Essential EP’s #13

More than 2 full months into 2k17 now and there are still tons of essential releases that cannot be left unblogged on Generation Bass. The stuff that has come out in the last months of 2k16 belong to the year’s best releases and give most insight in where stuff will move towards from now. See this much belated post as a springboard into the music landscape that is taking shape right now.

1. Abyss X Nüshu (Infinite Machine)

Abyss X is my favourite artist at the moment and opening the Pantropical night in Rotterdam with her on the lineup has been the best experience of the year so far. Her intense, confrontational and consciously disorienting approach to music has resulted in two equally groundbreaking releases in 2016. The first, ‘Mouthed‘ was released by last year’s tone setter, Rabit‘s Halcyon Veil, followed about a month later by ‘Nüshu’, on the forward looking Mexican-Canadian label Infinite Machine. In a way only parallelled by Elysia Crampton and very few others, Abyss X evokes a very unique spectrum of emotions and experiences. By fusing elements from ambient, techno, traditional folk, industrial, noise, metal and opera as well as pop references and afro-Latin bass rhythms, she shows a peek into a future after the wave of cybernetic and deconstructed club music as we know it. In this respect, she is definitely one of the most important artists to watch this year.

>> BUY <<

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2. Rui Ho Ru Meng Ling (Genome 6.66 Mbp)

Involved in the Dutch vogue scene as well as in Shanghai’s budding club underground around pioneer tastemaker Tavi Lee (who also made the design) and Berlin Community Radio’s Incubator programme, the Berlin based Chinese producer RUI HO is a known name in many cornerst of the music world. Ru Meng Ling is their first release on the Shanghai based Genome 6.66 Mbp label. ‘Ru Meng Ling’, based on a poem by the influential female Chinese poet Li Qingzhao, articulates non-binary identity in the context of the internet, virtual identity building and Chinese cultural heritage with an energetic blend of distorted polyrhythmic beats, bell percussion and a cyberpunk flavoured high octane drive. Tho complete the EP, Why Be delivers an even rougher remix that zooms in on all the individual elements of the original like a magnifying glass and twists them into a psychedelic, intensified experience.

>> FREE DL <<

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3. TRENDY PACK 1 (TRENDY DECAY)

When this compilation first appeared on my Soundcloud feed, I’d never heard of TRENDY DECAY, a collective created by LUNARIOS, RULES & BOY. Unfortunately, because they’ve been active for a while now, bringing a unique blend of dark, emotional RnB melodies and vocals, deconstructed afro-Latin club rhythms and powerful black metal & gothic aesthetics. Closely involved with the Bala Club crew, where LUNARIOS released the mighty ‘ENTRA EP‘ (another essential release we slept on), this compilation brings together some of the most on point producers of this moment, including Merca Bae, Kamixlo, WWWINGS, Swan Meat, Coucou Chloe and Santa Muerte. Even though they are involved in the new wave club movement and are making deconstructed hybrids of some sort, the sound explored here 1 is notably distinct from the cybernetic club formula. TRENDY PACK 1 sounds like the first in a row of compilations, which I’m convinced will guide the way into the sound of 2k17.

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4. Eaves Verloren (PTP)

One of the most intriguing developments that have occurred in the avant-garde of the new wave club movement is that not just the boundaries between individual genres have become fluid, or the boundaries between umbrella categories such as ‘electronic’, ‘club’ or ‘experimental’ music, but even the boundaries between the ultimate decried conservatory binary of ‘light music’ and ‘modern classical music’. This scene has been bringing together sounds from worldwide local club undergrounds or from bedroom rappers and producers, to be experienced in clubs or via cellphone speakers, with conceptual, experimental audio art, suitable for classical concert halls. This materialisation of Adam Harper’s vision outlined in his fundamental work ‘Infinite Music: Imagining the Next Milennium of Human Music Making‘ has confronted us as a blog with a number of fundamental questions. What are the criteria we use to select music? What is the meaning of terms such as ‘club’, ‘bass’, ‘dance’, ‘global’ etc.? Isn’t finding our way through our existence in the context of accelerating technology and the corresponding social, political and cultural circumstances not what binds music together across all the different areas where music is being pushed forward?

Strikingly, Eaves’ background reflection to his album, or in fact, full blown classical concert piece –  “if reality mimics our ominous, fictional projections of the future, it’s clear that our current systems aren’t resisting as much as they should be” – comes strikingly close to the description of my own mixtape, published almost two years ago now. Apparently, the line from underground dance music expressions from different corners of the world, cybernetic club deconstruction and conceptual sound compositions destined to shake up the modern-classical world is a very obvious one. This is strikingly visible in Eaves’ own work. While conceptual and experimental from the start, it leaned towards clubbier vibes on the EP ‘HUE‘, moving a more into more abstract territory on ‘GORILLA‘ while reaching full abstract epiphany with ‘Verloren’. ‘Verloren’ (German/Dutch for ‘Lost’) is an overwhelming, emotionally exhausting journey that moves through desolate, ruined worlds, painted with layers of wide ambient scapes, fragile melodies, menacing bass sounds, explosive abstract beats, haunting vocal samples and transcendental choir chants. Together with the work of musicians like Chino Amobi or Elysia Crampton, I am convinced that ‘Verloren’ will be looked back at as the most essential music created in our times.

>> BUY HERE <<

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5. Swan Meat Bounty (PERMALINK)

Like Eaves, many more producers are on the same road of experimental club abstraction and cyber deconstruction towards conceptual sound art, each in their own way. Swan Meat is one of the most promising examples. It is remarkable how quickly, and seemingly out of the blue, new talents can appear into view. When I heard her set at c a r e #4 I was completely overwhelmed. Her relentless, complex blend of menacing atmospheres, warped pop references, poetic vocals straight out of the uncanny valley, abstract hardcore inspired beats, and the raging energy of metal, keeps intriguing, constantly switching between minimalism and maximalism, abstraction and rhythmical groove.

After a number of promising mixtapes and tracks on compilations for platforms including Classical Trax‘ side-label  JEROME, Shanghai’s Genome 6.66 Mbp and the activist initiative Co-Op, Bounty is her official debut, released via the Paris based avant-garde multimedia platform Permalink and premiered via Thump. She told Thump, about the background leading up to the EP. ‘Bounty’, which deals with issues of embodyment, is the condensation of the alternate forms of embodyment in poetry and sound that helped the producer climb out of her struggle with bulimia nervosa. Her characteristic sound, created with self-build plugins and game samples, is accompanied by a gripping design from the Hungarian forward looking art genius Gergö Kovacs.

