Essential EP’s #12 [DOUBLE EDITION] – Side B

EEPs12

Part 2 of Essential EP’s #12

SIDE B

12. Vol.1 (Onda Trax)

The Onda Group is a New York based collective which includes Track Meet’s Ynfynyt Scroll and Escape From Nature’s Orlando Volcano focused on embracing the holocene. Onda Trax Vol. 1 is the first mini-compilation, which might mark the beginning of Onda Trax as an album, containing tracks by Ynfynyt Scroll, Orlando Volcano and nar that all take a melancholic, melodic approach to dominican dembow, dancehall, baile funk and 3ball. Looking forward to more releases from them in the future.

>> DOWNLOAD <<

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13. Gan Gah Chaâbitronics EP (Lowup Records)

I saw the Moroccan born, Brussels based producer Gan Gah recently in Rotterdam, at Pantropical’s event organised together with the Arabic film festival in Rotterdam, playing next to Rocky B the Tropikal Camel, Deena Abdelwahed and Rebel Up!‘s Dutch member Duckfood. Amidst the current wave of Middle Eastern & North African club music with semi-mainstream acts like Acid Arab on the one side, avant-garde political acts like 8ULENTINA and Dj Haram on the other side of the spectrum and the Arabic side of ‘global bass’ in the middle, Gan Gah is the perfect bridge. Following last year’s Souktronics EP, which had a lot of club, kuduro and trap influences, Chaâbitronics stays even closer to the characteristic chaâbi sound and bouncy triplet rhythm found in traditional and pop music all over North Africa and the Middle East.

>> BUY ON BANDCAMP <<

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14. Jason Hou原 (Origin) (dohits)

Jason Hou is a Bejing based producer and member of the dohits label & collective which has been on our radar since last year summer. Their output is impressive and it’s hard to select which releases to include as essential. I chose for Jason Hou’s more experimental and dark-percussive EP, which connects in many ways to the recently introduced gorge genre.

Like gorge, 原 (Origin) is a return to nature and the most elemental aspects of existence – in this case, human existence. Homo sapiens’ propensity for ritual, creation, community, narrative, violence and reproduction is expressed with a blend of relentless club & techno drums, bright polyrhythmic percussion, traditional chants and deep subs.

>> BUY HERE <<

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15. Ziúr Taiga EP (Infinite Machine)

The Berlin based producer Ziúr is one of my personal favourites this year. Both her ideas about the politics of citizenship and her intense, industrial club sound resonate intensely with how I’ve been reflecting on existence since a long time now. Developing her  personal style since a while now, connecting to, yet subtly distinctive from the Berlin avant-garde sound represented by players such as JANUS or _WDIS, ‘Taiga EP’ is the first crystallisation of it in the form of an EP released on the Canadian-Mexican Infinite Machine label. The EP contains 4 original productions, one featuring RIN, and two remixes provided by the posthuman futurist Born in Flamez and the Australian visceral club deconstructionist Air Max ’97.

>> BUY HERE <<

Also check out and >> BUY << Ziúr’s newest release, only accessible via Bandcamp >>

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16. wave 002 (wavemob)

If you want to know about the wave genre, which we didn’t introduce on the blog I halfheartedly gladly forward you to this pretty insightful High Snobiety article. Needless to say, if something is on High Snobiety before it is on generation bass, it is either not interesting enough, or we haven’t done our job right. Or both. In this case it’s somewhat in the middle. But in short, wave is an intense, melancholic blend of trap, sadboy rap, witch house, cybernetic grime and vaporwave, which has been around in online undergrounds since as far back as 2013 but was lifted into the spotlights last year by futurebeats heavyweight Plastician and his terrorythm label. In retrospect I think we slept on it mainly because of my own tunnel-obsession with avant-garde club and because of its quick affiliation with the futurebeats-scene, which we also skipped almost altogether. But despite all this, I’m really feeling the heavy, emotionally touching vibe of wave and am fascinated also by the strong IRL-URL community vibe going around in the scene.

wavemob is one of the central, if not the single most defining label & collective of the movement, that released their first official compilation. wave 002 is the follow up, with 13 new, original productions from the wavemob members.

>> BUY <<

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17. Keiska Powerpoint EP (CREAMCAKE)

Internet culture has always had its obsessions with bygone sounds and subcultures. This year it’s trance, gabber and metal which are being devoured by the grinding mill. CREAMCAKE is a Berlin based avant-garde label, specialised in precisely capturing these shifts and trends in digital culture through music. ‘Powerpoint EP’ is the debut of the Finnish post-internet producer Keiska, who tunes into the melancholic echoes of 90s and 00s rave culture, bending the escapist angelicism of trance and eurodance into eerily alienating melancholic ambient music, contrasted with intense, deconstructed beats and dystopian samples.

>> DOWNLOAD <<

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18. DRIFT KINGS [GT Edition] (DRIFT KINGS 漂流 公達)

Next to the grinding mill spit-outs of trance, metal and hardcore, there is also an obsession with racing cars and motorbikes in the aesthetic underground of tumblr, in the wake of health goth fashion and broader cyber tech aesthetics. The new producer collective Drift Kings takes this aesthetic trend to a more serious level. Like their first kickoff compilation, this follow-up release is again entirely dedicated to the conceptual vibe of car racing and its videogame simulation, with tracks, named after cars, filled with racing samples and immersive trance synths.

>> DOWNLOAD <<

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19. crapface :):):) (Palettes)

We’ve also entirely slept on the wave of hyperpop/bubblegum-bass that gathered the attention of the music magazines for a couple of years now, especially the stuff from the PC Music label. The hype has almost entirely faded out now, but an underground scene of producers that are fabricating a distinct, cotton-candy-like sound from sources like contemporary pop, nightcore, rave, k pop, RnB and bass music, is continuing and evolving further. The Canadian producer crapface is one of the defining names from this movement and his most recent album ‘:) 🙂 :)’ is at the same time an insightful display of where the post-PCmusic underground is moving as well as lots of fun to listen to.

