Sexxy Saturday Cumbia – El Guero Unico Signing Off

Sexxy Saturday Cumbia Signing Off

Art By 4:20 Grafix

This is one of those articles that I want to take a long time with. I want it to go on and on with no end in sight. But alas an end is in sight. All week I’ve been thinking how to approach this specific article. And to be honest I haven’t decided on how it is supposed to be.

I honestly have lost count of how many Sexxy Saturday Cumbias I have written. I lost count somewhere in the mid-80’s and started guessing. If my guessing is correct then this should be around the 127th mark. That is 127 consecutive weeks, without missing a single one, when I claim it to be consecutive, I am not merely carelessly throwing that word around. I have honestly never missed one week. I have been late on a few occasions, but not a week has passed during this 127-week stretch without an issue of Sexxy Saturday Cumbia being delivered. I take much pride in this fact, but also it shows one of my obsessive-compulsive habits. I do not fail to do my job no matter how ill I feel.

When I first started my Cumbia Facebook group called Nu Cumbia Experience, I had neither the foresight nor an idea that it would be the catalyst that started me on this remarkable and honorable path. I was simply interested in collecting music from artists within the Digital Cumbia community. I knew very little about what was going on outside of the mainstream Cumbia scene. Nu Cumbia Experience was as far as I remember only the second Facebook group completely dedicated to Digital Cumbia, but I may be wrong about this. Friends sent me stems to play with and before I knew it I was hooked on Digital Cumbia or rather Nu Cumbia as I’m happier calling it.

Canalh was at that time writing Sexxy Saturday Cumbia. He sent me a private message telling me that I was to be featured on a post on Generation Bass. I didn’t even know what Generation Bass was, to be honest. Through Canalh I was introduced to Generation Bass. I remember how incredibly excited I was to have my music featured here, this is an excitement I’ve never forgotten, I’m reminded every time someone shows excitement when I feature their music here.

Being on Sexxy Saturday Cumbia I found myself very inspired and motivated to produce more Nu Cumbia. I made many friends within the community, most being located in Mexico because Sonidera and Cumbia Nortena was what I was most familiar with having lived and worked in the local music scene here in Phoenix, Arizona. As my popularity grew I continued to feel inspired. The embrace the Cumbia community has kindly held me in since those early days, I must say still feels just as warm as always.

I remember one day searching around Generation Bass for old posts when I cam upon the post Dee Jay Umb put up asking for a blogger to take on Sexxy Saturday Cumbia. This post was very old, as it was the one Canalh apparently was interested in. At that moment I remember clearly thinking that I wish I had known about Generation Bass and more importantly, Sexxy Saturday Cumbia at that time when Umb was seeking a new blogger. Then the odd twist of fate happened, well shortly afterward anyway. Dee Jay Umb asked if I was interested in taking over because Canalh left the spot open. Nervous with excitement I replied immediately with a resounding “Yes! Please. And thank you.”

Nervous as all hell, after planning for two weeks, I wrote my first Sexxy Saturday Cumbia with shaking hands in May of 2011. Then the addiction started almost immediately after the first publishing. I wrote and wrote, loving every week and loving all the music I encountered. One might think that the passion one feels when first starting something might decline in feeling the longer one does it, this is the exact opposite of the true case. Over time my passion only grows and I expect it to keep growing still.

I met many wonderful people over the two years and two months I’ve been writing here on Generation Bass, many of those wonderful people’s eyes are surely grazing over these words at this very moment.

Writing for Generation Bass played a large part of creating the person I am today. I have learned a lot about a lot of topics not just about Cumbia. I had no idea, no guess so wild, that I would become a co-owner of Generation Bass. This is such an honor for me, I cannot emphasize this enough, there simply aren’t any words capable of describing this honor I feel.

Alas, the time has indeed come for me to hang my hat. You might be assuming I’ve gone mad, and perhaps that is the case, but the time has come nonetheless. I only leave with positive words to express my love and appreciation for both Dee Jay Umb and Vincent Koreman, without them I wouldn’t be anywhere near where I am today. I may have put in the work, but they gave me the opportunities and the trust that helped me flourish and cultivate my skills as a writer, producer and business owner.