>> BUY HERE <<

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6. Superfície Hélices (SALVIATEK)

The Uruguayan SALVIATEK label, started by Lechuga Zafiro & Pobvio, keeps occupying a peculiar space on the map of interconnected music scenes. They are operating mostly in the corner of the new wave club avant-garde, yet their sound is refreshingly different than most of what’s going around in that scene. The rhythmical structures are percussive, less abstract polyrhythms and seem much more focused on reinterpreting indigenous and Afro-Uruguayan heritage than on deconstruction and abstraction. Yet, where the South American part of the old global bass movement, think about labels as ZZK or Frente Bolivarista, is commonly characterised by a romantic representation of nature and ancestrality, reflected in organically flavoured (pseudo)acoustic sounds, SALVIATEK is the exact opposite. Somewhat resembling the philosophies of Eco Futurism Corp or Xenopunk, SALVIATEK’s vision is about breaking down the binary between nature and technology. In their own words:

“What happens when an AI learns from nature and decides to imitate it in order to survive? In a probable future, the limit between nature and technology is no longer definable. CPU’s control the jungle, birds are cameras and roots are circuits. The world has been taken by the technologic jungle and this system dominate all other species, including humans. By night, when the Salviatek flows in the techno-organisms and metallic chlorophyl does the audio-synthesis, the survivors dance to this biorhythms from their underground hiding.”

‘Hélices’ is the debut of SALVIATEK’s freshest addition, the Brazilian avant-garde producer Superfície, whose minimalistic, percussive ambient style is created from abstracted rhythmical structures of genres like baile funk, vogue and dembow. With these elements, ‘Hélices’ paints conceptual, sci-fi ambiances that bring to mind images of complex, artificial lifeforms, digitised indigenous knowledge and the diffusion of high-tech beyond the asphalted road network. The EP is completed by two more energetic, club-ready remixes by foozool and umurmurum.

>> BUY <<

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7. Bison & Squareffekt Distant Planets (Rimas e Batidas)

Last month, the ‘future tarraxo‘ microgenre tured 3 years of age. Evolving mainly out of Bison‘s mellow, melodic approach to the tarraxinha genre, it took off full force with ‘Odyssey of the Mind‘, in my view the best thing ever released on our own Generation Bass label, where Bison teamed up with Miguel Afonso a.k.a. Squareffekt. It would be the beginning of a successful formula, pushed by influential platforms like Enchufada, Thump and Boiler Room.

Coming out of a period of silence and reorientation, they are working on a substantial comeback this year, finding themselves in a thoroughly post-global bass world, where both sci-fi sounds and afrodiasporic rhythms reign supreme in both avant-garde and mainstream, but where most pre-2015-style microgenres have evaporated into the digital air. ‘Distant Planets’, casually referring to the frequent popular excitement about NASA’s discovery of new exoplanets, is their first release that is entirely uptempo. The 2-track mini-EP still carries the characteristic 80s space-age melancholy that made them unique, yet with a more energetic, even heavy undertone. ‘Cosmic Fellings’ is a destructive afrohouse track, keeping ambiguous whether ‘fellings’ refers to natural processes or to the ruination by humans or other intelligent civilisations. ‘Distant Planets’ is a Mexican-style 3ball tune that brings out the desolate dramatism and gripping coldness of outer space worlds. With astroid mining and a new space era gradually unfolding in the course of this century, I view the EP as a commentary on the issues of exploration and colonial destruction translated to the context of space travel. Political space music for the 21st century.

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8. Club Chai Vol. 1 (CLUB CHAI)

Club Chai is an Oakland based initiative by foozool and 8ULENTINA, with a recurring party and a show on London’s influential Radar Radio, focused on diasporic narratives, women and trans artists, DJs and producers. Their blend of mainly RnB, dancehall, club sounds in the broadest sense and non-Western pop and traditional music, pushed on the club nights and in the shows has now resulted into the first, exciting compilation that brings together artists from many different corners of the music scene, including Generation Bass’ cumbia favourite Turbo Sonidero, SALVIATEK’s Lechuga Zafiro, Manchester’s DJ Florentino and Bala Club affiliate Organ Tapes, alongside many other artists worth checking out, never before blogged on Generation Bass such as The Creatrix. Musically too, the spectrum covered on this compilation goes way beyond what’s usually seen in the club avant-garde, extending into salsa, techno and acoustic guitar songs. This refreshing diversity combined with cultural and political substance makes Club Chai a very important frontrunner for 2017.

>> FREE DL <<

9. GIL Orchids & Wasps (Danse Noire)

I’ve been a fan of both GIL’s energetic dancehall, kizomba & dembow inflused club tracks and Aisha Devi‘s Danse Noire label, where I heard eye-opening dark flavoured experimental blends of abstract industrial, hardcore, grime & ambient for the first time. Coming from a sound that could come surprisingly close to global bass, GIL has notably moved towards darker experimental sound in his more recent productions. This exploration is now crowned with a release on Danse Noire. ‘Orchids and Wasps’ combines relentless distorted drums, noisy dystopian soundscapes and haunting vocal samples, with GIL’s passion for afro-latin club flavours and polyrhythms.

>> BUY HERE <<

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10. ZRD XX (Bio Future Laboratory)

I’ve been following Eco Futurism Corp for quite a while already, and even thoughI never came so far to blog any of it here on Generation Bass, I’m really stoked about ever more artists emerging from this movement such as Tropical Interface, SHYQA, HERBARIUM and now ZRDZM (ZRD) who debuted via Eco Futurism Corp subsidiary Bio Future Laboratory. Especially with the rise of cosmic horror aesthetics, this EP is fundamental. ‘XX’ touches upon many crucial aspects of today’s exponential age, from immortality and artificial life to high-energy experimental physics as well as the Lovecraftian horroresque awe that surround these matters. ZRDZM’s style is best placed in the conceptual sci-fi ambient corner, with long stretched soundscapes, thoroughly abstracted, suggestive rhythmical elements and lots of cinematic samples that construct a lively, almost interactive videogame-like experience. And the worlds painted are as dark, alienating and overwhelming as the future we may have ahead.