>> DOWNLOAD <<

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20. Cepillo Cuevas Que se Sienta EP (Handiclap Records)

The Mexico City based producer Cepillo Cuevas has always been an eccentric frontrunner in the world of moombahton and global bass, not following popular templates but developing his own ever evolving and diversifying, yet consistent style. Now global bass as a movement of mutually supporting producers, DJs and bloggers, has largely diffused into different directions, Cepillo Cuevas is more relevant than ever now. ‘Que Se Sienta’ is the kind of moombahton EP I have always dreamt of, staying true to the tresillo groove, while drawing in sounds from new-age ambient, cinematic-epic music and dark rave-techno, giving a whole new twist to the entire genre with each track.

>> DOWNLOAD <<

https://soundcloud.com/cepillo-cuevas/sets/cepillo-cuevas-que-se-sienta

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Generation Bass Presents: GBMIX#10! Neutrom X

NeutromX

Following the relaunch last month, we continue full force with a highly energetic mix from Generation Bass crew member Neutrom X, based in the western region of Spain. When he joined the team a year ago, he already built a massive following base with his tastemaking Soundcloud repost channel. Neutrom X is involved in the Spanish juke & footwork scene, hosts radio shows on the independent underground broadcasters LIE RADIO and BELOW and is also a member of the Classical Trax community. His signature style is contagious: raw, uptempo beats drawn from different undergrounds like club, global bass, future bass, post-internet and vogue, blended effortlessly with the more breakbeat and techno vibes.

Tracklist:

Brenmar feat. UNiiQU3Hula Hoop (JayTheBiggest Remix)
– False WitnessDip Don (Dubbel Dutch Remix)
ARMEPop It Like A Frog
Dj HookJay Desean Vogue Theme
Break FastDesigner
Draft DodgerStank
Disco DYou Need Another Drink (Elisa Bee Rework)
ARMEBa
BIOSPlenty
Barow XL & TrimmerDangeross
V. Geels feat. MapalmaThunder Track
Traxx RomayCandy Darling (Byrell The Great Remix)
Banginclude & ComradeTo The Floor
FollowbackBurnout
Bok BokFoxtrot (Neana Bootleg)
MorceePinball (Scottie B Unruly Mix)
AHBS1989 (JX Cannon Remix)
ImaabsWhite Noise (Dembow Rework) (Foba Edit)
Black VanillaThrow It Down (Mike Q & Dj Fade Remix)
MC Bin LadenBololo Haha (Banginclude remix)
Clap FrecklesDanza De La Lluvia (Paul Marmota Edit)
NobelTabaatusasula
Minds Alike CollectiveDo It To The Katz (Normaling VIP Edit)
Stroon & FallgrappX-Type
Bored LordBlow Your Mind
ScheeleVacuous
Street TerrorStreets Of Terror
StoltenhoffRajasthan (Original Mix)
OuanounouAgo Ago
Divoli S´VereChild´s Play (Boys Like Princesses)
T_A_MWatty (Tarquin´s Don´t Get Lemon Edit)
FarsightHymn Of Safe Passage (Luru Remix)
Aranha & ParticleSublo (Aranha VIP)
Capo LeeLiff (Cardinal Sound ReLiff)
IDID

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Rogelio Huerta : Eel Sessions

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It’s been a long time since we had any Rogelio Huerta on this blog after covering him some years ago and also releasing one of his EP’s for free some time back. Alongside Javier Estrada, he is one of the leading lights in the Prehispanico scene.

As we stated back in 2011 about Prehispanico with a post about Javier:

Prehispanic means before the arrival of Columbus. So in his music Javier wants to “recreate” the jungle vibe and the blood rituals of the Aztec people.

Coming back to Rogelio, he has dropped this amazing mix for The Big Eel and it takes me back to what I loved so much about Prehispanico in the first place. Some amazing tunage on this and also some suggestions for the future progression of this amazing, overlooked and most underrated of genres.

Here’s what the Big Eel say:

Rogelio Huerta is a young artist that’s made himself known in Monterrey (Mexico) as a night Dj and worldwide as a producer of Guarachero and “Tribal Pre-hispanico”, a genre reminiscent of the Mayan and Aztec cultures, giving it a modern twist. This led him to be featured on Mad Decent and Generation Bass back in 2012 after releasing some tracks and his free EP “IMPERIO”.

This mix he sent us is a recording of his last Dj performance and we can only wonder what kind of crazy shit goes on in those parties he plays in. It’s a fun listen anyway so hop on it.

Music, Technology & the Future PART 1 : The Carousel of Modern Culture

Levine

Artwork: close up from Chris Levine‘s ‘Geometry of Truth‘ – like in music, the focus shift towards technology is occuring in art too 

The entire history of music (and perhaps all of culture) boils down to just three things: 1.) cultural roots; 2.) socio-political circumstances and 3.) technology. It’s probably no surprise that cultural roots and the changing socio-political environment in which these roots germinate and mutate have been our blog’s main concern since the beginning. But since at least two years of shaping the direction of this blog, I’ve noticed the centre of gravity shifting ever more towards technology, and not just because of my personal obsession with the post-internet underground or the avant-garde club movement, which likes to wrap tracks into pictures of robots, computers or shiny sports tech. There’s something much more substantial to it that has even brought me to places where I’d never think I’d end up for this particular blog. Starting out in squatters’ clubs or large event halls dancing to live cumbia bands, ending up in museums and even churches for the most experimental avant-garde sound art and ambient performances. And yet it makes perfect sense. I will explain why.