You might be asking why it is I’m leaving. That question is worthy of an explanation. I have decided after much thought that it is best for me to continue on elsewhere. I feel I can make a better impact in the music industry as a producer, publisher, editor, writer, musician and businessman if I focus my attention on one location of work. That location is the site I operate called The Global Bass Experience. I know there I can do much more work. I have a better budget, less distraction and more influence. I have massive plans for the immediate future including pressing vinyl for album releases, CD’s, merchandise, attending and operating showcases at various music festivals and a bigger online presence.

My goals are to increase productivity at a faster rate and larger impact and at The Global Bass Experience I have much better options. I will continue a similar weekly Cumbia post but instead of Saturday, the post will appear on Friday. The name of course will be changed to Funky Friday Cumbia, because I’ll leave SSC for a future writer here on Generation Bass. I feel Friday is a better day to share new music so DJ’s can download and get their sets together for that weekend.

I will continue releasing Cumbia EP’s monthly. I already have some ready to go. I will also oversee EP and LP releases in other genres. I have assembled a great team of bloggers and producers whom are gung ho about working with The Global Bass Experience.

So this is not a “goodbye” but more of a “see you over there”. I won’t miss a beat with any of these projects including this Cumbia round up. It will be as though nothing changed, except where I am located online. Also there will be many major positive changes that will be coming with the switch.

There should be no melancholia found here today because that is unnecessary. I am not leaving you, nor will I ever. This is my life, doing this work means the world to me. I’m only moving to a new location. So if you would be so kind as to come join me I promise a wonderful and productive future for all of us.

My sincerest and best regards to Generation Bass and specifically my two partners who are soon to be referred to as former. Much love and respect all around.

Now for the biggest Sexxy Saturday Cumbia you’re likely to ever encounter!

Let’s start by kicking back to this dope Cumbia Dub refix jam provided by Mexican Stepper of “Real Rock Riddim.”

Since the very first moment I encountered Animal Chuki I was hooked to their sound. Peruvians sure leave their mark on great Cumbia innovation.

It’s still somewhat bizarre to me how well Dnb and Cumbia can work together. Markuz R. shares in my sentiment.

El Dirty Sonidero provides us with a summer mix suited for the rabid Cumbia fan.

I still remember the first time I shared some of Abel Digital’s work here on Sexxy Saturday Cumbia. I actually dedicated a post to him along with an in depth interview. Well he’s back a couple of years later with more of his hallucinogenic stylings.

The name El Remolon is spoken often and always with respect. And for good reason. Here is his latest contribution to dopeness.

Qechuaboi, what have I not said about this Electribe genius? I’ll think that question over in my head while you jam out to his latest masterpiece.

Cumbia and Rap also seem to flow well together. I suspect it has a lot to do with the chill repetitive rhtyhms of Cumbia, which allow words to flow freely and effortlessly on top.

Papi Chulo and the great Elegante & La Imperial seem to be a match made in heaven, well at least a match made by [email protected]

Speaking of Elegante & La Imperial, his is the latest Cumbia EP from my series, which I will repeat first started here on Generation Bass but will be continued by me on The Global Bass Experience (punto) Com.

Azangaro Remakes has proven to be another hit EP from this incredible series. Listen and download it for free.

Another sick release by out Deep Cumbia Colombiano Boy, Dany F, graced our laptops and ear buds this past week. Infinite/Finite is another EP that can successfully attest to the mad skills Dany F possesses.

G-Flux has for a rather long time now been synonymous with the phrase “dope as hell.” His debut solo LP will be released this coming Tuesday July 30th. On this incredible album one can find Los Master Plus, Boogat, Empresarios and Chicha guitar legend Jose Luis Carballo. But don’t fret he will also be visited by his long-time partner Afrodita.

The name of the album is G-Sound and you can preview it all here below.

Deltatron! Another dope figure from the underground Peruvian scene and member of the incredible crew Terror Negro Crew. He always delivers sick new tracks that hit the right spot.

Don Juan Pachanga has a long and productive future ahead of him that is sure to be filled with much success. I love collaborating with him because his style is perfect for my personal musical tastes.

