“Oriental Bass” is a subgenre, an idea born thanks to the musical experiments started in China by Howie Lee and his crew. A mixture of modern electronic music such as EDM, Future Bass, classic Hip-hop beats and Chinese, Japanese, Korean, Vietnamese traditional music instruments, samples, sounds and atmosphere.
Chuck Upbeat started experimenting with this sound by releasing an “Oriental Bass” EP where he showed Asian inspired music transformed into dance bass beats. The EP was a surprising thing for Global Bass scene traditionally ruled by Tropical rhythms and sounds but luckily it was greeted by many underground producers in USA, Europe and what is more important by musicians from China, Korea and Vietnam.
The new EP is another step in this direction. Chuck Upbeat made two original Bass tracks mixing samples of traditional Chinese opera and orchestras. Practically no electronic synths were involved. Instead samples of Chinese sounds were transformed into synths. This approach makes the sound to be really unique.
“Lao Kick” is a mixture of EDM and TRAP genres with massive bassline kick and epic Chinese orchestral samples, while “Sheng It” is a deeper thing to play on dancefloors full of Chinese drums and cymbals with classical Chinese sheng instrument.
Global Bass genre shows that there are no genre limits in fact and a true fusion of cultures, rhythms and sounds take this music to another level!
Produced, mixed, mastered and released by Chuck Upbeat in 2016.
Little more than a year ago, I wrote what is possibly my most personal and emotional piece ever written on Generation Bass: the in depth interview with Dead Stare’s Gergö (Hungary) and Edgar (Mexico/US) about health, injustice, passion and music. The post struck a chord with many people and was shared widely, reaching for example boombahchero pioneer DJ Orion, who invited them to revive the Subguey series in September this year.
Dead Stare continues to occupy a remarkably unique position, outsiders in both the Hungarian and the North American ‘global bass’ scene, where the sounds of the BABYLON label and La Clinica on the one hand and NAAFI on the other, are setting the tone. Dead Stare’s blend of sounds is squeezed in between the EDM branch of global bass and the darker experimental club sounds that don’t really fit in ‘avant-garde club’, dark trap or witch house either. And now their enthusiasm for the boombahchero genre has given a whole new spin to their direction.
I recapped with Gergö for a look back at the turbulent 2016 and the future of boombahchero.
GB: Have there been any hopeful developments in the treatment of the brain tumor?
G: Unfortunately, absolutely nothing. Only for the worse. If its getting bigger, it can fuck up my eyesight. In the last few days a lot of things were too obscure, way too obscure, so we need another tumor test ASAP.
On a side note, I love how you guys wants to send me money like you, Orion and First Gift and Edgar, but I hate money. And as I said, we can’t buy an operation. In this situation Money can’t help. I could buy some clothes and food which would be really cool, but today I realized I don’t need money. The only thing I need is HUGS!
GB: But at some point you will need an operation I suppose, right?
G: I don’t know, but pretty sure yeah. I need to do another test. Probably in January.
Also, doctors announced now rhat , in this situation, the epilepsy is more dangerous than the tumor. It would be better without the Tumor, but still dangerous. They can’t operate epilepsy. I have medication, but I don’t really know what to say. I need to take it for a lifetime, but I’m always positive you know.
GB: Is the epilepsy a reason not to operate on your brain?
G: Nope… Luckily they can still operate me, but then I’ll still have the epilepsy which is more intense.
GB: But that’s no reason for the doctors to say, lets keep a tumor in your head that threatens your eyesight, that’d be bizarre…
G: I know man.. I’m just saying. I always went with high hopes to all of the appointments. I want to get rid of it ASAP. But I had enough time to learn to live with it.
GB: You were supposed to fly to the US for the promotion of the Subguey release, but that didn’t hapen in the end right? How do you feel about being so far separated from Edgar, especially now Dead Stare is growing?
G: The US trip is still possible, I just need a bit more time, hopefully I can tell more news about it. Edgar understands that I can’t travel to the US yet. He always encourages me to do gigs alone in Europe. Hopefully it will change soon. We really get along.We can always fix all of the “problems”, this hasn’t a big one to be honest.
Even by playing separate gigs on two sides of the ocean we influences each other. The video from my gig at Cross Club inspired Edgar to play boombahchero at a popular deephouse night, and people told him it was the craziest set ever.