Take the history of bass music, rooting in the soundsystem culture of Jamaican reggae and its inseparable Afro-diasporic cultural & political DNA. The heavy soundsystems not only enabled low frequencies to be played at these unprecedented volumes but also came with the cultural use of heavy bass as an artistic way of channeling fear, which eventually opened the way to the elaborate sound design at the low frequencies in dubstep: the most perfect example of cultural heritage, socio-political circumstances and technology influencing each other in every direction.

Another example is the most far-reaching transforming force that has occurred during the 90s and 00s, which is what I call the democratisation of electronic music production technology. In the earlier decades of electronic music, going back to the electroacoustic tapes and synthesizer pioneers from the mid 2th century, electronic music was a poorly acessible activity that required specialised knowledge and, above all, sufficient money to buy gear. Following the DIY attitude of punk and hiphop, increasing access to electronic music production has increased the pool of creativity to new music movements and subcultures that has made many turn-of-the-century genres into what they have become. Pirated cracks of the most popular programme, Fruity Loops (now known as FL studio), which pooled together sound design, midi sequencing and audio sampling into one user-friendly interface, have circulated online for free since the beginning. Being so accessible to young people anywhere in the world without the privilege to buy fancy stuff, Fruity Loops has turned out to be be the decisive tool in the development genres such as bubbling, grime, dubstep or 3ball.

The third example is another transforming force, of equal importance and inseparable from the above one and it occurred for a large part in the same period (the 00s and 10s of the new milennium): the democratisation of music sharing on the internet. In earlier times of the internet era, bloggers with pre-internet experience could still nostalgically long back to the romantic experience of record digging at obscure shops and pirate markets in countries around the world. The web changed all that into the solitary experience that I myself know so well: sitting behind a computer, scrolling through endless Soundcloud lists, wandering not from record box to record box or alley to alley but from link to link and comment to comment. Especially Soundcloud, the place where DIY producers from all over the world could now instantly share, access, sample and remix anything on the same platform, generated an unprecedented hive-like ecosystem in which obscure new sounds and hybrids could suddenly go viral overnight.

The fact that anybody anywhere could now access anything with just a mouseclick, also squeezed sounds out of their localised context and the shared social, cultural and political experiences that so often underlies music movements and subcultures. The influential music forum Hollerboard where the early Diplo and other like-minded DJs and producers pioneered with blending sounds from not only different genres and subcultures such as hiphop and rave, but also different (Western as well as non-Western) cultures, was a build up for the blogosphere that specialised in digging up unique new flavours from all around the globe to support them and present them to new, interested audiences.

The internet has not only squeezed 3ball out of its Mexican context, it squeezed EDM back in (which can, like ‘Elements’ from DJ Giovanni Ríos, certainly lead to very good music)

In the now no longer accessible post from MTV Iggy, the one that popularised the term ‘global bass’ as the ultimate umbrella genre, the question was raised whether the enthusiasm with which the blogosphere and its corresponding club nights blended genres like cumbia, balkan beats and baile funk, heralded the advent of a utopian, unified global dance future. It didn’t happen. Not at all. In stead, the attention of innovative tastemakers became dominated by an obsession with alienating, recontextualised 90s cyberculture, dystopian corporate accelerationism and eventually, plastified virtuality and present-futurist reflections. What happened? Especially, what has happened to the rhythms and flavours from the marginalised neighbourhoods from cities like Mexico City, Rio de Janeiro or Lisbon that were once praised as the forefront of innovation? With some exceptions, they are all in stormy weather and, especially in the case of Mexican 3ball, the web is to blame. The delusion of international fame and big success has driven many producers to incorporate successful formulas while at the same time allowing EDM to defeat its thousands. As a response, producers responded by either reveling in romantic memories from times before the hype, or by abandoning the genre altogether.

The democratisation of music production combined with limited communication created the unique diversity of the 90s

3Ball is no exception. Subcultures as a whole are dead. It is claimed that, at least in the West but probably anywhere, gabber (I might actually challenge this claim and say ‘cybergoth’) was the last ‘true’ subculture in the sense of a solid and all-encompassing identity that fundamentally separates the people sharing it from the ones that don’t. Everything that originated after that such as emo, scene or even something like reggaeton was much more fluid, ambiguous and interconnected with a myriad of other identities and styles. Paradoxically, the democratisation of music production combined with the relative isolation due to limited communication (think about physically circulating records, tapes or local pirate radio) created the unique diversity of the 90s, in which the Jamaican soundsystems became UK-bass in London and reggaeton in Puerto Rico, or Miami bass hiphop, transplanted to Brazil, evolved into baile funk. The democratisation of music sharing instead has resulted in the volatile whirlpool of cyber-deconstructionism we’ve been seeing since the 10s.

This whirlpool too has its own vital organs, Soundcloud being one of them but even more important are the image-sharing platform Tumblr, forum-for-everything Reddit and the controversial messageboard 4Chan. In previous posts, I’ve called them the ‘grinding mills’ of culture: devouring chunks of digital information (sounds, imagery, ideas) on the once side while churning out seemingly random amalgams on the other. In the context of post-internet culture we usually think about witch house, seapunk, vaporwave, ocean grunge or health goth, but ‘global bass’ hybrids such as balkan-cumbia, moombahton, trap-bubbling or zouk-bass are essentially the product of exactly the same process. The only essential difference being that the first movement searches for information vertically, in the obscure archives of Western pop-culture, whereas global bass’ orientation is horizontal, focused on stuff currently produced but all over the world. The ‘temporal’ and the ‘spatial’ are equally important pillars of cyber-deconstructionism, but we’ve only just started to realise it now the two are increasingly coming together: the flavours and rhythms of the global bass genres so ubiquitously feature in avant-garde club music today that the movement itself almost seems like a second round through the mill.