His latest track with Hijo De La Cumbia is a dope remake of Nicky Romero’s “Symphonica.”

Exta-Machine Mx has been making several appearances lately here on Sexxy Saturday Cumbia. His music is just too good to overlook. Check out this intensely sick Tropical Bass tune.

PabloTez is just simply amazing with his work. I expect as so should you, that I will be sharing a lot of his new work in the future and most likely for many years to come,

His new song Maracuya is a wonderful Tropical Bass gem.

Chusma Records was running what seemed to being, or at least ended up being, a confusing contest for remixes of their recently signed genius act, Dengue Dengue Dengue’s track from their debut album “La Alianza Profana” called “Simiolo.”

Many top remixers, young and old, wise and silly, came on board to compete for the most voted for remix to be featured on the Chusma Records re-release.

It was confusing because not all the remixes ended up on the site for the listeners to vote from. Then some were added later. Well it became rather hectic and somewhat messy but a winner was indeed crowned and awarded. That winner is none other than Manduka. And here is his remix.

Another of my top favorite Nu Cumbia DJ’s is Tribilin Sound. I know I have said that before and not that long ago, but the dude is just that great I feel I have to repeat my sentiment.

Here to back up my claims of greatness is his latest work “Bilongo con Sandunga.”

Petardo is always hard at work spreading his message of peace and love around the world. While in Germany he longs to return to the barrios of his native Peru where he can further spread his message.

To at least put one in a chill daze, I have his newest remix featuring Barrington Levy with “The Cumbia Stepper.”

Pedrolito, my good and friend for many years to come, shares with us another special mixtape where he gives respect to Colombia.

Folklore digital #8 – Especial Colombia by Pedrolito Radioglobal on Mixcloud

Here is a sick new rebajada rework from Mamalon of “La Cumbia De Las Culeras,” courtesy of Especimen Tropical.

Perro Ki shows his love for the female vocalists of ZZK Records with his small mix of lovely Cumbia.

Before I leave Generation Bass I wish to leave something melancholic of me behind. It seems fitting to me to do so. This is my sequel to my first full mix of my originals titled “Condicion del Corazon.” This time I revisit the beauty found in the darkness along with the spiritual feelings within the depths of music. I do so with “Condicion de Mente.”

To help wake you up a little, El Catorce provides us with a high energy rework “Cumbiambera.”

I shan’t honestly ever tire of this work. I love this, I love you, I love Generation Bass but I’m going to have to love this work and love you elsewhere from now on. In a place I like to call The Global Bass Experience (dot) Com. If you feel like you’re going to miss me, I beg of you to please don’t fear, do not cry, for I am not leaving you. I’m not going anywhere. Yo soy El Guero Unico, tu eres mi gente! Ahora y para SIEMPRE! Now and Forever! I am your El Guero Unico and now I am on The Global Bass Experience.

El Guero Unico out!


Dany F – Infinite/Finite EP (Free Download)


The roots of his music go way back to Cumbia deep in his psyche, but his music is far away from the roots sonically, while maintaining the intoxicating and much loved Cumbia rhythms, Dany F takes his Nu Cumbia to all new places. He is known as Deep Cumbia Boy (Dany F DCB) for good reason. His dark underground Tropical music carries his own unique tone and voice not copied by others and not copying others.

He has been on top of my list of favorites since my first moments discovering the phenomena of Cumbia Digital. But he doesn’t just wear the crown in Cumbia he also is a top high quality producer of Champeta. Both his Nu Cumbia and Champeta wonderfully showcase Dany F’s personal Yin and Yang.

His latest EP is once again free to download. Dany F honestly loves sharing his music as much as possible. Infinite/Finite is the aptly title of this new remarkable EP. As usual Dany F allows the music to take its time and flow smoothly. This minimalist approach is effective yet isn’t quite minimalist if one listens closely. There is a lot going on and the compositions are done so well that the over all effect is quite pleasing and quite deep.

Is there “infinite” or “finite” pleasure to be obtained with Infinite/Finite? I guess the answer is up to you the listener and there’s only one way to find out… Download and listen away!

