Amrit Bansie, a.k.a. ARK, is a beatmaker from Amsterdam about whom I know almost nothing else than that he has a Soundcloud and a Youtube account and made many beats until a year ago.
Most of his tracks are instrumental hiphop, experimental crossovers between hiphop, jazz and electronica. But next to that he has experimented with dembow and zouk beats, fused with ravey, angelic trance melodies and produced tracks which are totally fresh and relevant today. As far as I can tell from followers and comments overlap he has just experimented with these sounds by himself, without influence at all from either the global bass or the current avant-garde club movement.
Yet, his most recent tune totally sounds like it could be from Dinamarca!!
His bubbling-ragga-trance experiment has a very similar afreobeats vibe as Theoscicloff’s banger ‘Ritmo Dogg‘ which we blogged last week.
And another angelic oldschool trance flavoured bubbling/afrobeats tune I’m really feeling!
It’s a pity that the instrumental hiphop community is still quite separate from electronic music production, even now with the trillwave/post-trap stuff it’s coming closer together. Here a great track with the Indian influences we love so much, which at the same time totally fits in this exciting blurry area between instrumental hiphop and trap/twerk/drill influenced electronic and club music.
A dreamy melodic track, tagged as zouk, but holding the middle between dembow/moombahton on mid-tempo BPM range and the angelic sound of #Future Tarraxo…
No, not the brilliant and my favourite Technobrega producer, DJ Cremoso and neither is it his female alter-ego. This is DJ Cremosa aka Simona Duque, a DJ from Brooklyn, USA who has dropped the this mix in the next instalment of the Mask Mag mix series.
Here’s what she told Mask Mag about it:
“Not your typical Valentine’s Day mix. “Pechiche Prohibido” takes you on a journey into the heart and sexuality of a hard femme: tender 90’s throwbacks & remixes, pussy-pleasure anthems, r&b influenced club tracks, a couple of sad gurl side eye heartache ballads, songs that summon the goddesses & others that ask for forgiveness, sexxy zouk bass, and of course a lil freaky reggaeton. Pechiche is a word from the Caribbean coast of Colombia that roughly translates as emotional attention & affection.”
Includes some Generation Bass artists and releases from the likes of Dj Paparrazi, 2Pekes and Mala Noche. Shows a lot of promise for a debut DJ mix.
1. Would You Mind – Janet Jackson
2. Say My Name – Butterscotch Honey
3. Say Yes – Floetry (Insightful Remix)
4. Show Me Love – TECLA remixxx
5. Boy Girl Fling (Drippin Remix) – Sugur Shane
6. Fuck Me, Faye Valentine – LSDXOXO
7. Pussy Ate – TT The Artist (Produced by Mighty Mark)
8. Llamada – Florentino
9. My Neck My Back – Zurvolt
10. Crazy Over You – Dinamarca
11. Bang – FXWRK & Kilbourne
12. Emotional – Tygapaw
13. Lie That I Believed – Nani Castle X Udachi [Beat Prod by Koreless]
14. Rewind – Kelela
15. My Boo – Ghost Town DJ’s
16. A Mi Manera – SONORA
17. Diggin’ On You – Iman Europe & starRo [TLC Rework]
18. GALS – Awwz
19. Loner – Kali Uchis
20. Free-Prelude – Jill Scott
21. Lagrimas y Hustle – ZUTZUT
22. Goddess – Mohini [Beat by Danny Zawrotniak]
23. Chrysanthéme – Malanoché
24. Cositas Raras x Loyal Edit – Santa Muerte
25. Sorry (feat. J Balvin) [Latino Remix] – Justin Bieber
26. Se Me Nota [Prod. by Sango] – Fuego
27. Climax – Maluma
28. Babe (Ohh F) – Dj Paparazzi
*29. Fuck In Love – Elji Feat. Dj Zay’X
30. Zourney – JayPross X 2PeKes
31. Paradise – Jeremih
14 February and no red cards on my doormat smelling of rose petals and perfume. I’ve got a strange love-hate relationship with romance. So heartbroken and cynical that it can passionately disgust me, while at the same time I keep suffering from an incurable weak spot for the intense sparks of tender emotion found in its aesthetics and sounds.