Elysia Crampton‘s unique take on the ‘epic collage‘ style is one of the artistically most advanced examples of cyber de- and re-constructionism involving non-Western cultural elements. The sounds of baile funk, 3ball and trap in ‘Petrichrist’ are so finely ground, so thoroughly detached from any fixed reference frame, that the full resevoir of emotive energy contained in them is released in purified form, acquiring a powerful, spiritual force.

https://soundcloud.com/gxstxvx/passinho-do-macintosh

Other attempts (usually those meant as a joke) are on the opposite end of the spectrum, barely ground, lumping together two obviously recognisable genres. Yet a ‘second round through the mill’ nonetheless: ‘Passinho do Macintosh’ by the Brazilian post-internet producer G X S T X V X.

As cyber-deconstructionism is coming of age, it becomes apparent that both the spatial and the temporal pillars have faced the same delusion: the triumphalist capitalist promise from the 90s that globalisation as well as the internet would quickly lead to a world of total unity and total equality. Hailing ‘global bass’ as the soundtrack into a utopian, unified world village reflects the same old neo-colonialist globalisation narrative that was already dead. And if globalisation is dead, naive cyber-utopianism, the narrative of the internet as a radically egalitarian place where it no longer matters who you are even if you’re a dog, is dying rapidly. Where globalisation and migration in a changing economic and political world already stirred a renewed attention for identity since the early 00s, the often uninhibited hostility of the internet, and the fluid way in which people can select their own information environment, did that even more. Bosah Ebo (1998) juxtaposes naive cyber-utopianism with the ‘cyberghetto perspective‘, in which real world structural oppression and segregation along the lines of racial, class and sexual identities are replicated online, if not amplified. Even though Generation Bass’ cyber ghetto collab has come to an abrupt end after the night in Antwerp, the concept continues to fascinate me. Ruth’s idea of recontextualising stigmatised “ratchet” imagery from 90s ‘ghetto’ culture into a positively charged, androgynous aesthetic trend, blended together with styles like grunge and Japanese kawaii, is the inseparable mirror image of Ebo’s prediction of the current online culture wars. Not surprisingly, the grinding mill websites have become infamous places where issues concerning race, class or gender are fought out: Tumblr being the motor for a whole new subculture of uncompromising social justice activism, countered by Reddit’s and 4Chan’s neo-reactionary trolling.

BabyBitch

Cyber ghetto: grinding mill aesthetics raise questions about the significance of race, class & gender on the internet

If globalisation is dead, naive cyber-utopianism is dying rapidly

From these questions of identity to matters of privacy, cyber-paranoia about New World Order conspiracies, blurring lines between real and fake or the coming of artificial intelligence, the way in which technological innovation shapes the world has become the principal socio-political circumstance for a generation. And this is giving significance to music in the same way as themes like the American civil rights movement, industrialisation, the War on Drugs or the economic uncertainty of the 80s have done before.

Just like the worldwide local interpretations of hiphop, reggae and electronic music, popularised by the global bass movement, turned out to be too tied to their geographical socio-political contexts to be transplanted easily into the West, the reverse applies to the post-internet movement. Vaporwave‘s reflection on the 90s’ corporate promises of history evaporating into an eternity of pleasure shopping and fears of Asian technological superiority, only resonates with the collective memory of the West, even most specifically the American white middle class. Meanwhile, large parts of the rest of the world were suffering from the exploitation and political destabilisation caused by the corporate pursuit of making these vapid dreams come true. Movements such as NON Worldwide, Afrofuturism or avant-garde club, at least as I interpret them, are essentially about exposing and reclaiming technology, the tools by which natural environments are redesigned for human purpose, as a socio-political phenomenon in itself asking: whose purposes? benefiting whom? at the expense of whom or what?

At the same time, they represent an attitude of embracing instead of than rejecting or demonising technology. It is a direct countermovement against ‘indie’ culture‘s romantic obsession with imperfection, organicism and the authenticity (whatever that may be) of the past. But it also goes beyond the recent revival of neo-cyberpunk and apocalypticism found in genres like witch house and vaporwave but also EDM trap’s dark underground. Where once the hippies tried to escape from modern technology as a threat to their romantic concept of nature and humanity, cyberpunk and the industrial music movement of the 1980s sought to expose the invisible megamachine as the evil totalitarian enemy that could only be resisted by ‘hacking’: smartly adopting its material to turn the system against itself. In the 90s, cyberpunk’s increasing fascination for computers morphed into Thimothy Leary’s “turn on, boot up, jack in” ‘cyberdelicism’ and ‘cyberfetishism‘: reveling in sexual-spiritual dreams of ‘becoming one’ with technology. In the last half decade, that cycle has repeated (interestingly, roughly five times as fast: 1968 – 2001 ; 2008 – 2016). This blurring boundary between our everyday lived reality and the imaginations of science fiction, ever accelerating and constantly balancing between utopia and dystopia, kitsch and spiritual transcendence, is what Adam Harper calls the ‘21th century experience‘. Artists and label curators consciously play with these themes, thence names such as Escape From Nature, Infinite Machine or What Do I See.

Celestial Trax‘ new EP is a perfect example of how, with a combination of sound and titles, avant-garde club music can meditate on the question who we are in an increasingly posthuman world.

uv ac‘s new mixtape: the latest wave of internet underground music, often no longer subsumable under the umbrella of ‘club music’, plays with themes of heaven, angels, and uplifting tenderness. The sound combines ethereal ambient with happy rave, autotune rap and RnB, romantic cinematic soundtracks and sometimes traces of ‘global bass’ rhythms, accompanied by oos emo-aesthetics, sad-cute clip-art and stock photo kitsch. Whether this should be seen as an expression of ‘cyber-piety’ or merely 00s teenage culture going into the grinding mills can’t be said yet.