>> FREE DL <<

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11. OO-B ÁFRICA, ENCANTADA

Together with Abyss X, the Montpellier based producer OO-B is one of the most unique artists I’ve got to know lately. A producer and rapper with a background in grime, he stands out, both sound-wise and aesthetically, from most of what’s going on in the scenes working with forward-looking club and bass music. Where most of his older work is clearly grime, with ‘África, encantada’ (Spanish for: “Africa, nice to meet you” as well as “enchanted Africa”), he moves into experimental club & music, which seems to draw from genres including grime, vogue, afrohouse, kizomba, deep ambient, new wave club and hiphop, yet it doesn’t sound at all like the sounds going around in either the new wave club or the global bass related scenes. The sound is melodic, melancholic, percussive and somewhat mysterious, yet fascinatingly uncategorisable on any possible level. With this self-released EP, OO-B shows that it is still possible to make music independently of dominant movements, approaches and formulas.

>> FREE DL VIA SOUNDCLOUD <<

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12. Katasonix (0)

From the depths of the internet, where meme charming chaos magicians and occult cyber clairvoyants are initiated in the secret principles behind the forces that govern our information based reality, hails the enigmatic soundcloud channel Katasonix, named after Kode9‘s first label name. The Kode9 reference goes further, especially his involvement with the with Nick Land’s mysterious Cybernetic Culture Research Unit, as the title names are all drawn from ccru’s Pandemonium.

The tracks themselves are complex patterns, constructed from analog synth recordings, that sound like a language. They leave the gut feeling that they carry a hidden message to decipher. I leave the interpretation to the listener. Yet I am convinced that this whole new way of treating patterns in sound, free from intuitively human ways of processing music, while intriguing enough to listen and enjoy, will open many new oportunities for music making in the near future.

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Kicking Off 2017 With The New Dark Generation

2017 will see a rise of Lovecraftian, cosmic horroresque aesthetics

2016 slipped away without a spotlight for a development in music that has come into full force over the course of this year, completely out of view of most blogs and music magazines, even independently of the internet avant-garde’s metal fetish. It is one of the most successful stories of how a music movement can be assembled from different genres and musical backgrounds. Meet the new dark generation.

I’m calling it a generation rather than a movement or a scene because not all of the artists are necessarily connected or would recognise each other as part of the same thing. Rather there are smaller groups and scenes, probably more than there are on my radar right now, that are making forward looking, multi-genre music with a dark twist. With the facebook group Dark Electronic Music, I’ve tried to tie all of these small movements together and to some extent this was successful, but still far from where I’d hope it will move. But all of these movements and scenes have grown and diversified this year and that is something which can never deserve enough support.

Some household names and some new names to support. Also I lost a bit sight on the techno, hardcore and industrial side of things, so that’ll be saved for next time.

1. Hexx 9 records (label)

Of all the labels and collectives out there, few embody what I call the ‘new dark generation’ as on point as the New York based trailblazers of Hexx 9. Born out of the post-witchouse movement, they have released next generation gothic music on the interface of witch house, industrial, ritual ambient, drone, noise rave, dub, trap and more. Even Abu Ama‘s Arabic ambient dub tarraxo has found a warm home at the label.

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2. 209 SINS

With separate projects known under different pseudonyms, 209 SINS is one of the most consistently active Soundclouders, combining repost selections with own productions and mixtapes: れモモ刀下∨ㄥ 匕卄丹れム乙 for vocal hiphop, ᴆ ᴀ ᵛ ᴵ ᴆ † ᴌᴬ ᴮ 0 ᵙ ℜ for hard-hitting industrial DnB rave crossovers, Philip K. Decker for cinematic ambient influenced instrumental tracks and yunΠg≠wellbutriΠ for mixtapes.

209 SINS recent selector’s choice of industrial bass rave mixtapes

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3. ßęđŧīmĕ Šŧōŗĩėş

We’ve supported the Paris based prodigy ßęđŧīmĕ Šŧōŗĩėş and his alter-project Shinji (now [lyn]) several times before on the blog, but 2016 was the year where he put himself on the map, both with his two artistic projects and with his avant-witchhouse Facebook channel U+06e9. An autodidact classical singer, electronic producer and improvisationalist, bedtime stories’ has developed an impressively unique style, individually, without following any trend. Although he calls it ‘classical witch’, the sound transcends the witch house genre in every possible aspect, while its relation to classical music is even more intriguing. ßęđŧīmĕ Šŧōŗĩėş is a neoromantic, early-classical punk, reclaiming the sound and aesthetics of thoroughly elite, institutionalised entities as a tool for improvisational self-expression.

I’m looking forward to what 2017 will bring. Yet for now, ‘Gaia’ (Hexx 9, September 2016) is ßęđŧīmĕ Šŧōŗĩėş’ defining release.

>> BUY IT HERE <<

Ģăīă was a project created by an unknown entity, a creature able to bend the nature of things and able to change reality by interacting with dreaming people. Ģăīă was able to save lives, but playing with human psyche is not without consequences, and most of the dreamers died. Only a few stayed alive, connecting with nature to transfer the energy of the entity into the lands. Now, Ģăīă is all around us and influence our reality, but maybe this reality is just a lng dream orchestrated by Ģăīă itself.

One of the exiting aspects of ßęđŧīmĕ Šŧōŗĩėş is that he knows how to deconstruct his own sound, combining elements of it such as the gothic opera singing, with vastly different vibes such as this industrial, rhythmic ambient track collab with Achromatic Residue.