GB: Cross Club?
G: Cross Club is a club in Prague. Chong-X booked me because he liked our Subguey mix. It was literally unreal. It was supposed to be a boombahchero set but for some reasons I played 30-40 mins of Moombahton… then Chong came to me and said “WE WANT BOOMBAHCHERO!!!” I switched to it immediately, and like woah. Man, it was clearly one of the best moments of my life.
I mean, for me personally boombahchero is very special, a magic experience that takes me to a perfect world without pain, and where everybody just smiling and dancing with crazy moves. But that night this actually came true.
GB: Can you tell more about your experiences with boombahchero?
G: It’s the most underrated microgenre now. I always knew the potential, but when I saw people’s reaction in Prague, I realised its even stronger than I expected. I’m just obsessed. I never thought people can feel boombahchero this way.
Another time is when I sent this Miami bass demo to Astronomar’s label Main Course. He said the track is really cool, but… SEND ME SOME BOOMBAHCHERO PLEASE. Like, I can’t believe this. A month ago I told Edgar “Everybody wants Boombahchero” but I was just joking. It seems it’s not a joke anymore..
I want to inspire people to create more edits as well as originals. I started a new project, organising a boombahchero compilation with all original tracks. First Gift from Sweden, who already made a lot of sick boombah tracks, is helping me, along with Orion. Maybe its a bit too early to announce it since we don’t really have anything so far yet, but I’m excited so I wanted to talk about it.
Dead Stare’s ‘slow boombahchero’ remix ofGingee‘s track Escape
GB: Coming back to the Main Course label, do you have mainstream ambitions?
G: I want to grow, and want to spread our message all around the world. I want shows and meet new people. I want to talk to all of my followers and help out others with food, clothes and inspiration. Big labels are the key. If I can take over some big labels that means more shows and more attention. It would be our biggest goal to have a release on a label where a global bass artist never really released anything.
Its hard because I want to keep the Dead Stare sounds but sometimes the success requests things like that. I think an oldschool miami bass track with some acid vibes would be enough deadstare. I’ll try to make a very unique track with rare sounds and of course acid vibes. Maybe its still EDM, but Im pretty sure we can make a good EDM track with a pure oldschool vibe and a unique beat.
GB: What’s up with the baby sounds that come back in several of your tracks?
G: We never talked about this so far, but nothing can make me more angry when I see somebody hurting a baby. I seen a fucking intense video of a mom kicking, hitting, hurting her daughter with things and I was literally in tears. Maybe that’s the deepest reason why I want to grow. I want to show people that kids deserve way more attention and love. Some parents prefer to give them easy distraction instead of talking to them. These things make me angry. We are using baby sounds to give a voice to them in this way.
Maybe some of our fans still think we are just a random project, making stupid ironic shit, but we have some serious messages. I’m not saying I can change the world but maybe I can inspire a few people that understand what we’re about.
GB: Any last thing you want to say to Generation Bass readers for 2017?
G: If you got an unreleased boombahchero track, we would like to hear: [email protected]
Liquorish Records is a forward looking label, curated by DJ and scene builder Oomboi Lauw, who is always a step ahead in signalling what is missing in the music scene, globally but especially in the home city of Amsterdam. Initially this started with creating an outlet for the unique, grime inspired twist on footwork by the Surinamese producer J(ay).A.D. This love for uniqueness and boundary pushing club and bass has grown into an impressive series of EPs and compilations where Amsterdam based talents like J(ay).A.D and Noam Kamal appear alongside international artists from a broad spectrum of scenes and genres.
Usually focused on the higher BPM range, Riddim All Stars dives into the dancehall roots of contemporary club music, with half-time downtempo and mid-tempo riddims that freely blend tresillo patterns with double-time percussive filling and a wide variety of synths and atmospheric effects. Also exciting about this compilation, on the brink of 2017, are the different music scenes and genres from which it brings contributors together. There is ‘avant-garde club’ producer Zgjim from the Angry Youth collective, as well as barefoot pioneer and global bass OG Stereotyp (vienna), Generation Bass afiliated footwork producer Sarantis, dancehall minded UK club innovator Cardinal Sound and dub junglist SeekersInternational and more, all on the same compilation.