I can totally lose myself listening to the RnB and bachata songs that resonated with my feelings throughout my coming of age years. Tender and sweet like cotton candy. The cheesier and kitschier, the more beautiful and intense. Escaping, without a grain of irony, into a strangely comforting world which, I am aware at the same time, does not exist. Not for me. Like a convinced atheist who can’t help but sneak into the back of a church once in a while because of the organ sounds, candles and the smell of old wood.
Exactly that is the feeling evoked by Murlo & Florentino‘s free Red Bull exclusive ‘Come Back’, made for broken hearted romantics on a lonely Valentine’s Day to disappear into the music in the club tonight. Sparkling bells, soft lead and dancehall-esque club beat accompaning the repetitive cry ‘please forgive me’ powerfully create the sensation of romantically dancing and caressing a phantom lover who has evaporated into the air.
Unfortunately, the track is protected my Red Bull and can’t be streamed, but be checked out and downloaded >> HERE <<, together with a nice short Valentine’s interview with the producers.
As a special extra for Generation Bass romantics, I picked another, angelically beautiful kizomba track which is perhaps even more touching than ‘Come Back’: Equalz x FMG – Believe, produced by Babel-Ish.
I am a slow blogger. I usually rake in as much as possible of everything that pops up in my soundcloud feed or on Facebook and if I dig it, repost, comment, or thumb it up.
But as usual, I´m behind with important posts so that all the important new stuff disappears to the end of the queue of everything I still need to (or sometimes even promised to) post. In the end, it always ends up in big roundups with deep background reflections – because novelty isn’t really the point any more when a track came out a month ago – which is what I am focusing on and nicely sets apart the value of blogs compared to faceboom groups. But inevitably, there are always too many things that escape the radar, some of which I keep being reminded about as they release new stuff or if I notice that other platforms do give them the recognition that I would like them to give as well.
Therefore, here a selection of stuff, mostly artists, who always sticked around in the back of my head and should have had a shoutout long ago. Some of them may be familiar to you, others less so, dependent on the kind of music you’re into, but all have something unique that makes it something Generation Bass should have blogged. We didn’t, but it’s never too late for a second chance.
If there is one producer who should have been a Generation Bass household name since the very beginning, it is the enigmatic producer Abu AMA. His unique style is possibly the most Generation Bass thing ever: a fusion of Middle Eastern music, portuguese tarraxo and an experimental electronic twist, coined #ArabXo. More than simply experimenting with sound, his music carries a powerful message against todays rampant plague of islamophobia and Western belligerence the Middle East!
A warm shoutout from the blog that so closely matches every aspect of your passion and style. From now on you WILL be our household name!
Stomping uptempo portuguese batida with Middle Eastern samples and industrial ambient noise!
Downtempo organic tarraxo with a some baile funk/rasteirinha flavour
In the club underground, KABLAM, from Berlin’s JANUS collective, is one of the most essential artists as well as a main favourite of tastemaking music platforms like THE FADER and FACT. And rightly so, because her abstract flavoured productions are among the most unique even in the scene of which she is part. What strikes me most about her style is the skillful minimalism, carefully cutting out the ‘soft middle filling’ of music, retaining only the skeletal essence of rhythm and the aerial cloud of melody. I know that, with these wordings, I am kind of parroting much better reviews of her music on other sites but I simply can’t but entirely confirm these analyses. Next to her home base at JANUS, she is also closely connected to the Staycore117 family.
Comforting devotional string loops interrupted by unpredictible echoeing claps create an incredibly powerful state of mind, best comparable to a moment of slowly calming breath and heartbeat after an intense experience of agony
Another unique, ostensible juxtaposition, as contrasting as could ever be possible: late medieval choir chants, created to reflect the rational perfection of the heavens against the oceanic, apettitive ID-unleashing baile funk sound ofMc Marcelly‘s ‘Vem Sarrando‘ (“come lick”) – yet it makes perfect sense, creating a powerful spiritual reunitement through female sexual energy, utterly destroying the fascistoid, patriarchical Platonic-Freudian tripartite hierarchy of the Western world-picture
Another important member from the Staycore 117 family, also living in Berlin, mentioned a couple of times in earlier posts already but so far never got a specific shoutout. Her combination of dembow beats, RnB and conceptual club music is the ideal balance between accessibility and cutting edge, forward looking attitude.
Dembow-club bootleg of Jennifer Lopez’ hit ‘Play’!