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4. Volkanos

Another very active producer and scene pusher involved in blending witch house elements with industrial ritual ambient music is Volkanos from Denver, U.S. Involved with the Hexx 9 label as well as the dark experimental techno label Tenebrous Music. Grown up in a family involved with Wicca and Shamanism, Volkanos always had a vision of fusing music with symbolism, mythology and ritual choreography. Expect a more in-depth interview soon on the blog!

https://soundcloud.com/v0lkanos/dethrite-valley-of-misery-volkanos-x-andrvj

Volkanos’ style: suggestive horroresque soundscapes, blended with organic percussion and witch house flavoured rave synths

https://soundcloud.com/v0lkanos/all-souls-mixtape

The All Souls mixtape which came out around halloween is one of my favourite mixes of 2k16, particularly because Volkanos, next to myself, is one of the only artists in the world fusing witch house, dark techno and 209 sins style industrial bass music with the dark flavoured side of ‘avant garde club’

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5. Young Yogi

Supported several times before, Young Yogi, alter-project of GAMEFACE, is paving the way ahead of the dark trap microgenre which GAMEFACE has been building for about two years now, steering away from sounds of EDM trap as well as from post-internet cloud trap into a more unique and conceptual direction. Young Yogi’s sound combines the explosive tension and monstruous 808 bass of the new dark wave of cloud trap and with psychedelic uplifting melodies and cyber-utopian mystical thematics.

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7. SADWRIST

Mad genius of the witch house scene, playing with thematics and imagery sometimes too gruesome for even me to share. When he disappeared from all his social media platforms at some point last year I, and probably more with me, was honestly worried he’d put an end to his life. But he came back and has been uploading so much fire lately, venturing from his already rough and eclectic twist on witch house further  into noise, breakcore, hardcore, dark trap and black metal.

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8. RARE AKUMA

Especially Sadwrist’s more trap leaning work would probably fit the new #RAGECORE genre, created by the Antwerp based beatmaker Rare Akuma. Pushing a blend that is sitting somewhere in between drill, deathstep and metal, Rare Akuma bridges the worlds of hiphop, loud bass music and the rise of metal in the electronic avant-garde.

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9. ATILLA THE HVN & NOIRE ANTIDOTE †

The witch house scene in the Netherlands is small and fragmented. The people that make it are not really connected into one scene. In fact, there isn’t really a scene at all. The genre is just getting a bit more known over here only recently (then I’m not talking about Crystal Castles) among the new generation of dark-alternative leaning fans who can nowadays listen to anything from vaporwave or sad rap to anime music or whatever edgy genre the internet has spit out over the last years. Producers are a different story. With Atilla The Hvn and Noire Antidote there are two great forward looking examples, one coming (as far as I can tell) from industrial techno, the other (alter-project of Benjamin’s Plague) coming from the cybergoth-industrial scene.

From Tilburg, home base of Generation Bass, Atilla the Hvn seemed to come out of the blue when I first discovered him last year, but apparently he has not only been experimenting with witch house for more than two years, has a solid following and is well connected in different forward looking corners of music. If I may bet on any producer from the Netherlands to rise to greater heights in 2017, Atilla The Hvn is the one.

Dark melancholic trance & hardcore beautifully blended and distorted into a powerful emotional rave flavoured soundscape.

I’ve known the guy behind Noire Antidote for a while (never met him in person tho) because of my occasional adventures in the industrial scene and how much I like dark electro, I was even happier to find out that within the remnants of the gothic scene at large, there is interest in witch house as a direction to go into. Not that I have anything particular against industrial hardcore or psytrance, but with self-proclaimed scene destroyer DJ Krat (industrial hardcore/rhythmic noise), the psy/goa scene or wallowing in German festival nostalgia as the only three options, witch house was never embraced by the gothic scene in the Netherlands so far. In 2017, things have changed. Whether it makes sense or not to still talk about a gothic scene is irrelevant. Noire Antidote is making great music and actively reaches out to crowds with livesets on industrial minded festivals, without the need for a witch house scene.

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10. The Enigma TNG

Back in the days I’ve suppored The Enigma TNG, still one of my all-time favourite producers, as an example of what an eclectic, multi-genre cyberpunk flavoured dark music future could look like. Almost two years later, he is still going strong, consistent pushing and developing his unique style. And where back then, he was a solitary pioneer with a solid following mainly in the world of cybergoth-electro and alternative electrostep, today his sound, involving elements of metal and cinematic epic orchestral music, is being mentioned as an inspiration for the direction in which the club avant-garde will be moving in 2017.

His newest album, ‘Midnight’, came out in October last year.

>> BUY ON BANDCAMP <<

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11. Toxic Embryo

Upcoming live electronic formation and enfant terrible of the dark-alternative scene in the Netherlands. Drawing inspiration from sources like Babymetal, BOTDF, anime music and nightcore, Toxic Embryo’s twist on dark electropop possesses the same post-ironic DIY edge as PC Music’s bubblegum rave or Elysia Crampton’s conscious use of cartoonish horror elements and recontextualised pop sentimentality. The nostalgic, trancy neo-rave melodies and anime-esque adventure lyrics combined with campy cyberpunk aesthetics will leave the traditional electropop fan in utter confusion whether this is a joke or truly garbage. Yet at the same time, this androgynous blend of hyperpop and angelwave, fused with metal, hardcore, trance, rap and live performance is exactly where the avant-garde of internet culture will be moving in 2017.

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

forestmetal

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

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

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

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

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

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

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

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

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

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

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

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

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

Dead Stare x Wost – Brinquen

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

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

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

GB: Cross Club?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Monsters on the Horizon

monstersonthehorizon

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 !

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Bęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ EP [Witch House + Classical Music]

AlmightyDeities

No genre is absolute any more. Was 2015 the year where genres definitively died, 2016 is the year in which even overarching categories of music such as ‘club’, ‘dance’, ‘bass’, ‘avant-garde’ or ‘band music’ are gradually becoming meaningless. Even the rusty bastion of classical music is no longer able to isolate itself from the creative promiscuity of the forward-looking underground. We’ve seen this in the avant-garde club movement but there is more out there. Like ßęđŧīmĕ Šŧōŗĩėş, who not just uses or ‘seasons’ classical music, but actually IS classical music in its own right.

The remarkably unique music project is the new creation of the Paris-based musical misfit prodigy whom we supported before under his previous moniker Shinji. Where Shinji was energetic experimental dance and bass music for gothic minded clubbers, ßęđŧīmĕ Šŧōŗĩėş is most accurately described as lullabies for young adults with wounded souls. This sounds as dark as it is tender, emotional and strangely comforting.