I had the honour to spin some tunes together with Zgjim, Zoltan J(ay).A.D and C_DR_C on the release party in Amsterdam last week and especially the brooding, budding scene energy made me realise that if there is any release that gives me a positive insight in the new directions music can take in 2017, it is definitely this one!
Halloween will kick off this year with an unlikely forward looking blend of electrifying EDM and deconstructed dancehall and club vibes, all with a dark twist rooting in the full spectrum of the rock genre.
Monsters On The Horizon, a NYC Collective of Musicians, Artists, and Producers, bringing back the dark vibes. Like reading an H.P. Lovecraft story while UNKLE’s Psyence Fiction plays in the background. These are Remixes of the songs from the FIRST COMING ALBUM by none less than Chooky (Australia), Hataah (Hungary), Ackeejuice Rockers (Italy) and Aluphobia (Hungary). The remixes will drop during the following days.
The monsters are coming…
For who can’t wait, grab The Haunting 95 BPM dembow VIP>> HERE <<already !
Does anyone remember boombahchero, the short-lived microgenre from 2010 that sounds like a Frankensteinian hybrid ‘inverted’ 3ball, moombahton, club and juke? If you haven’t been involved before 2012, don’t feel ashamed if you don’t. When I entered the music scene back in 2013 it had already lost its momentum, with the last release stemming from a year before, delivered by Generation Bass favourite Banginclude.
Now after five long years, in which so much has happened to the music scene, it is almost nostalgically refreshing to hear a sound that reminds so much of the old days, when genres and the surrounding subcultures from all over the world were still excitements in the blogosphere and experimental hybrids could hoover easily between blogosphere inside jokes and overnight virality. Boombahchero, even more than moombahton, is a product of this fun period in the history of the internet.
Enter Dead Stare, the trailblazing Mexican-Hungarian URL duo whose experimentalism was inspired by this period. But they have left the irony behind. Dead Stare’s predilection to blend afro-Latin rhythms with breakcore, techno and energetic bass is far from a joke, it is an expression of the daily struggle against injustice in two different places in the world: DJ Broken Record as a Mexican in the US where the genie of racism and anti-immigrant hatred is summoned out of the bottle by the very man who might be elected into office and Gergö as a cancer and epilepsia patient in a reactionary Hungary where you cannot get proper healthcare if you’re not rich. Even though the technique is the same – editing mid-tempo dembow tunes into a 140 BPM syncopated 3/3 via a secret algorhythm in Ableton – the track selection and the way the mix is built up truly sounds as if, after pupating in a cocoon for five years, boombahchero is no longer a joke. The genre is still recognisable, but has woken up an adult.
After such a long silence, I’ve got to cover more than two months of an ever forward moving music landscape. Therefore a double edition with the most essential and guiding releases, 22 in total. I tried to balance between saving text and doing justice to the music.
If there is anyone I could call my all-time favourite artist, it would be the experimental sound collage artist and inspirational Latinx trans revolutionary Elysia Crampton. She describes her newest album as an epic poem. I had the opportunity seeing it live a couple of months ago at Progress Bar Amsterdam, where Elysia opened the night with a powerful performance, combining music with live recited poetry and engaging visuals of videogame dungeons, technofuturist sci-fi impressions and historical and present recordings of indigenous Bolivian people and their struggle for justice. The poetry, part of the theatre production ‘Dissolution of the Sovereign: A Time Slide into the Future’ paints a post-colonial sci-fi setting in which the citizens of NON have destroyed the oppressive structures of today’s world and have built their own high-technological future, linked back and forth with the queer-indigenous history of Bartolina Sisa, leader of an indigenous uprise in 18th century Bolivia which was brutally knocked down by the colonisers, and her body cut into pieces.
The performance was one of the few times where I had a truly transformative emotional experience on the dance floor (the other times being Kamixlo and Total Freedom). I have no other words for it than crying tears of fire, bringing to the surface resevoirs of emotions and aspects of existence that’d otherwise remain buried under solid rock layers of colonial oppression. The Demon City is the metaphor for the excavation of the voice of dispossessed and queer trans indigenous people and, as Crampton explained in her talks session before the club night, breaking the imposed binaries of identity, to which queer trans people of colour are condemned worldwide. The collaborative project is a defining elaboration of the conceptual ‘severo’ style: “an ongoing process of becoming-with, made possible by the family-networks and communities that have inspired and sustained our survival and collective search for transformative justice.” Contributions are by Why Be, Rabit, Chino Amobi and Lexxi and released on the Break World Records label, which also signed James Ferraro, Goth Money, Sagan Youth, Hot Sugar and Teengirl Fantasy.