Her oldest track on Soundcloud which I somehow never noticed at all before writing this post: an incredibly beautiful crystalline melodic track with an unmistakable moombahdeep/luv vibe, yet with incomparably many times the creativity of most generic stuff that passes as moombahton
A third important Staycore 117 family member, based in Croatia who should have received our support since a long time ago. Mapalma also uses mid-tempo BPM range dembow as a backbone but has a much more energetic, even subtly dark melodic sound. One of the questions still puzzling me is why it could be that a sound so close to moombahton, or global bass in general, is kept so separate from that. There must be a reason. While she must certainly be aware of the global bass sound and movement, not even eshewing the term subtropical, she and the wider Staycore scene are clearly and probably consciously not associating themselves with it. I talked about this with Munchi and he was of the opinion that it is a very good thing, arguing that heading it under anything ‘global bass’ or moombahton would charge it with so much ballast expectations and not do justice to its uniqueness. Good point, ‘club music’ is a much better umbrella in so many ways, but it’s still fascinating me.
One of her newer tracks: dembow, baile funk and melodic synths
Amazing collab with mobilegirl, going for a much heavier, futuristic club sound
Impressive to realise that this is really two years old and still sounding so fresh, even among all the conceptual ambient trap/trillwave tunes I hear every day
I discovered this producer about half a year ago when I tried to find out whether there were any serious blends of kuduro, afrobeats or with psytrance/goa or any kind of underground trance music. As expected, I found loads of ‘pseudo-African’ 4/4 trance with some djembe added to make it sound “tribal”/”exotic” (LOL!!). Also was there an occasional poppy, EDM flavoured afrohouse mixtape tagged as ‘trance’, without having much of an actual trance sound at all, until I noticed the Principe Discos logo on one of the tracks in the list, uniquely tagged as afro-trance and even psytrance!
Mystereously, the producer, who used to have an active soundcloud account and only one release with Principe, removed all of his online presence apart from his YouTube account. Even the Principe account removed the track and I have really no idea why. Let’s hope he’ll come back this year, continuing this exciting style. If not, I hope the YouTube will remain online at least.
His release with Principe: a magnificent banger blending Portuguese batida with oldschool psychedelic acid-trance
An even harder scorcher of kuduro with hardtrance!
One of the things with vaporwave and trillwave producers is that usually they keep their information very enigmatic and delocalised, usually not disclosing where they are located. In such way I’d been knowing CYBEREALITYライフ for a while already when exploring vaporwave, trillwave and the wider post-internet scene. Until I came across him on Facebook and realised that he is from Mexico and right at that moment, really into experimenting with as many different genres and sounds as possible such as jersey club, juke and synthwave. I was stoked to hear that he was now drafting a 3ball tune, even allowed to check out the preliminary version. I promised and truly wanted to give this a major shoutout on the blog, which I eventually never managed to do and I still feel bad about that. It’s even one of the most lit 3ball tune that have come out in 2015 and I hope more of this will follow this year!
Closer to his core-style: his amazing fresh album ofSESH-flavoured suicidal shoegaze-hiphop beats (>> BUY <<)
Talking about the post-internet music scene (which we never covered extensively enough on Generation Bass in the first place), I entirely overlooked the unique Dutch exponent of this movement, based in The Hague; torus! While his visual style is very similar to the broader trends in the post-internet/net-art community, moving from marble renaissance architecture and art to office plants and surreal virtual objects and now, in the wake of health goth and the club movement, sports clothing & gear aesthetics, his music is extraordinarily personal and unique, holding the middle between vaporesque, ethereal melodic soundscapes, recontextualised abstract influences from 00s RnB or eurodance and even some ambient trap and future beats. I met him at Progress Bar a couple of weeks ago and found that he is also a great enthusiast and endorser of the new club movement, which means that he may well turn into one of the most essential musicians in the Netherlands this year. Don’t sleep on this!
His most recent EP, ‘temples’, from a year ago, combining all the different colours of the spectrum of his style (>> GET IT NOW <<)
And a short 2 track bundle focusing more on one specific sound of aquatic ethereal ambient with crystal clear, crispy percussion
When I stumbled upon PIVOTAL while making my wanderings through the Soundcloud networks of the new club scene, my mind was blown immediately. Here is somebody who, as it seems, combines the abstract rhythmic backbone and cybernetic grime synths of the new club formula with harder, more explosive drums than I ever heard before in that scene, as well as unscrupulous scorching distortion and noise, creating a unique sound that approaches the brutality of crossbreed or industrial hardcore. On the artist’s soundcloud page there are tracks in many different styles, few of them coming even close to this. This unique fusion seems to come out of the blue. I definitely hope to see more of this stuff this year!