Atropolis “Transitions” – Which Way To Go feat. Carol C. (Music Video)


This incredibly brilliant music video came across my path very recently. It’s from Atropolis’ new album Transitions due out August 13th on Cumba Mela Records. The video is for the track Which Way To Go and features Carol C. on vocals.

Which Way To Go is a really large step forward in Tropical Bass innovation. The Afro-Colombian rhythms stay strong as the driver of the tune but the melodic vocals and harmony created by beautiful synth lines is really something rare and much needed in the Tropical Bass scene.

Transitions showcases the diversity and skill that Atropolis possesses as he flows from song to song featuring some incredible talent, talent including Toronto based MC Boogat, Toronto’s Latin music superstar Lido Pimienta (a video will be coming soon of the song with her), Carol C. as heard below, lends her beautiful vocals, Colombian Darwin Escorcia plays gaita on one track, and to top it off with professionalism and grace is cellist and composer Brent Arnold.

This is an album that will surely be on the top of a lot of our lists for best album of the year 2013. I will provide more content when the release date gets closer. But for now please enjoy the new music video Which Way To Go feat. Carol C.

You might also remember Atropolis’ recent work on Palenque Records with Dutty Artz. Here is one of the dope tracks recorded.

G-Sound – G-Flux Debut Album Out July 30th


It is just one of those heavy Cumbia weeks here on Generation Bass I guess, because more and more dope new albums keep coming out. G-Flux is expected by now to put out some of the best Nu Cumbia the scene has to offer and that is saying a lot. And that is exactly what he is doing with his new LP G-Sound.

We know him from his collaborative work with Afrodita but this time it’s his own debut we’ll be hearing. Though Afrodita does make an appearance on this LP there are a few other amazing collaborators, including the Washington D.C. based Cumbia band Empresarios, the hilariously brilliant duo Los Master Plus, Canadian based genius Boogat and last but definitely far from the least, the legendary Chicha guitarist José Luís Carballo.

For an artist to get a list of collaborators like those I listed above, they really must be someone great. Thus is the case with G-Flux. Ever since I first travelled down the online Nu Cumbia path, G-Flux was one of those that first appeared and pulled me in.

Now it brings me great pleasure to introduce his upcoming album G-Sound, which will be out for digital release on July 30th and 7″ release this October on Electric Cowbell Records. This monumental debut album will go down in the annals of Cumbia history, this I am most certain of.

Generation Bass Cumbia EP No. 2 Elegante & La Imperial “Azangaro Remakes”

sexxxy saturday cumbia ep-3

Art by Tu Guiana

I can’t quite give an honest representation in words how pleased I am with the Cumbia EP series I’m running here on Generation Bass. We’re only two albums in with a third (the next one) sitting patiently on my hard drive, and the diversity and quality of these songs are wonderful. This allows me to explore the different cultures that Cumbia has graced with its presence over the decades. Every geographical place is very different from their neighbor but even more so is the diversity among the artists. This Cumbia EP series allow me to get into and expose the sound of individual artists. Everyone is different and I want to make that fact as apparent as possible with this series.

Last time we visited two young artists in La Paz, Bolivia going under the name Pacena Tropical. Alejandro Cassis and Villa Victoria Sound System. I don’t pay heed of the claims that different nations, especially in the Third World are deprived so much that they’re way behind and unable to be productive with the faster paced and often much lazier First World nations. Pacena Tropical are far more advanced than many others from the more privileged areas of the world. They just work harder and they’re more creative is all, and that I can believe.

This time we go down to Lima, Peru to visit someone who has already become legend in his own right, Elegante & La Imperial. We’re going to go on a dope Digital Cumbia ride with his re-interpretations of songs we know and loved through the ages. It’s called Azangaro Remakes and consists of some really incredible tracks that are also free to download. Any one of these tracks will tear up a dance floor.


David Lynch “The Big Dream”


Perhaps the most genius filmmaker of the past thirty-odd years is David Lynch. Many might argue this point but I know many will take the side of the master of metaphor, in-camera visuals and storytelling. But what always stood out to me most when I watched his films was the soundtrack. Always atmospheric, putting me on edge, the music and noises worked perfectly with the dark and sinister world Lynch would bring us into.