The Stockholm based label and collective STAYCORE 117 is a unique initiative, supporting young, innovative minded producers with an intimate, family-like community that is gradually extending, online but especially IRL. ERELITHA is the follow-up of last year’s Summer Jams 2K15 compilation with which the label put itself on the map. As Dinamarca explained to The Fader, instead of the geographically excluding concept of ‘summer’, ERELITHA is thematically built around the concept of capturing lightest possible light. This reflects both in the music, which strongly draws from saccharine bright retro-rave sounds, and in the equally impressive artwork by Jonna Mayer, which transforms a sulfuric surface lake of Titan or Io into a mysterious cotton-candy wonderland.
The compilation involves contributions from Staycore’s core members like Dinamarca, Toxe, Mechatok and Mobilegirl, but also from close affiliates like Zutzut (NAAFI), MM (Her Records), Pininga, RESLA and Oklou (TGAF) – who’s crystalline futuristic dancehall/afrohouse track is my absolute favourite track of the whole compilation! – as well as the (relative) new names jackie and the promising talent Don Sinini.
Over the last year, much has been written already in the major music mags about the mysterious formation made up of LIT INTERNET (Kamchatka, Russia), LIT DAW (Ukraine) and LIT EYNE (Siberia, Russia). They combine net-art flavoured 90s angelic tribal tattoo, stock photo and black metal aesthetics with intense cybernetic-ambient-club music, communicate via the encrypted messenger service Telegram and have never met in person. Very cyberpunk and very post-internet avant-garde. Musically, they occupy the middle ground between the abstract, industrial side of avant-garde club and the more dark melodicness found in the heirs of ambient-trap and witch house. After their debut EP ‘Angelysium’ last year and their follow-ups ‘3000‘ and ‘META‘ (Infinite Machine), they are back now with aNEP on the New York based avant-garde label Purple Tape Pedigree.
WWINGS have found their unique place on the music spectrum. They keep moving forward, but always make sure the combinations are balanced. Between rhythmical and abstract, percussive and melodic, ethereal and dark, experimental and danceable. Chimera is no exception. Perhaps, the word Chimera, which means hybrid, is even symbolic for this persistent, unique duality they incorporate. We’ll never know. They notoriously deny that their music has any rational or even abstractly sensible concept or narrative behind it apart from their inspirations drawn from life in different parts of the post-Soviet part of the world and from life on the internet. Also check out their even fresher release ‘PHOENIXXX‘ (Planet Mu).
It is already a year ago since OnlyNow, an experimental side project of bass alrounder Kush Arora, debuted with one of last year’s most underrated works: a breathtakingly forward looking self-titled EP combining subtly dark, cinematic cyberpunk ambient with organic percussive rhythms derived from African and Afro-diasporic styles like kuduro, tarraxo and gqom. Now, a summer later, he pushes his sound even further with an again self-released EP including a special feature on the music magazine XL8R. On top of the elaborated ethereal and dramatic soundscapes, polyrhythmic percussion patterns and industrial noise, this EP adds a strong melodic element. This makes ‘Hollow’ not just a vivid conceptual submersion into an Octavia Butlerian technofuture that could resemble Elysia Crampton’s, but also incredibly engaging on the emotional level.
There are collaborations that are a very logical result of how scenes and movements develop. Like-minded producers that release on the same labels or have a similar approach to sound. And then there are collaborations that seem to come more or less out of the blue. This joint EP by Mexican experimental and ruidosón OG Siete Catorce and the Hungarian tropicalist Stas is one of the latter category. Even though Siete Catorce seems to be extending his focus towards Europe with an EP via te Porgtuguese global bass imperium Enchufada and Stas has toured Mexico earlier this year together with the Kumbale crew, this collab was not at all obvious. And the not-so-obvious is precisely where the good things happen, because Fata Morgana EP – what’s in a name – is as unexpected as it can possibly get. ‘Fantasma’ is best described as psychedelic DnB, whereas ‘Espejismo’ navigates the middle ground between future bass, avant-garde club and dark trap. And then there is Stas with a recognisably percussive flip of ‘Fantasma’ and Siete Catorce with an even more mystical rework of ‘Espejismo’ that draws in elements of afrohouse, techno, club, cumbia and ambient.