The heartbreaking emotional soundscapes, built up from cinematic orchestral strings, introspective French romantic piano music, occasional drums, ethereal sound effects and noise, are, above everything else, impressively honest. Confrontational instead of escapist, but confrontational in a deeply compassionate way. ßęđŧīmĕ Šŧōŗĩėş doesn’t present the world as any better than it is, but beholds it in silence, standing powerless on the shore of an ocean of horrific magnificence. This intense, desolate intimacy pierces through into our deepest fear of cosmic insignificance, and that makes this music so cathartic and universal.

But just as unique as the sound is the way sound art is combined with vocals from the producer himself, singing in quasi-classical style, often using falsetto. His voice sounds ethereal and eerily angelic, like the wandering ghost of a dead church choir boy singing mournful, lyricless laments.

‘Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ’ was released a month ago as a single track, accompanied by poem about the inevitable perishableness of sparks of joy.

Quand les anges s’évanouissent
Que les enfers se réjouissent
Les dieux dans l’amour s’épanouissent
Et de leurs baisers des lumières jaillissent
Et soudain en un instant s’évanouissent
Les fastes d’un bonheur, d’un délice
Lorsque s’enfuit l’infini

When angels vanish
And the hells rejoice
Gods, in love, bloom
And from their kisses lights do spring
And suddenly vanish, in an instant
The splendors of a joyful flare, of a delight
When infinity flees

After a couple of reviews and blogposts, ‘Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ’ became ßęđŧīmĕ Šŧōŗĩėş‘ best listened track so far. This spontaneously resulted in a remix EP, with six remixes from various producers, especially from the witch house scene, where the producer is most involved. Where the original leans very much to the classical side, economical with drums and synths, the remixers bring in heavier and more rhythmic sounds. Most standing out are the subtle cinematic noise remix by witch-horror-noise experimentalist W H I † E, SEMICOLOŊ‘s two deliciously percussive psychedelic chill remixes and the avant-garde club flavoured “witch-grime” vibes from M-UGGR333.

Tracklist:

  1. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (W H I † E remix)
  2. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (BL▲K.:P▲N3L:.SKR↑P† remix)
  3. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (SEMICOLOŊ remix 1)
  4. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (Original mix)
  5. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (ΛΛ4Я4ZΛΛ remix)
  6. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (SEMICOLOŊ remix 2)
  7. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (M-UGGR333 remix)
  8. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (Live mix)
  9. ßęđŧīmĕ Šŧōŗĩėş – Āłmįģħŧŷ Đęįŧįęŝ Kįŝŝįŋģ (Achromatic Residue remix)

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What to Expect in 2016? [MEGA POST]

2016Gate

Leaving 2015 behind it is time to do make some first predictions about what we can expect in the coming year. Last year we saw the massive breakhroughs of some people both under and outside the radar of Generation Bass, such as Nidia Minaj, Kamixlo, ANGEL-HO and Santa Muerte. All artists who demonstrate how the underground club scene has become the new centre of gravity for music and how the rebirth of culture from the perspectives and identities of people neglected by the dominant narratives in Western culture, has become the most essential themes. In 2016 these trends will certainly continue and will mutate into new directions. Which ones are not clear to tell yet, but there are some questions that may hint at the possible futures that may give some clues.

(SCROLL DOWN FOR THE LIST OF ARTISTS WHOM I THINK WILL MOST PROBABLY BREAK THROUGH INTO THE SPOTLIGHTS THIS YEAR!)

What will happen to the club trax underground community once its own sucess definitively throws it into the (semi-)mainstream, with its dilemmas around commerce, ethics and ego’s?

We’ve seen this with many other movements once they become popular. Almost certainly will there be copycats at some point who try to benefit from the success formula, with as little dedication as possible. How will this stuff be marketed to larger audiences, and which audiences exactly? What will this do with the high ethical standards concerning race, class and gender which have been unquestionably respected in this scene so far. All these questions we’ve been confronted with before in our history, as the global bass underground was undergoing a similar phase, splitting off into Mad Decent and its following on the one side and.. well.. some small, non-commercial snippets of underground who survived on the other side, including ourselves.

What will happen to the ‘dark turn’ in genres like trap, dancehall or even more importantly, in the club avant-garde?

More importantly, will it really ‘merge’ with the innovations in dark music like crossbreed, rhythmic noise or abrasive ritual ambient techno? Until now there’s only a negligible fraction of the two sides scene really ‘coming together’, either in online groups or with IRL events (I’ll be playing a set of dark industrial flavoured trap & global bass and avant-garde club at a kinky dungeon night this month, magnet for the post-goth alternative scene, and I’m really curious how it will be received!)

https://soundcloud.com/v0lkanos/untitled-ii-volkanos-vs-crpt

A collab from three absolutely essential names from the new dark generation you need to check out: Volkanos (USA), |CRPT| (Poland) & TRNAH (Poland) !

Even genres as close sound-wise as witchhouse, trillwave, dark trap and dark/agressive subgenres of hiphop share little fanbase or producer-base. Now the boundaries between original genres and subcultures have effectively eroded, what WILL be the new lines dividing scenes and cultural expressions in the coming year? That immediately leads to the next question..

How will the culture-wars develop this year and what will that mean for music?

If one thing is clear from last year, the culture wars have just started yet. Online underground scenes, in almost any field like gaming, tech or fashion blogging, have now been acquainted with the critical call for more diversity and inclusiveness for people of colour, women and LGBTQ people and have witnessed the unfolding of a ever more heated debate between cultural critics, mocked as ‘Social Justice Warriors’, and their opponents, ‘Free Speech Bigots’, who want to maintain their privileged status-quo with an appeal to free expression. This debate has started to surface ever more into mainstream politics, and with the unstoppable impact of the internet and online underground cultures, I expect this to sore to full-blown heights this year. My expectations are bleak. What will happen if the mainstream political spectrum definitively diverges into Tumblr’s mercilessly militant cultural Marxism and 4Chan’s evil anarcho-nihilist glorification of everything we know to be evil, including racism, sexism and LGTBQ-phobia as the ultimate mark of true rebellion. How will this affect avant-garde music, an alternative cultural area in which sharing revolutionary political ideas is bread and butter? The dark-industrial sound and aesthetic is one that can readily be adopted by either camp and in fact already has been.

EDM is dead, but why does psychedelic rave culture still seem to be boiling in the underground in many places of the world, waiting to have its moment?