Digital technology has itself become a culture of its own, offering a widely shared experience that is at the same time mind-expanding, liberating and addictive in essentially the same way as psychedelic drug culture was in the 60s and 70s. This has built a new kind of cultural heritage, now ready to be added into the grinding mill for yet a third round. After all, cultural heritage is nothing more than a sufficiently isolated ecosystem of social and material technologies, solidified into conventions over a long-enough period of time. And once these temporary new conventions, isolations and identities are in turn broken, recontextualised and fused with new elements, we’ve got a new round in the carousel of modern culture. What exactly will come out this time, we can’t tell yet, but we can be sure that whatever will go into the mill is a combination of different cultural heritages, old and new alike, that the process is driven by developments that shape the world, and that the new socio-political issues brought to light in this new world will certainly influence the outcome.

Carousel

Accessible music production and sharing technology has created a spiralling vortex of consecutive rounds through the grinding mill. As it happens, it is still too early to be too sure about the specific influence of specific technologies or circumstances. The influence of mobile phones has created the practice of ‘sodcasting’ and youth’s relative indifference to quality sound on the low frequencies. And there’s certainly a visible attention shift going on in productions towards crystalline treble.

Now the residue of the second round is solidifying, it is becoming clear that this turbulent carousel process seems to have unlocked the secret to the ‘spirit of modernism’ such as envisioned by Adam Harper in his already classic work Infinite Music – Imagining the Next Milennium of Human Music Making, in a way accessible for everyone. As a result, the most stubbornly unbridgeable of all boundaries, that has dominated music virtuall forever, is finally eroding: the one between popular and classical music, between the passionate bedroom-punk and the formally trained concert hall musician. No wonder why Harper has been the quintessential thinker recognising, documenting and intellectually interpreting all the essential innovative waves in music right as they happened. Turning to the undergrounds of young autodidacts on the internet as the place where the action is, the action and continuously innovating energy that the 20th century modernist composers so often lacked.

The most stubbornly unbridgeable of all boundaries is finally eroding: the one between popular and classical music

Add to this the prospect of new ways of music making still waiting ahead and their eventual democratisation. Or what if no longer humans, but artificial intelligences will join the arena of creativity? What if future transhuman extensions of the senses or information processing will extend the range of music that can be perceived and understood? That is why it is essential to zoom in on technology and spiral in one move from a warm-blooded electronic cumbia party to a hyperfuturistic, conceptual avant-garde performance. Otherwise, I’d have ended up at a big festival stage, like so many from the scene that global bass once was, unconsciously escaping into yet another grinding mill product, built up from a hyped up version of Dutch laser synths and hardstyle drums I’ve grown up with, and canned snippets of hip-hop from Atlanta or dancehall from Jamaica, strategically mashed together to squeeze endorphins out of my pituitary gland. Or I’d have chosen instead to turn my gaze backwards, to any possible era in the history of any genre capable of upholding the illusion of being pure and impassioned compared to today’s ever less comprehensible tangle. In both cases, I’d have abandoned the focus forward, to new movements, new sounds and flavours, bubbling up all over the world. IRL or URL, the very reason why this blog exists.

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I’m a cultural-historian of science and my theoretical knowledge of musicology doesn’t go into that much depth so I’d love to have feedback from readers who are more firmly grounded into these matters.

Generation Bass Presents: GBMIX#9! César Ch

CesarCH

After a period of silence, GBMIX is full up and running again! Approaching the end of the first half of 2016, we’re back with a fresh mix by the Mexico City based futurist César Ch. A DJ and a reviewer for the Classical Trax platform, he embodies the ultimate fusion of the global bass scene and the avant-garde club movement, constantly seeking to weave together the original genres from all over the world such as batida, tarraxo, baile funk and Mexico’s own tribal prehispánico, with the glacial, mechanical & sounds of ambient grime, ballroom and mutant club music.

Tracklist:

Aïsha DeviMazda (Mind:Body:Fitness Remix)
SikuriDesorientado
ArcherRashomon (Salaam‘s Garage Flutes Remix)
SIM LVaporized
DJ BlackfoxMatumbo
DJ KodoNo Love Ha
Kush JonesDrum Track (Ha)
Clap FrecklesNuestra Raíz
TimukaNature With Attitude
Genes m8Oink
MM x La MaterialistaEl Rope Que Vibra (Astrosuka x Anakta Edit)
Dj BeBeDeRaBaile de Favela
MC DaviGrave Com Som (Imaabs Edit)
FollowbackThelema (Mark Luva Remix)
Flagalova9 PM (Wrack Remix)
Jeso ThamorietaR 6b
Total FreedomDown Actions, Low Key Childish Though
MC Bin LadenVirou (Mara Mura Club Edit)
Rushmore x Fatima Al QadiriMoment X (Victoria Kim‘s Kowloon Edit) [Snowy Beatz‘ Hainan Blend]
Hi Tom – Work VIP
Merca BaeJoJo&Me
MichellPierdo El Control
La FaviDime Si Es Verdad
Lil CrackAggressive Riddim
Erika KanyeLotic x CupcakkeHeterovagina
Retina SetAmeno Ha

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Essential EP’s #11

EssentialEPs11NEW

It’s been a while since my last Essential EP’s selection so here an edition with releases that are all from a month back or so. Influential releases like Chino Amobi’s or Kid Antoine’s, which received widely read attention from of the major online music magazines, have already cooled down to lukewarm in terms of attention, making place for even newer excitements. Other ones, like Los Innsurgentes’ La Maldad EP have flown a bit under the radar. Two artists whose previous EP’s were among the most impactful of 2015 are back now with follow-up releases that continue where they left off. Overally, as 2016 begins to take shape, the innovations of 2015 seem maturing into recognisable sounds, enriching, branching off and finding their way into different corners of music.