To this day I will say that my favorite television character of all time was Agent Cooper from Twin Peaks. By stating this I hope it becomes apparent that I am indeed a huge fan of his work. Speaking of sound though, we have a visual master artist that confused millions of filmgoers who decided to spread out into music production. And when this occurs, the world gets something really special.

Not caring about what is “in” at the moment or even the future moments, people like Lynch always come across as sincere with their art. And this is what one can definitely hear on his new album The Big Dream.

Buy it on iTunes here!

Sexy Saturday Cumbia – The Good Fight


We’ve been busy here on Generation Bass even in the usual summer Internet doldrums. Keeping on with the new releases in the realm of Zouk Bass but also the Cumbia EP’s are coming in strong, so strong in fact that I’m over-stocked at the moment, which of course is a good thing. This week we saw a new single from the upcoming Cumbia EP by Elegante & La Imperial titled “Azangaro Remakes,” which will be out this Tuesday, so please keep an eye out, though don’t worry much because I will be promoting the hell out of it as I usually do. What can I say? I’m quite proud of how these Cumbia EP’s are turning out.

If you missed the single earlier this week you’re in luck, for I will now repost it here on my beloved Sexy Saturday Cumbia.

El Mulato’s work is always hard for me not to share here on SSC. His productions always interest me. This time he has a super delay dub remix of Cumbia Del Sol where he teamed up with Toty Kumbia Style.

Around 4:20 every day this guy most go insane. My regular artist here on SSC introduced me to The Chromatics with this mashup featuring one of my songs I wrote over two years ago. It turned out to be an interesting meeting.

Real Cumbia Activa brings another visit from our friend 4:20 Music Flavor with his three other partners and their collaboration with a fifth DJ Arturo Hererra.

To further introduce one to R.C.A., here is a short mini-mix of their tracks.

Mini Mix-tape R.C.A. #1 by Realcumbiaactiva on Mixcloud

The Captain is always welcome here on Generation Bass. The master of dope edits and mashups returns with his newest mash of Calle 13 with Jorge Meza.

Our good Argentine freak, Freak Castro, returns to SSC with a groovy tropical remix of the Breach song Jack.

Twice in a day Toty Style is back with a sick little Andres Landero remix.

This next one involves a few different elements other than Cumbia that are more prominent but I couldn’t resist because this original work by Manteka is really dope.

Every time I share a Dash Slktr track on SSC I say that it’s been a while since he’s been on here. I wish to retire saying that by just saying, it’s good to have him back.

DJ Pase delivered the perfect vibe I was looking for when I came across his new track. A Song that takes it easy and takes its time is what we get.

This week I kept the words short and sweet but the music selection is bangin.


Siete Catorce EP2 – EP Release


Last week I shared the single from Siete Catorce’s new EP brilliantly titled EP2, which helps because it differentiates considerably from his last EP, EP1.

With EP2, his second EP, Siete Catorce takes us into the future of underground Mexican electronic music. I heard through the grapevine that the EP release party last night in Mexico City brought in more than 700 club-goers with a line down the street. I’m very proud of and happy for this young promising artist. I look forward to the future Siete Catorce projects.

Listen below and visit iTunes and Beatport to purchase this exciting album produced by N.A.A.F.I. 

GB Exclusive Interview With Lotus Kisbye of Danish Radio Show “SPACEBOUNCE”


I have a wonderful exclusive here of an interview I conducted with Lotus Kisbye from the radio show out of Copenhagen titled Spacebounce. Airing every second Friday live on Universitets Radioen, this radio show visits the musical underground as the hosts attempt to promote genres and new artists stirring up the pot.

I was fortunate to speak with one of the hosts or rather hostess in this case, Lotus Kisbye for an interview regarding the program.


EGU: To be into interested in a career, or even hobby as a radio show host, I imagine, at least from personal experience, that you must have a strong drive to experience, explore and share music with others. I wish to start with three questions if you don’t mind.

LK: Exactly, fire away.