Siete Catorce is one of our all time favourite artists since the beginning of the blog. Been there since the early days, before the rise and fall of global bass, lived through the budding and now bloom of Mexico as a hotbed for innovation in music and youth culture. And he’s still there, pushing his uncompromisable hypnotising style of experimental polyrhytmic beats with sparkly melodic synths and deep ambient soundscapes.
It’s just that my own personal sour-hipster mood sometimes witholds me from posting and promoting stuff released by big labels that are surrounded by an air of commercial success and mainstream vibes. Jealousy…? Maybe. Childishness…? Certainly. Because Paisajes EP should have been a unquestionable #ESSENTIAL right when it came out. I hope it isn’t too late yet to make that sure!
I really do like techno but barely blog it on Generation Bass for the sheer sake of focus (any techno bloggers, be welcome to join our team!). I found out about this while exploring the soundcloud networks around Psychick Warriors ov Gaia’s amazing ‘1989 EP‘ which I blogged back in may last year. Like the Psychick Warriors EP, this EP too heavily involves polyrhythmic elements breaking away from the 4/4 + swing syncope formula that is still uncontestedly dominant in the genre. The first track, ‘Dissociate’ sounds like an industrialised version of Siete Catorce’s take on the prehispanic triplet, while ‘Weasels’ is the 100% perfect fusion banger of acid-techno with bubbling! Can these similarities be unintentional, coincidence? I have absolutely know idea who these artists are or whether there is something like a scene around this exciting approach to techno but I do know that, as soon as I heard it, this blew my mind hard. I’d like to educate myself more into this and pay more attention to it on the blog!
L.I.E.S is a great US label that drops some amazing electronic music from all over the place and they’ve just dropped this amazing podcast of an interview with one of the Pioneers of Chicago House Music L.I.A.M. This is just brilliant and a gem of a podcast. Here’s what they say:
Thanks to Xavier from DDD Records in Paris we have what may be one of the only interviews ever conducted with cult engineer and producer from the infamous Head Studios in Chicago L.I.A.M.
Alongside with his partner Marcus Mixx they produced what are now some of the most sought after records in the history of Chicago House music on labels like Missing Dog, Saber, Get Wet and Sweat, Under Dog, Percision, and Streetfire among others.
We now find L.I.A.M. living here in Paris, Xavier tracked him down to tell his story…so sit back relax and check out two hours of amazing stories about MIDI, programming beats and PARTYING in the studio.
Words from Xavier DDD Records, Paris: Friday Feb 5th 2016
I met L.I.A.M. in 2012 thanks to a Marcus Mixx post stating that he was living in Paris. We had a drink together and he told me his story about his journey in the world of House music. Later I invited him to La Source Record shop to conduct an official interview with hopes of eventually sharing it with the public in some form.
A lot of time went by since the initial interview and I felt a transription to paper would really miss the sound and energy of L.I.A.M.’s unique voice.
Thus, we finally set up this interview on Rinse France with myself, L.I.A.M. and Chicago Houseobsessive, Jean Nipon there in support to further help conduct the interview.
We thank L.I.A.M. greatly for sharing his story, granting us this interview and painting a picture of a magical time in the history of Chicago House music.
French Beatmaker E.Reflexion’s music is a mix of different styles from Electronic, Ambient, Dubstep, IDM, Grime, Breaks, Jungle, 2step to Breackcore.
He drops his first Free album on Generation Bass Digital called “DAMA DOFF”. It’s an album of collages and sketches, akin to an audio travel report, of his journey to North & West Africa (Morocco/ Mauritania /Senegal/Gambia). He skilfully blends the traditional music of these countries with experimental Electronica.
The first half of the album focuses on North Africa and the rest on West Africa.
All compositions by E. Reflexion
Sample Hunting by TIWOM
Piano & Santour by Gui
Vox Samples – Claire/Agnes/George/Amidou/Mohamed/Aysatou/Le Ramasseur de Bounouk
French Beatmaker E.Reflexion began experiencing in free party & sound system on a rhythm box (Korg ,roland ext….). Later he started to work on MAO to make more experimental music and produce beat for different Mc’s.