1. NAZAR Hubris EP (Track Meet)

Let’s start with Nazar, whose NIHIL EP was perhaps the single most original release of 2015. His confrontational, political approach to kuduro created a throat-gripping, industrial flavoured sound. ‘Hubris EP’, the Angolan avant-garde producer extends this powerful signature style with an even more rich set of influences, venturing into 808 drums, industrial techno and the ethereal synths of avant-garde club. In ‘Tyranny’ the producer also makes his first appearance as MC, using his own vocals to ironically praise Angola’s president.

The EP had been announced for a long time but could finally see the light via the upcoming avant-garde club label Track Meet.

>> BUY HERE <<

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2. ANGEL-HO Emancipation (NON)

One of the other most groundbreaking works last year was without any doubt ‘Ascension EP’ by Cape Town based NON co-founder ANGEL-HO, debuting on Halcyon Veil. Now, 6 months and many great single tracks later, he is back with a fresh EP released via his own NON WORLDWIDE label. And like Nazar’s, his sound too has become richer and more crystallised. Whereas ANGEL-HO’s arrival at the stage of the music scene seemed more concerned with disrupting the dominant cultural forces, now the post-disruption era has arrived with full force. This means that the black queer trans identities that ANGEL-HO represents have broken free from the colonial forces designed to suppress and erase them, triumphantly expressing themselves the way they want to, no longer needing juxtaposition to binary heteronormative whiteness as a reference frame at all. As I interpret it, this is also what the magnificent artwork (made by Chino Amobi) refers to: proud dragons, breaking out of the burning remnants of the past. “The old has gone, the new has come.” In sound this means that the characteristic tumultuous industrialism is no longer an end-point but a beginning. On ‘Emancipation EP’, ANGEL-HO’s signature sounds like accellerating cars and shattering glass are the crude ground from which all kinds of new sounds rise up in freedom.

ANGEL-HO teamed up with Desire Marea, one half of the performing art duo FAKA, whose vocals apear on the first and last track of the EP.

>> BUY HERE <<

https://soundcloud.com/non-records-1/sets/emancipation

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3. Chino Amobi Airport Music For Black Folk

Richmond based producer, designer and NON co-founder Chino Amobi has a unique style of producing that deviates most notably from conventional club music. Chino Amobi’s music isn’t there to make you dance and feel good about yourself. That is precisely part of the story that Amobi – as I understand him from interviews and from my personal interpretation – wants to convey with his music: resisting the exploitation of black music for the entertainment of the privileged, de-stereotyping black music and reclaiming it as a tool to express the reality of the black experience. Airport music is not much different. Brian Eno’s iconic experiment using hypnagogic soundscapes to transform the dull, hasty terminal into a serene and thoughtful environment has brought ubiquitous soothening background music to airports, most of which based on jazz and soul.

Amobi radically reverts the perspective. With trunkated, looped pieces of recognisable elements, unpredictibly interjected by menacing sounds and vocal messages, he exposes rather than dissolves the chaotic, tense atmosphere of the airport and its post 9/11 obsession with security and threat. The way Amobi manages to capture the intimidating unrest not of being in danger but of being looked at as the potential danger, an experience that can make air travelling an alienating activity for black folk, is an esquisite achievement of translating complex emotion into sound. And that makes him, in my opinion, one of the greatest composers of all time, on par with the eternal masters of blues, jazz and classical music.

‘Airport Music For Black Folk’ has been recorded in Berlin and was inspired by Amobi’s European tour, resulting in five tracks named after the cities and airports he visited. The elements used in the tracks overlap and the album is most fully appreciated when listened as a whole.

>> FREE DOWNLOAD <<

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4. Los Innsurgentes La Maldad EP

The Apodaca based duo Los Innsurgentes announced their dark flavoured 3ball bass EP ‘La Maldad’ more than a year ago but ever since, they went virtually silent until the point that even I, first hour fan of Los Innsurgentes, no longer expected it ever to be released. When listening to the EP, it is good to keep in mind that these are actually old tracks, probably finished and released long after they were first created. I was personally amazed how archaic, even nostalgic it sounds, to hear such an experimental use of growl bass synths. ‘La Maldad’ truly feels like a time glitch directly out of the now almost forgotten golden age of global bass, with producers like Caballo, when this formula of percussion with growls ruled supreme. The tense, mysterious atmosphere, especially in tracks like  ‘Base Frapp Cafe’ and ‘Litros de Sangre’ goes back to an even older root of Mexican electronic music: ruidosón.

Apodaca is a suburb of Monterrey, where the US-Mexican border region begins. The outburst of creativity, from Nortec to NAAFI, that made Mexico one of the most innovative places in the world for music over the last decade, is inextricably connected to the socio-cultural and political reality of that border and the American War on Drugs with all its evil (‘Maldad’), death and destruction it has created. Whether this is a second beginning for the duo or rather a goodbye present before leaving entirely, this anachronous EP sends a message that the Mexican electronic underground, 3ball in particular, needs to wake up once again.

>> FREE DOWNLOAD <<

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5. Kid Antoine Bodypaint (Her Records)

The track ‘Bodypaint’ by the Copenhagen based producer Kid Antoine is already an excitement in the club underground and got a shoutout from us recently as well in our summer festival bangers post. But beyond the track, the EP of which it is part, containing another original production, ‘Flood Control’ and a remix of ‘Bodypaint’ by Florentino, can’t possibly be absent in a selection of essential releases. Presenting the ethereal, futuristic vibes of the avante-garde club movement in an accessible way, perfectly combining with a wide variety of genres and sounds is becoming his immediately recognisable signature. He did that already on his debut EP ‘Proximity‘ a year ago and ‘Bodypaint EP’, which contains even more energetic drive, is the perfect follow up, again released on MM‘s label HER Records. On top of Kid Antoine’s already baile funk & dancehall inspired & jersey club inspired polyrhythmic beats, Florentino adds even more pumping, almost moombahtonesque dembow. If there must be any best example of ‘the sound of 2016’, where the flavours of avant-garde club will reign far beyond the avant-garde, trickling up into everything, ‘Bodypaint EP’ is all you need.