On a side note, it is also interesting to watch the aesthetic development of the Babylon label, which started off pioneering with minimalist lino print style monochrome designs and is exploring a more post-internet leaning style since a year now but in a refreshingly unique way.
Exactly a year ago, the enigmatic but impressively active kuduro channel and label celebrated its first year of existence with a compilation that we also included in our 8th essential roundup. There are many reasons why This Is Kuduro is an incredibly exciting label and an example for what is lacking so often in music in this age of post-bandwagon cyber-deconstructionist grinding mill culture. ‘This is Kuduro’ is extraordinary in its commitment to supporting both continuity in a genre as a consistent genre and at the same time diversifying the sound within the genre instead of recycling one template as well as building a persistent community around a genre from all over the world, smoothly integrating global bass producers with people from the original kurudo scene. On this compilation you hear Nazar’s dark-industrial sound alongside housy grooves from 2Pekes (Portugal) and Neki (Serbia), festival-EDM bangerism from Round2 (USA) and the unmistakably Lisbon batida flavoured beats from Dj KappaJota (Portugal), Dj Mika (Portugal) and EdiCerelac (Portugal).
Where ‘This is Kuduro’ is a beacon of consistence continuity against the relentless grinding mills of internet, KABLAM’s music is cyber-deconstructionism in its most magnificent form. Categorisable, if possible at all, not as club music but rather as experimental electronica or even as avant-garde ‘classical’ music, her soundscapes draw in drums from genres like hardcore, club, baile funk and reggaeton blended with sampled pop and classical references and eery everyday sounds, which together create a throat-gripping cinematic ambient sound collage that is a powerful, confrontational mirror for our times. In this sense, the Swiss, Berlin based sound artist KABLAM can be called the Western counterpart of what WWWINGS do for the post-soviet world, yet employing an even broader range of elements combinations and vibes. And where Elysia Crampton’s collages are outspokenly explicit narratives about the struggle for justice and WWWINGS’ are outspokenly random, KABLAMs approach is somewhat in the middle. While feminist, anti-fascist and anti-capitalist anger about the world’s state of being is always a driving force, in her music it remains implicit and observing, making the listener feel along but on a deep, subconscious level. The title ‘Furiosa’ is illustrative for this: an allusion to the inspiring fearlessness and decisiveness of the protagonist and anti-patriarchy freedom fighter from the ‘Mad Max: Fury Road’ film.
The album mix takes you on a Mad Max-like trip through our own world. Furiosa knows the direction and the mission, you as listener don’t, but you trust her and that takes the fear away.
Pirata 3 is the third in a series that intend to bridge the bleeding edge avant-garde with the known and familiar, in home country Mexico, in Latin America and also worldwide. This translates into the most unreal mashups of reggaeton, pop and baile funk with hard hitting industrial drums, weird sounds and futuristic synths. Next to established NAAFI members like Lao, Paul Marmota and ZutZut, Imaabs and HiedraH Club de Baile’s Tayhana, but also the forward looking duo Santa Muerte, Mexico City cumbiaton OG Dj Bekman, enigmatic avant-club project Traxmatik and the Brazilian trainblazer Pininga, all of whom have worked with NAAFI before and now firmly embedded in Latin America’s most exciting, ever extending club music family.
Metaljackets is the new duo project of urban-eclectic & bass producer INDISA, whom we’ve supported several times during the heydays of moombahton, together with EDM bangerista SVNCHZ. With this debut on Munchi’s Selegna Records label, a label which is selective with its releases, they have aqcuired a solid place in the spotlights. ‘Bulletproof’ marks an important turning point in the relationship between the Dutch urban-eclectic scene, American EDM and the passionate under-stream remnants of the early ’10s global bass scene. Where the loud festival sound pushed by Mad Decent used to be the almost irresistable magnet force for producers in the global bass family of genres, producers are now returning more towards to the sound of the undergrounds beneath the hypes of the bygone years. And the Dutch scene is doing this together with movements from other parts of the world, more integrated than ever before.