He has collaborated on different projects such as:
-DUB GOES WILD (dirty room77)
-BASS THÉRAPIE (peep rec.)
-PEUR SUR LA VILLE (grime sin)
-DUBZ TAPE (asso kapblanc )
-INSIDE THE MIST (la crise prod)
-EXPECTATIVE LIFE (5050 records)
-PIZZA ep (Digital Birds Records)
If you recall I did a piece on Bblos some time back describing him as the New Wave of Ecuador.. Thing is, I’m still not quite sure if he is in fact from Ecuador or was just over there making music lol. It appears that he’s from NY in the USA. That aside and wherever he may be from, he’s worked on something else that just oozes sublimity. It’s with a crew who call themselves “The Soft Curfew” and who consist of Bblos, Sean Water. Klau$, La Melissa aka yung samples and Yung lil Yung. Yep. save for Bblos, I’ve never heard of any of them either before. I’m also not sure what this collective is! Is it a label? a Producer crew? just a crew of people having fun? And who the f**k are the Shaman Sisters?
Whatever or whomever this lot may be, they’ve dropped a bunch of class, sweet tunes dripping out simple melodies like they’ll never run out of them and I just love melody. I just love this stuff, the kind of feel good, happy, first time in love, butterflies in your stomach sort of tunage. The kind of stuff that it takes simply no effort to enjoy!
I can see this going down well in the love-sick college dorms worldwide, well it should. Burn your EDM and get a load of this. I think that there could be some truly GREAT things to come from this bunch!
The awesome Norwegian Center of the Universe’s Oriental Skweee EP “Never Mind the Boreks” will be ready soon for free download on Generation Bass Digital.
Whilst you’re waiting for that sublime slice of Skweee, you can grab his latest release which takes in some Acid Rembetiko. Rembetiko is “a term used today to designate originally disparate kinds of urban Greek folk music which have come to be grouped together since the so-called rebetika revival, which started in the 1960s and developed further from the early 1970s onwards”.
It’s a cut from his latest Yellow Vinyl 7″ which he has released via Bandcamp. It contains 2 other Synth driven Indie tracks in the vein of Kraftwerk/Visage/New Order/Human league and with shades of the brilliant Bobby O’, one of my fave producers of the 80’s!
We’ll be dropping an exciting, fresh & innovative free album by this French beatmaker later this week (artwork above) on Generation Bass Digital. It’s an audio travelogue of collages and sketches of his journey to North & West Africa (Morocco/ Mauritania /Senegal/Gambia). He skilfully blends the traditional music of these countries with experimental Electronica.
Whilst you’re eagerly waiting for that to drop, check out some of the stuff on his Soundcloud and Bandcamp:
This is the real deal, trust me. That`s all i have to say about it.
“Oligarkh is a young hip-hop/IDM producer, seeking for special Russian vibe in between progressive electronics and sounds of his motherland.
His music is a collage of images, melodies and words that portray the features of the national character. Spiritual, folk, chanson and lyrical music is framed by solid bass bells, 8-bit balalaika and broken rhythms. With their help, he drives the audience from light of the church to dark night forest, from walls of Kremlin to remote villages, from ghetto-like suburbs to luxury rich districts. All his music is based on this contrast, opposition of high culture and popular, contemporary and ancient. Oligarkh’s debut, an “abstract-orthodox” longplay “Zemlya i Volya” (Land and Liberty) was released in the end of the last year and got lots of reviews. Russian internet was confused, “is it true love to motherland or first echoes of new Russia?”. Some people see in him “a typical occurrence for doom generation”, others — “reconsideration of pre-urban sound” and epic trap-shit.
Together with a drummer Oligarkh makes unbelievable solid music from fragile abstract hip-hop to heavy dubstep. His gigs are supported by video collages from historical films, documentaries, fairytales and media heroes.”
“St. Petersburg electronic band Oligarkh is a unique phenomenon on the Russian music scene. Their debut album made quite a mark on the Runet with its impossibly eclectic mix of Orthodox prayer, traditional Russian lyrics, bell-ringing and modern electronic bass music. Even young people are unsure if they like this kind of mixture, while the older generation is just shocked.
The musicians themselves think that their songs help to unearth their native culture. Listening to a peaceful prayer with an offensive drum beat, for instance, creates a prevailing sense of darkness. And that’s where the mystery lies. According to the band, that’s the secret of the Russian soul, when the lines between good and bad are blurred.”