>> BUY HERE <<

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6. y y y Last Breath

I’d already been following this enigmatic avant-garde project from London for a while when I noticed how unique their work actually is and how solid their following. Scene-wise, they seem to come from the cloud/silk/vapor trap side, but in the grey zone between this section of the post-internet underground and the avant-garde club movement, which are often still worlds apart despite of the extensive overlap in aesthetics. Sound-wise they even smoothly blend in influences from genres like witch house or futurebeats. In the Soundcloud followers list too, I see all the imortant avant-garde club names popping up, which makes me wonder why we at Generation Bass have been sleeping on this all the time.

‘II’ is a unique, emotionally gripping EP with powerful sounds that, if anything, sound like a more less industrial version of the radical alchemy of WWWINGS. Officially it was set for release on the 25th of March, but so far the only thing I can find of it online is this folder without a buy or download link. If anyone knows their bandcamp, let us know via our facebook page. For the time being you can grab their equally impressive previous work, ‘[] EP’ HERE for free.

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7. Wolf & Witnessing Acapulco (_WDIS)

‘Acapulco’ is the intriguing product of a collaboration between the better known Infinite Machine curator, Wolf, and experimental futurist Witnessing, both based in Montreal, sharing Latin American heritage and personal friends of each other. They decided to explore their roots in the context of the critical reflections on the future which both of them usually focus on in their creative work. The track is a stunningly thoughtful, introspective as well as vibrantly expressive ambient-dembow-club tune. The catchy melodic work slightly resembles Kid Antoine, but with the viscous smoothness scorched away by a combination of the gothic heaviness of y y y and the raw chaoticism of Los Innsurgentes. Together with KABLAM‘s uptempo skeletal remix it makes a mini-EP which was released already two months ago on the Berlin based avant-garde label _WDIS.

>> FREE DOWNLOAD <<

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8. MHYSA Hivemind EP (NON)

A third NON WORLDWIDE release that can’t possibly be missing from any essential releases list is MHYSA’s ‘HIVEMIND EP’. E. Jane a.k.a MHYSA, a.k.a. E. The Avatar and one half of the performance & sound duo SCRAAATCH, is a multi-talented musician, visual artist, poet, critical internet theorist, activist and futurist from Philadelphia whose work is an interrelated patchwork of visions for the future of Blackness and queerness in a high technological world. With a combination of music, designs, performance and more, she exposes and radically rejects the ongoing systemic colonialist, racist and patriarchical oppression structurally built into the technology shaping the world. Like Chino Amobi’s has shown for airports, control, exploitation and exploration are persisting, white-colonial dreams that have shaped the internet to such extent that its language, assumptions and default structures produce an othering and agressive universe. Her resistance is itself cybernetic, embracing, bending and using rather than rejecting technology in order to create new, radically independent futures for Blackness and queerness to flourish.

‘Hivemind EP’ addresses the existential nature of social media as a networked space and the way it visualises the workings of collective consciousness, power relations and the impact of art and social change. With six stunning, thoughtful experimental ambient tracks she paints panoramas of and lays the cornerstone for her Utopian visions, for and by Black women. Two tracks are co-produced with teammate plus_c under their joint project SCRAAATCH, and another one together with Generation Bass favourite DJ Haram.

>> BUY HERE <<

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9. Compilation Japan Edition (Club Late Music)

Club Late Music is an exciting, relatively new, globe-spanning collective & label curated by 100% HALAL (Frankfurt), AZN Girl (Brussels), Bubbles (London), Dragon UMA (Yachiyo), Ideal Corpus (Marseille), Michel Ours (Paris), Prince Lucien (London) and T/B/O (Los Angeles). Their musical focus ingeniously connects the world of avant-garde club to the euphoric and kawaii flavoured sounds of retro-rave and nightcore – a combination that we will definitely see more in 2016. Earlier releases like the ‘Summer Hits Compilation‘ and their mixtape series have our radar unfortunately. But ‘Compilation Japan Edition’ is a perfect, much more diverse follow up that shows even more pronouncedly the forward looking direction in which this blend of music is paving the way for new developments this year and beyond. It probably got its name after the download-for-free-entrance promo for the club night at Lounge Neo in Tokyo, already three months ago. In the run-up to this party, it used to be downloadable via this interview on the Japanese music & culture webmagazine Public Rhythm, but the link is now broken. We’ll keep you updated about future releases!

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10. Abu AMA Riad Noir (hexx 9 Records)

Finally the debut album of Abu AMA, the producer whose absence of support from our blog for so long still puts me to shame. I recently called his unique ‘ArabXo’ sound, blending Middle Eastern music with tarraxo and mesmerising experimental dub, the most Generation Bass sound ever. But even more importantly, his engagement with Middle Eastern culture is far from a gimmick, either exoticising or demonising Arabic culture. Quite the opposite, his strong political message, weaven continuously into the titles as well as the compositions, is an incisive denouncement of the demonisation and fearmongering depiction of the Middle East, refugees and muslims in Western media and culture and a passionate cry for end to the vicious geopolitical destruction of the region. This is significant, especially considering the producer’s embedding in the dark ambient music scene, a world where harmful, othering exploitation of the fears from our collective prejudices can still be bread and butter.

‘Riad Noir’ (‘Black Garden’) contains 10 delicately produced tracks that show the full breadth and depth of Abu AMA’s style, released back in January broad multi-genre dark underground label hexx 9 Records, also home to a number of essential producers from the ‘new dark underground’ like Volkanos or Bedtime Stories.

>> BUY HERE <<

Important Stuff We’ve Slept On

Holographic

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.

