilean channel with vaporwave edits of Chilean pop, some of which cumbia.

And a Reddit search of the terms vaporwave and cumbia led to this whole new attempt by a producer called Wiracocha, after the precolumbian Andean deity, to create a new microgenre ‘Incawave’, a blend of post-vaporwave ambient and Andes music. Personally I like post-vaporwave experimental stuff better than pure vaporwave so, clickbait or not, I really dig this!

A long while ago, I made a remark somewhere that bubbling could be seen as a kindof nightcore version of early dancehall and then Mexican cumbia rebajada would be a vaporwave version of cumbia. This was also realised by Redditor Newtype420, who posted Vice’s cumbia rebajada documentary in /r/Vaporwave last year, which has lead some vaporwave-aware Latinx Youtubers to comment in fullwidth to old uploads of cumbia rebajada channels.

Strikingly, pre-vaporwave cumbia rebajada has always had the strongest in Monterrey as well as in Mexican communities in Texas’ metropoles, where it has crossed paths before with Texas’ hiphop culture in general, and the chopped & screwed hiphop movement in particular, which has created an aesthetic that shares a lot of cultural DNA with the different elements that inspired vaporwave and sad-rap.

The question then becomes what is the difference between the cumbia rebajada that’s been around for so long and slowed-down cumbia edits presented as vaporwave? As WosX has pointed out, the way in which it is presented as an added, mystifying and recontextualising layer on top of the sound itself, is an essential element of what makes something vaporwave.

WosX’ recent educative short doc goes in depth into the defining elements that give the vaporwave family of related genres their disctinctive character **I personally do not agree with his assertion of inconsiderate, ‘google-translate’-style cultural approptiation (the way it is usually practiced in VAPOUR) as a positive way of cultural exchange**

This would imply that it is the representation of cumbia, as could be done with every genre, that ‘vapourises’ it, rather than simply applying ‘classic vaporwave’ techniques to cumbia. In that sense, ‘vapour cumbia’ is still in its infancy, but it has clearly entered its journey through the grinding mill.

Essentially the classic sound of cumbia rebajada, wrapped in vaporwave aesthetics, from Vaporguey

Also from Mexico, by an obscure humor channel, slowed down ‘vaporwave’ edit of Los Mirlos chicha hit Cumbia de los Pajaritos, presented in an eclectic aesthetic package that can refer at the same time to cumbia rebajada, sad trap and nightcore

Even though it is not consciously part of the ‘vapour’ umbrella, when it comes to slowing down cumbia with the purpose to create a displacing experience that is both nostalgic and unreal, this already classic cumbia dub edit by El Búho comes close to how a more refined cumbia vapour could be imagined.

On the visual side of things, the crew from Caballito Netlabel, where the designers have been conscious of vaporwave from the start, have experimented with more ambiguous, vaporwave-inspired yet uniquely different Latinx aethetics to accompany their digital cumbia sound.

The official video for Bigote‘s ‘Juanita‘, already 5 years old

And for his more recent track ‘Sonido Trópico‘ (2015), with an avant-le-hype very early reference to Marcianito!

Of course Marcianito couldn’t do without its own official vaporwave version, also by Vaporguey

And when a meme is so big that there is a vaporwave edit, there must almost certainly be a nightcore edit as well

Like vapour, nightcore is a universe on its own, that can in turn blended together, not just with cumbia buth with any kind of ‘global bass’ genre, but that’s for another time…