EGU: What inspired you to get into this career?

LK: I think what drove me the most was to explore the different ways of expressing yourself through music, both historical backgrounds but also personal desires or takes on the art, which for me are usually the most interesting point of views.

EGU: What is your personal musical background?

LK: Back in the day I was quite the musician kind of gal. I played the flute, violin, piano and spent 7 years in a church choir. I believe I got wow’ed into the more orchestral and classical types of music due to my fascination of big composers such as, Vivaldi, Thaichovsky and operas like Carmen. Great art and artists.
I do still have a dream of getting into the cello as well. Maybe one day, who knows.

EGU: And where do you want yourself to go with it, in the sense of your personal career goals for the future?

LK: My exact goal is yet to be determined. For now I’m just enjoying the ride and where my work with radio is taking me. So far it has gotten me to festivals, new contacts within the music industry and also made me think in a broader perspective regarding my career and personal interests. That is already more that I could’ve ever dreamt of.
I do however have a plan of seeking into the Danish national radio station next year, where a radio show a bit like ours is running. Let’s see how that goes.

EGU: SpaceBounce seems to be a pretty eclectic show when it comes to the choice of music. I myself have had the pleasure of listening to a few episodes thanks to our wonderful Internet connections. What are the criteria for music to be selected for the show?

LK: One of the very main criteria is that it has to be new and somewhat not exposed, or just less available to the masses. I like the idea of catching new tendencies before they hit the big scene, or just catch it while the idea is still new and raw.
Especially getting a hold on brand new composers is my very aim. I like their drive and the playfulness they give into the music. An experience, that for them is just as new as their music. The feeling I get when bumping into these kind of producers and exploring the new, experimental productions is what makes it all worth it.
The choice of music is also quite a personal selection. It requires a great amount of time to select the right track for the right show and also to match it with my mood that day. A combination is perhaps what the spacebounce shows results in.

EGU: Before I dig any deeper, do you know why the show’s name “SpaceBounce” was chosen to be the name?

LK: Yeah, I wish the name had an interesting background, but the name is in fact extremely random. When we first started the show back in August 2012, my previous co-host, Lisa Marie Storetvedt and I spent quite some time with brainstorming, trying to come up with THE name that would combine both of our taste in music. She was more into the soft and happy side of electro pop, where as I like my bass deep and dark. So, instead of agreeing with one name we insisted on two words: she felt like ”Bounce” where as I wanted more ”space” which led to ”spacebounce”.

In the end it ended up being a perfect choice, It fits quite well with our general take on the more futuristic genres and the love for expressive, tropical and drum-based styles.

EGU: The music industry, both mainstream and underground have gone through and are continuing to go through many drastic changes. Where do you see the industry going with respect to both the mainstream and the underground?

LK: Both are embodying the influence of the internet. Sharing tracks freely, quickly and self-publishing sounds and compilations. It’s fast and innovative. I see major creativity run in the scene. This is a much needed development and makes room for new movements to gain attention through international contributions. As seen with the dubstep and moombahton invasions. Movements gain entrance to the clubs quicker and people gather much faster whilst working together in big numbers on the same goal. This is the absolute strength that comes with these changes.
I myself have a greater passion for the underground scene rather than the overground. These changes are alpha omega for the underground, it will make it grow stronger and connects like-minded individuals to think bigger, to create projects in larger scales. I believe these past few years with new genre movements prove that the possibilities are unlimited.

EGU: What is your opinion with regards to all the festivals going on these days? There seems to be so many that keep coming back year after year and even more continuing to pop up.

LK: I think that what defines the small pop-up festivals is that it reflects the development in the music industry and even more the music as an art form. It transforms very quickly into smaller movements or absorbs influences of others and so it enlarges. There is a great need for festivals to pick up on the tendencies quicker and perhaps stick with that goal as a definition of the festival itself.
An issue with larger, traditional festivals is that it focuses on the main genres as a sort of form package that needs to be fulfilled every year to attract the usual festival guests. Festivals which line up contains classical names, unoriginal names that doesn’t surprise or move the masses such as the very surprise of unfamiliar artists or in which new music tends to do. Maybe it’s a utopian belief, but it seems to me that these pop-up festivals symbolize a emerging need for getting close to the roots of the newest styles and vibes, a need that might occur from the will of wanting to explore the unknown, seeking the unknown and exploring music rather than having already well-known music being presented to you.
For me that is a very fascinating twist on the view of festivals.