Abu AMA

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

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KABLAM

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 of Mc 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

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mobilegirl

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

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mapalma

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

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Normal Nada a.k.a. Theoscicloff

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!

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CYBEREALITYライフ

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!

CYBER3BALLITY!!

Closer to his core-style: his amazing fresh album of SESH-flavoured suicidal shoegaze-hiphop beats (>> BUY <<)

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...torus

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

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PIVOTAL

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!

https://soundcloud.com/fivestarhotel/hyyydraulicmelt

Recklesslesly stomping conceptual grime/club

Distorted industrial noise fused with avant-garde club/trax influences (>> BUY HERE <<)

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Siete Catorce‘s ‘Paisajes EP’

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!

(>> BUY IT HERE <<)

https://soundcloud.com/sietecatorce/sets/paisajes

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and this album!

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!

>> BUY IT HERE <<

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Generation Bass Presents: GBMIX#8! SANTA MUERTE

SantaMuerteLogo

For NOVEMBER we bring you a mix by the rising duo Santa Muerte from Houston & Austin, Texas who are leading innovation in Latin music with their powerful blend of urban-Latin sounds, futuristic avant-garde club music and a hint of darkness. Expect big things from them in 2016!

GBMIX#8: Santa Muerte by Generation Bass on Mixcloud

Tracklist:

  1. Wisin y YandelPegate (Santa Muerte Edit)
  2. Tito “El Bambino” X Daddy Yankee X Yandel X ChenchoA que no te atreves (Vaphoree‘s Patudo Remix)
  3. FlorentinoMamasota
  4. GIL???
  5. KamixloLariat
  6. LaoExcursión
  7. Omulu x Comrade x Nestor en BloquePUM Mami (Anakta Edit)
  8. SxmbraEntiende (World Domination VIP)
  9. Santa Muerte & King DoudouTrembla
  10. Retina SetPull Up To Mi Bumper x Lanced mashup
  11. SVANIYAASSS
  12. KID CALADagger Dembow
  13. Rabit X Beatking X Santa MuerteTEARZ edit
  14. Ida DillanIsotone
  15. TenTwentySevenBoca Del Rio
  16. Lao ft. Franka PolariApocalipstick
  17. Migosbitch dab (False Witness edit)
  18. RizzlaFucking Fascist
  19. TaliJumpman (Spanish Remix)

Alfonso Luna Drops New Tribal Prehispanico LP

AlfonsoLunaLP

Alfonso Luna is back with a second release on the German forward-looking Latin netlabel KUMBALE, a full album with 12 hypnotising tracks that keep pushing the boundaries of electronic music fused with Mexican folklore.

The Monterrey (Mexico) based independent producer has been the single most defining artist of the tribal prehispanico microgenre for some years now. You could even say that he recreated tribal prehispanico, having done away with most of the standard recycled samples and standard percussion patterns that used define the sound. Fellow Latin-innovator Erick Jaimez once said: “you’ve got tribal and you’ve got Alfonso Luna, that guy is on a whole different level.” His experimentation with minimal techno, dub and ambient that characterised his previous release, is continued here. One track, ‘Virgen Lacrimosa’, my favourite from the album, even features a violin.

Tribal Prehispanico LP is an essential addition to many different kinds of DJ-sets and playlists, from alround Latin to avant-garde club and psychedelic tribal techno!

>> DOWNLOAD ON SOUNDCLOUD <<

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Follow Alfonso Luna:

SOUNDCLOUD

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Follow KUMBALE:

SOUNDCLOUD

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TWITTER

Elysia Crampton – American Drift [Album]

AmericanDrift

We’ve been sleeping on this project, unfortunately. It was announced and pre-listenable already months ago via a number of major platforms like FACT and has been out since last week on the New York based forward looking label Blueberry Recordings. Too long to wait until the next Essential EP’s, even tho it will be included there too because if there is anything essential that has been released lately it’s this album.

Elysia Crampton, an American avant-garde electronic artist with Bolivian roots and a childhood in Mexico, is one of the most important musicians of our time. I’m saying musicians, rather than ‘producers’, ‘composers’ or ‘electronic acts’, because the terminology used to pre-assign musicians to certain boxes such as dance, urban, band- or modern classical music is closely connected to the culture that shapes these notions. It is this culture that Elysia intends to question with her music. Her tracks are all impressive, thought provoking, intellectual pieces that draw on themes such as indigenous and black American history, trans and queer theory, spirituality, poetry, geology and art.

Crampton

In a way resembling other avant-garde music movements from the last years such as vaporwave, Crampton’s music recontextualises familiar and nostalgic elements which aquire a whole different meaning in their new sonic and visual environment. What makes her music so much more powerful and unique than these other movements is that here, the recontextualisation taking place is not based on obsessions of the dominant majority cuture, such as mall environments, but instead on the experience of looking for belonging as a trans woman of colour.

In that respect, her approach comes close to the club-trax underground, with many of whom she is in close contact. Yet Crampton’s relationship with the club itself is ambivalent. Her music challenges established narratives and meanings of ‘the club’ and envisions new spaces that enable shared moments of experience and expression which are more conscious and meaningful and better protected against the intimidation of dominant forms of culture.

An important leitmotiv are the typical jingles and vocal announcements heard on the radio all over Latin America. Here they become the voices of supernatural beings, woven together with apocalyptic synths and videogame sounds as well as elements of crunk, cumbia, 3ball, baile funk, Bolivian metal and Andean huayno, into an extremely powerful transdencental experience.

Tracklist:

1. American Drift (feat. Money Allah)

2. Petrichrist

3. Wing (feat. Money Allah)

4. Axacan

>> BUY ON iTUNES <<

Follow Elysia Crampton:

SOUNDCLOUD

TWITTER

BANDCAMP