In a time where what Metaljackets describe as “pop-bow”, varying from Justin Bieber to Major Lazer to Drake, reigns supreme, and cyber-deconstructions reign the avant-garde, a growing number of producers is gradually moving back to the original genres that have fed into today’s sonic landscape. Don’t mistake this movement for nostalgia or a lack of innovation. On the contrary, by broadening the sound scope while doing justice to the coherence of genres and avoiding homogenisation, much of this sounds refreshingly new. Much of it is still sitting quite close to festival EDM, with the combined explosiveness of DnB and hardstyle accompanying the persistent punching Dutch-kick tresillos, but it is the notable realness breathing through every vibration on this album that makes all difference.
Loyalty XIX, whom I believe is also the owner of the Total Trax label, is a relatively new name and certainly one of the most recognisable pioneers of the avant-garde club movement in Spain. In my experience, one of the characteristic features of the avant-garde club movement, especially when compared to a movement like future-bass/futurebeats, was the tendency towards crude productions, using old vsts that create a subtle retro cyberfuture feeling and DIY/bedroompunk flavoured minimalistic mastering and demo-esque track structures. I must add that this does not at all apply to every artist affiliated to this broad and diverse movement, but on the whole it was characteristic enough to wonder what the industrialistic, cyborgian sound would sound like when combined with the crispy, widely reverbed epicness found in much of the more mainstream corners electronic music. Loyalty XIX’ debut on the Spanish avant-garde label Total Trax is a hint direction. It takes the essence of the cybernetic club formula that has been gradually developing over a long time, but in a way that seems to polish and crystallise it into a blockbusterised version of itself. ‘CELICA’, a reference to the 2006 Toyota sports car as a car to choose in a racing game, is an incredibly powerful experience that, no matter how danceable still, feels like a immersive, haptic gaming experience from beginning to end.
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.
Half a year after the first edition, DJ FASTA’s long awaited second Ultimate Trackpack is up for download!
Fans of the Dutch urban-eclectic sound have already been able to enjoy some of the tracks, pre-released on the producer’s Soundcloud page over the past months. But the Ultimate Trackpack has something everyone: 25 tunes in total, ranging from pumping moombahton to dancehall-club to festival-flavoured afrohouse – remixes as well as original productions, riddims and club tracks as well as songs. DJ FASTA’s remarkable approach to the Dutch urban-eclectic umbrella creates a perfect bridge between vastly different worlds of music: equally mainstream as underground, equally ‘festival’ as ‘club’, equally nostalgic as forward-looking!
BANGANAGANGBANGERS is a Dutch bass-collective, whose Loyalty Lane EP we really enjoyed before. The Tilburg-based group is currently releasing new tracks for their King Abbott EP, which will be released may 26th. The first single, Execute, was featured on Nest HQ and the second track, Ashes, was premiered at Booms and Claps.
Today they’re releasing the third track, Resurrection, and we got the premiere for you!
Resurrection starts with a marching clap, that gets followed by a menacing synth and floating hihats, which will suck you right into the track. When the buildup joins this melody, it will give a juke-like feeling, but when the complete drums kick in, it shows the real energy of this banger. It’s the heavy hitting bass, the sawing synth and the fast drums that make this a typical BANGANA-track.
The Amsterdam based Surinamese experimentalist Jay Raymann, a.k.a. J(ay).A.D. is a sophisticated producer who has been around for fifteen years now and was already pushing vibes like UK bass and baile funk even before we did – in both the Netherlands and Suriname. Since 2011, his musical wanderings have crystallised into the direction taken under the moniker J(ay).A.D., focusing on energetic, uptempo beats & bass with a very personal flavour.
His previous EP ‘Asema‘, leaned heavily on the ethereal grime & avant garde club sound but built on a solid list of previous EPs as well as single releases and edits that encompass the entire spectrum of influences including juke, footwork, grime, jungle DnB, ambient and more.
With ‘Send Off’, teaser for his impending Keti Koti EP, released via music magazine Complex UK, Jay pushes his personalised sound even further into unique territory. The rhytmical groove reminds of jungle or oldschool dubstep, but combined with the futuristic synths, industrial reverb and minimalistic beat-filling it breathes the similar dystopian atmosphere as Rizzla’s ‘Iron Cages EP‘ except in a more desolate way. Listening to ‘Send Off’ feels like being lost in the maze of an abandoned cyberpunk city, just after an apocalyptic event.
>> Keti Koti EP will be out and for sale on the 29th of April <<