EGU: With regards to the music played on SpaceBounce, if you had to choose, which I’m asking you to try do so right now, what genre or style (perhaps a better choice of word) do you prefer the most? Can you explain what it is about that genre/style that draws you to it most?

LK: That’s a tough one, I believe I seek the style of music that has very little or none to do with human contact. And also music in languages that I don’t understand. It attracts me.
Especially the Brazilian new wave of baile funk, kuduro and techno brega gets my mind twerking and is absolutely some of my favourite styles.
One style that always seems to get to me though, is the ambient, organic and experimental kind of style. (Where overground producers such as Burial, Trentemøller and Lulu Rouge stands as my ultimate favourites in this matter.) Let it be within electronica, juke, edgy vocals or something completely different. I like how the machine-made sounds breathe and move as if it was alive. Machine combined with a trace of human existence, either with a light and dreamy snare, rhythmic, oriental drums and an edgy vocal backed up with a massive bass.
The perfect combination makes the music become alive, at least for me.

EGU: Are there any other genres you personally would like to share on SpaceBounce that you don’t share currently?

LK: Yes, and we are aware of the fact that there are certain genres that we tend not to include in the show. Genres such as drum ‘n’ bass, quiet, experimental electronica and the massive house movement. Electronica is indeed a favourite of mine and a genre I would like to include more often. But due to the tight form of the show and on-air time we have decided that the build up only rooms a small amount of slow beats plus tracks with focus on the more technical side of electronic music. This is definitely a genre that I would play more often if we had more time.

EGU: What is your favorite animal?

LK: I’ve always loved the thought of brown bears. For me they seem more peaceful than what’s really the case.

EGU: What is the usual process for seeking out music to put on the show?

LK: My main source of obtaining new and interesting music is internet driven sites, such as soundcloud, blogs like yours, Generation Bass or the two Danish blogs: Rekomplieret and Lostdubsofdenmark. As for soundcloud I spend many hours of listening to my incoming tracks, going through the entire dashboard, both my own and also looking through the likes of the people I follow. My patience comes into a test, seeing as this is very long process. Keeping an eye on conversations in music groups on facebook might also come in handy from time to time, regarding genre discussions, artists and views on the music industry.

Following artists and blogs is indeed a great way of inspiration and finding new sounds. But more than anything I like the process of finding the music myself, contacting the artists and networking that way around for future collaboration. Networking that has resulted in our 6 months of guest mix sessions. Exposing upcoming or underground DJs and producers from around the globe, for whom we share a major respect. This way the music selection turns into something greater and more meaningful when getting to work closely with the faces behind the productions towards a common passion.

EGU: What are you currently listening to a lot personally (outside the show, just what’s on your iPhone/iPod/whatever you mostly listen to music with)?

LK: To be honest, the music I use in my radio show is exactly what I fancy listening to outside of the show as well. Why music selection for the show is very personal to me.
Besides that my favourite artists are for sure chosen with great impact of my nordic melancholia. The favourites are though without a question: the Danish teklife-hero, Trentemøller, the knife and Burial. I also have a great passion for the 90s, both bubblegum pop and eurodance, soft swedish folk music and obscure, experimental electronica in general. Such as the first albums of the Danish band, Efterklang, where the song ”Collecting Shields” from Tripper gets me everytime.

EGU: What is your natural hair color? I’m guessing blonde…

LK: Haha. Yes, and you are very right. Blonde is my natural hair color. In fact my hair used to be almost white when I was younger, or just very blonde.

EGU: LOADED QUESTION WARNING! – My personal observations have informed me that the music scene is not as dominated by men as it used to be. I see a lot of women as DJ’s, producers and radio hosts these days. I did take care in saying “not as dominated” because it still is but just not as much as it had been in past years. Do you see this too? Do you see more women feeling inspired and un-intimidated to enter the massive music industry? Or is there still a strong feeling of masculine domination? (For example do you think women need to be attractive to get in the door or is it more even now among men and women)?