Something less bleak but still relevant. Since about 2014, I have witnessed the popularity of deephouse in the US and techno in Europe as a clear response to the loud ‘bass-drop-gasm’ formula of festival EDM. Especially in the case of techno, it was the air of exclusiveness and status-boosting elitism that fueled the magic. Once it reached a critical mass, it really took off in the course of several months, with copycat-techno raves mushrooming everywhere. And with the growing mainstream attention for a concept like Burning Man in 2014, I would have bet a fortune on my prediction of a sudden explosion of a Burning Man-inspired crossover mainstream movement in which techno-hipsters could readily take a ‘next step’ into psychedelics, neo-hippie culture, transhuman-futurist philosophy and a crossover of deep techno, psytrance and potentially supplemented with psychedelic bass music, electrofolklore or transhumanistically flavoured post-vaporwave. But, guess what, nothing of that did happen. On the contrary, Burning Man was loudly declared dead this year and an important initiative to denounce the festival and it’s culture as pseudo-open, culturally insensitive, privileged snobbery came precisely from the club underground. Burning Man may have lost its magic, but psychedelic rave culture still seems to be strong and growing in many new places like Brazil and Mexico. Could it still become a potential new centre of gravity for music to move towards?

Future bass producers like R23X blend elements together like ‘deep’, the ‘dub’, the ‘tech’, the ‘trill’, the ‘wave’, the ‘tresillo’, the ‘dream’, the ‘vapor’ and the ‘psychedelic’ into something from another dimension

What will happen to Middle Eastern electronic music?

Back in the days, every newly hyped genre was immediately incorporated into the broader movement of ‘tropical bass’ and that in turn into ‘festival EDM’. Now since there was no strong ‘centre of gravity’ any more in 2015, all the amazing Middle Eastern electronic music that we have pushed passionately this year with artists such as Deena Abdelwahed, 8ULENTINA, Dj Haram, Mutamassik, C Production and Streamer and genres like shamstep, arabtronix and desertwave, remained kind of on their own. Not that this heavy incorporation was always a good thing, not at all, it usually squeezed a genre into a prefabricated direction before the producers could even get the deserved recognition for what they had created. 8ULENTINA, Dj Haram and now also Deena are solidly part of the new club movement, but that doesn’t obviously go for all the Middle Eastern electronic music that we’re interested in at Generation Bass.

https://soundcloud.com/habibiboi/w-lil-ceaser

HABIBIBOI, an upcoming name in the club trax underground who is weaving Arabic elements into club music

Are there still any ignored underground scenes left, or have new ones emerged while we weren’t looking?

The question which new ‘centres of gravity’ will be of influence this coming year will not only influence Middle Eastern electronic genres but in fact any new genre or micro-movement that comes under the attention of the blogo- and Facebookgroup-sphere. But then the obvious question is, after half a decade of introducing new genres from all over the world: are there still any such underexposed  sounds left anywhere? Has the internet perhaps made the formation of new local undergrounds impossible?

I am cautious to use the word ‘discover’ for the obvious appropriator-colonialist attitude that comes with it and I definitely don’t approve of that. Yet I think that the way Generation Bass has been an integral factor in many scenes in the past locally and globally, especially in countries like Chile, Mexico and Brazil is very valuable. Could there still a future for Generation Bass in this role for new movements and genres? I think the answer is and should ‘yes’. I spoke to Munchi lately and he told me that the entire internet has been sleeping on very interesting things going on in Puerto Rico’s reggaeton underground that have already started to fade away due to the lack of interest. It’s a shame because this is what Generation Bass has been created for down to the essence. We’ll keep you updated!

What will the urban-eclectic scene do now EDM is dead?

We all know the histoy: music today would not be what it is without the urban eclectic scene in the Netherlands, which started with the Antillean bubbling movement, where DJs started remixing dance tracks, which grew into a vivid crossover scene of electronic music blended with Afro-Caribbean styles like dancehall and reggaeton as well as hiphop and R&B which is much broader than ‘Dutch house’, the main sound that it produced. The multi-culturally driven scene scene effortlessly incorporated new genres like kuduro, azonto, kizomba, went through a latinhouse period and is now all about the new wave of afrohouse, without any ‘help’ from the blogosphere at all. Lately though, sadly enough, the lure of the Major Lazer’s bro-ified formula, which has turned acts like Boaz van de Beatz and Shaun D into semi-superstars, has had a big influence. But that whole magic will quickly die out this year if it hasn’t already. But then, what will be the next centre of gravity for this unique scene?

Grime, once kind of an obscure hobby in the Netherlands for alternative hiphop and UK bass fans, is having its moment in Amsterdam right now. This may perhaps, in the long run, pull the broader Dutch scene towards the club trax movement… but that is still far away, even as the club underground is making its first entrance into the Netherlands right now (HERE & HERE!). A more likely guess is that the scene could first transform itself into a reinvented version of the ‘tropical’ movement. The paradox with todays internet culture is that something seemingly worn out online can still be fresh and new for other crowds. True, ‘música tropical’ is a traditional synonym for Afro-Caribbean music in many parts of Latin America and it will probably stay that way, but in Europe it used to be a gimmick umbrella concept to combine Afro-Latin styles and brand them to hipster crowds as an exotic curiosity. A couple of years ago, the concept had its moment of high expectations and then sank away into the abyss of things passing by also on Generation Bass. But right now it seems to be making a comeback and this time free from the EDM hype machine, being more the truly harmonious fusion of electronic sounds with Afro-Latin genres in the way the Dutch scene has already been since the beginning. Much of the sounds from the tropical movement like moombahton and zouk bass have firmly found their way into the Netherlands by now, turning it into something much more authentic and permanent. My guess is you’ll definitely hear more about this ‘tropical 2.0’ this year, especially if you’re in Europe and are following KUDDEDIEREN (if you weren’t yet, you should be now). More info will follow soon!

https://soundcloud.com/lesrowness/les-rowness-azucar-part-1

Les Rowness brings the contemporary sound of the urban-eclectic scene and shows how small the distance has become with what blog readers know as ‘global/tropical bass’

Where is the all the live electronic music actually?