LK: I think it’s a matter of perspective, I believe that the individuals that are running the music industry is of the male gender, both behind the scenes and as front figures. There is definitely a strong dominance attached to most jobs within the industry, jobs which have been represented by male influence for a long time, but with that being said, I do think it is important to set focus on the female innovators in the scene. It is not as black and white as it might have been in the past.
For me, I find inspiration in strong female figures such as: the radio host and the great talent Mary Anne Hobbs with her brilliant show, Dubstep Warz – such a big inspiration and influence on not only her take on the radio as a media but also genre involvement and movement.
The Danish radio host Le Gammeltoft who runs the biggest electronic music show in Denmark on the national radio station. I have a major respect for not only her knowledge, her engagement in the Danish electronic scene but also her will to push upcoming producers forward and giving the underground scene a helping hand.
These are what we should be focusing on. These women are out there in the music scene, pushing styles, contributing and working hard. There is no need for being intimidated by entering the scene or holding back due to masculine domination. Le Gammeltoft and Mary Anne Hobbs, to name a few, are perfect examples and more are to follow. This is the future and there is room for both sexes and room for different audiences, different genres.

EGU: What place have you not been to but really want to visit most?

LK: I’m a nature gal, I have a new found love for exotic locations and deserted landscapes. I don’t think it includes a specific place, but deserted locations dominated by the wilderness suits me just fine. South placed farms and small towns up in the mountains also fascinate me quite a deal.
Okay, so if I should choose: it would be South America, Greece or Portugal. Or places like Canada because of their landscapes of giant lakes and forests.

EGU: If you can pin point your favorite thing that you have received from being a part of SpaceBounce, whether it be an experience, a connection, anything really, what would it be?

LK: That’s an interesting question. I’ve always wanted to get into a larger artistic project. Not only as an idea or simple concept on paper. A project that involves my whole body and soul. We’re not quite there yet, but I do see Spacebounce as an artistic project on my behalf. In this I try to capture my emotions and combine it with the brilliance I find in the underground roots. So I guess you could say that I put as much passion into the music selection and networking as I put myself into the project. That is what I’m hoping shines through the speakers. This project has given me a major insight to the insider part of both music production, the faces behind the computer screens and the musical and artistic movements that come with it. To challenge myself with continuing to develop the concept of Spacebounce every week is my every-day drive. To me this is art.

EGU: In what other ways has being a part of SpaceBounce positively affected your life?

LK: Besides the project itself I think that the major impact on my life has been how I’ve seemed to have found my place in the music scene. This is not the only place or spot I could fit into within the scene, but for a long time I have been seeking for a role to play. Exploring the underground, the artists and network behind it has given me the drive and a great passion to push forward. A passion and a gift which I felt I should give back to the very same scene and people that have inspired me to think in new ways and finding a purpose for my interest. This is me giving something back to people and scene that pushed me forward for a long time without even knowing it. This is an art project, it’s a music project. This is me, this is Spacebounce – thanking the music and the people behind it.

That was a lovely long chat one must agree. I learned a lot about our lovely Danish host and now I will share a few of their episodes to give you a clearer idea of what the radio show is about.

David Bowie – Valentine’s Day


Generation Bass’ favorite uncle David Bowie is back with an all new video for his song Valentine’s Day from his long awaited new album The Next Day (ten years for Christ’s sake).

I’ve heard mixed reviews from the family but this nephew actually enjoyed the album considerably, perhaps I just have too much respect for my elders. Whether or not you like the album one thing must definitely be admitted, you love him. If you don’t then you are either a liar or a liar.

Without further ado here is the man that inspired so many of us, whether it be our hair styles, choices of fashion, songwriting or to get our teeth fixed, through the ages Bowie is to blame for many of our actions (of course that is not true, we ourselves are to blame for everything we do but you get my point).

Oh it’s also nice to see a Steinberger again. I haven’t seen him sport one of those since the Tin Machine days.