Last spring, I was absolutely convinced that 2015 would be the year to say goodbye to not just the EDM industry but DJing as a whole. After all, producers making the tracks and DJ’s playing them on the dance floor is something that seemed to have reached its absolute dead-end with EDM’s superstar-DJs. I expected to see all kinds of different ways of electronic music, especially live bands. The underground club trax movement’s allergy against big entertainment the appreciation of producer-DJs as conceptual artists and storytellers rather than celebrities is certainly a counter-reaction. But the ‘back to the basics of club culture’ attitude still isn’t a true break away from the DJ-formula. Of course there are many new electronic bands pioneering right now but then I don’t have the feeling that they’re getting the amount of attention and recognition as I hoped they would. It may also be that it’s just ME not having my eyes open enough but I hope to see electronic bands get back to the centre of attention again in 2016. This is what I came across in the area of live electronica towards the end of last year and it’s making me very excited for the future!

Batobe and Pocket Knife Army, two upcoming bands from my own city, don’t sleep on them

Appeared earlier on the blog but I can’t repeat it enough, Bedtime Stories (alter ego of Shinji) is an extraordinary, completely independent musician with a style unlike anything else, blending the neo-dark classical touch of legends like Venetian snares with introspective gothic ambient wave into an intense, despairing yet angelic well of emotion.. all recorded and performed live

Featured earlier in the Afrofuturism Festival series where I witnessed her performances live, Camae Defstar a.k.a. Moor Mother Goddess is an artist whom I should have included in the list below because she is not only a magnificent live electronic artist and but also somebody who I think is on the brink of being lifted into the spotlights of the big forward looking music magazines, her recent interview in THE FADER is only the beginning

And.. finally, of course, which specific artists do we need to keep an eye on this year?

This was perhaps the hardest part of the post because I have my own focus and am not aware of everybody in the reach of Generation Bass who may nevertheless do big things this year. Even within my focus scenes combined, there are many more promising upcoming artists than could be included here. Also, there is a big difference between people whom I might personally HOPE to break through and whom I EXPECT that will do so. I tried my best to balance it out but couldn’t escape my disproportional focus on the club avant-garde. But don’t worry, the focus will broaden this year. The dark underground series will finally be launched, with extra attention for the comeback of witchhouse, and I’ll hopefully be able to keep you updated about the Dutch urban-eclectic and new tropical scene, pay massive attention to electronic bands and solo live acts in as many genres and scenes as possible and will also try to actively promote a future generation of psychedelic/transdimensional music.

Sounds like a lot huh? You’ll hear from us!

1. GAIKA (LONDON)

If there is one artist that I’m 100% sure will make it big from virtually out of nowhere in the same way as KAMIXLO, ANGEL-HO or Chino Amobi did last year is GAIKA, a multi-talented producer, vocalist, songwriter and visual artist from London. Not surprisingly he is also afiliated with the NON label, which will certainly stay one of the most influential labels in 2015. DAZED recently described his unique style as a blend of grime, dancehall, garage, hiphop and R&B with a gothic touch. What makes him particularly unique is that he is with one leg in the club avant-garde scene but at the same time delivers a live stage act that breaks with the DJ-producer formula and can appeal to a much broader audience in scenes like dancehall, grime and hiphop.

2. Florentino (MANCHESTER)

I don’t know what it is about the UK. It’s not just London but also other cities where the new club scene is flourishing and three steps ahead of almost everybody else. In Manchester the forward looking Swing Ting night, already one of Manchester’s best club nights back in 2014, is the big motor. The Colombian producer Florentino went from being a practically unknown bass producer to one of the most promising newcomers with the release of his Tu y Yo EP in October last year. His unique, subtle blend of reggaeton, Latin drums (surprisingly similar to what has been going on in the Dutch underground to my own ears), UK bass and club music became an instant hit in the club underground. Funnily, the EP came out just shortly after I wrote this pasionate post about all the great things that moombahton could potentially be but unfortunately isn’t, and would have been the most perfect illustration of what I meant with that post. As Florentino himself also said in a recent interview with FACT MAG, his lightfooted, romantically flavoured style is complementary to the cold industrialism of Kamixlo, both interpreting and expressing their own connection to Latin America’s most influential subculture (reggaeton) in the context of multi-cultural youth life in the UK today.

3. Lange Sjaak (ROTTERDAM)

Probably the most underrated producer of 2015. As the producer for many hit bangers from Dutch acts like Bollebof and Broederliefde (who are also massively underrated outside the Netherlands), most of the credits still go to the vocalists, the faces you see in the music vids and on stage. His productions draw heavily on tarraxo, kuduro and afrobeats and he is in frequent contact with producers from the Portuguese underground, which will hopefully bring more recognition for Portuguese producers in the Dutch scene and the other way around in 2016. Expect big things this year.

His newest production ‘Kwasten’ featuring Bollebof & Joyba, THE hit in the Netherlands right now

Promising future tarraxo demo 2016!

4. TOXE (STOCKHOLM)

The Swedish talent Toxe was with pain in my heart not included on my ‘Best of 2015‘ list, even though she, as well as other very promising Staycore 117 affiliated producers Mapalm, Mobilegirl and Mechatok are among the most impressive new talents right now. Right when I heard the ‘Muscle Memory EP‘ and the way in which she is able to transmit something intensely deep and meaningful with very mechanical ambient sounds. Everything, from the subtle polyrhythmic elements, crispy sounds, sample work and cryptic multi-layered titles, is in the right place and creates a unique and magical experience, at the same time incredibly conceptual and incredibly powerful on the dancefloor.

Her new release for Rabit’s Halcyon Veil label

Her banger ‘Half Life’ with Mechatok was one of the biggest avant-garde club anthems last year

5. DJ LyCox (PARIS)

Sometimes I have no explanations for why something does not happen the way I am almost convinced it must happen. The Paris based, Principe Discos signed genius DJ LyCox has been one of the most unique upcoming talents (and one of my permanently favourite producers) for more than a year. Exactly a year ago I would have sworn as confidently as now that he would be heading towards a massivbe worldwide breakthrough, joining the ranks of names like Dj Nigga Fox and Dj Marfox. But compared to other names from the Portuguese underground like Nidia Minaj, he remained completely underrated last year. So now I am saying, yes shouting out loud again that 2016 should and will be the year of Dj LyCox. If you’re still doubting, check out this recent, otherworldly forward looking track. The question is, why isn’t there a monumental, recognisable debut EP yet? If it were up to the productivity of the producer, uploading new music almost every week, he could have had an impressive discography on his name already.

https://soundcloud.com/dlycox/lycox-bercy

He was at the forefront of a whole new experiment in the Portuguese underground sound: Portuguese batucada/kuduro enriched with hammering distorted 808 bass ..and almost nobody noticed..

6. Gil (ZÜRICH)

Promising new talent GIL from Switzerland was lifted into the spotlights with an incredible release on THUMP half a year ago and has further released via Staycore 117 that same summer. In the meantime he has only released two tracks, nevertheless magnificent, and the last one is three months back already. Like for Dj LyCox, Gil’s unique, energetic blend of dembow, dancehall, baile funk, mechanical sounds and sample work just cries for an EP in the same way as we have seen for most of the other newcomers. If it isn’t in the making already to be announced by surprise, Gil, if you’re reading, we at Generation Bass are excited to release an EP from your hand at any time! (More soon about the Swiss underground scene too…)

7. Missdewimusic (EINDHOVEN)

Formerly known as Dj Miss Devana, is probably the most underrated producer of everybody in this list. She hasn’t yet been lifted into the big spotlights by any of the major platforms, nor in the Netherlands, even though she is making incredibly unique stuff for more than a year now. People from the moombahton scene and the wider global bass folks like the KUMBALE label have definitely shown love for a while now and that is a great start but (and that surprises me actually) she is still virtually unknown in the underground club scene. I’m really looking forward to see her get the recognition she’d deserve by platforms like the Staycore 117 fam or the Classical Trax community, as well as by the Dutch urban-eclectic scene. Preferably at the same time. The passionate dedication, unique style and talent is definitely there!

8. JKZ/$KA (SÃO PAULO)

We may know newcomer JKZ, formerly know as Rain Jx or JAKZ, from our massive DoomBahTon compilation and from the Favela Trap House EP but he isn’t even a fraction as known as he should be. Expect a post soon about him and the underground scene around him: a collective of friends who are into experimental music, dark sinister stuff and just doing things differently in a way that creates something unique. JKZ is his producer project, focused on energetic dark trap with a touch of vapor/trillwave and baile funk. Shortly ago, he launched a second project as a rapper rapping over self produced beats: $KA. Where JKZ is about dark energetic bangers, $KA pushes a mystical, smokey ambient chill sound where again, traces of baile funk come back in a way never done before. Much like GAIKA, he creates a format where the producer and the MC blend into a live act formula with the potential to appeal to push the music into whole new directions.

https://soundcloud.com/skacush/puff-puff-pass-prod-ska

Cloud-rap meets funk in $KA’s freshest tune ‘Puff Puff Pass’

9. Godwonder (AMSTERDAM)

When I got into contact with Munchi a couple of months ago he told me, prepare for the secret EP of Godwonder, carefully prepared and crafted under his direction, dedicated entirely to making music that bridges the gap between the contemporary street sounds of the Dominican Republic and of Amsterdam. 2016, without any doubt, will be the year of Godwonder and not just because Munchi has attached his name to it. With this new EP, out within a couple of days, Godwonder shows that he has found his direction and sound and is ready to leave his lasting mark on the development of music for the coming years.

10. Thomás Urquieta (VIÑA DEL MAR)

Closing with yet another producer from the club underground whom I’m both very enthusiastic about and also convinced he will definitely break through this year. Interestingly although well appreciated in the club trax scene, he is not affiliated to any of its major labels but recently released a magnificent debut EP (‘Manuscript EP‘) on the forward looking label Infinite Machine, which is certainly ‘avant-garde’ in attitude but definitely not limited to club music, also releasing a lot of great experimental techno and house flavoured music. It is precisely this open connection, beyond the immediate borders of the new club scene, that make Thomás Urquieta’s music a powerful example to imagine music in a near future when the current fresh club trax sound has transformed and durably influenced everything.

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Stream Zhe Pechorin's Stunning New Number : "I Want My Dreams Back"

artworks-000141628831-i47qq0-t500x500

This stunning new moody number comes courtesy of our sister and label mate from Belgrade, Serbia and it’s one of the best new things I’ve heard this year.

It’s layered with Zhe’s trademark and inimitable percussive sound topped with gorgeous synth melodies and a glorious haunting backdrop. Zhe, you can’t have your dreams back, they’re mine!

I love this, just fills my head with absolute sonic pleasure, I can’t stop playing it!. She is just getting better and better. It’s only a matter of time before the world wakes up to this hidden gem of an artist!

Generation Bass’ Best of 2015 ! [Personal Selection]

2015LookBack

2015 was a watershed for music in many ways. Everything we’ve known so far has definitively taken a new direction. Whether it is the creation of new genres and microgenres by combining existing ones, post-internet culture and its obsession with viral jokes or the lure of festival EDM as the centre of gravity for new sounds vibes and artists, all these things have definitively come to an end. Instead, a new solid movement is unfolding from the scratch, which combines the URL community spirit of early internet music forums and blogosphere, the close IRL underground scene vibe as well as the socio-political dimension of the original club culture. I am of course talking about the avant-garde club “trax” movement, the great excitement of 2015. I must agree that the focus is a bit narrow for that reason, having too little attention for all the great Middle Eastern music DJ UMB has pushed with persisting dedication. It’s hard to summarise a year, especially such an essential year, and I’m aware that many important things are missing out. Yet for me, the atmosphere of dystopian futurism and apocalyptic transformation, present as a common element, is what makes these 10 tracks the most defining productions of 2015!

DISCLAIMER: with pain in my heart, I chose to select no trap oriented tracks. This doesn’t do justice to some endlessly creative producers, GAMEFACE in particular, who have continued to do greatly innovative work this year. Alternative electronic trap, Chicago drill and (post-)hiphop have almost entirely merged now. All of these things are more than worth to be mentioned and I certainly don’t buy the claim that ‘trap died in 2015’ which is probably the consensus among most music hipsters. But simply for the lack of space I had to leave it out compared to the club music underground which was just a bit more in the forefront of the rebirth of music culture as a whole that has taken place this year.

1. Rabit & Chino Amobi THE GREAT GAME : FREEDOM FROM MENTAL POISONING (The Purification of the Furies)

In my review from September as well as in the comment section of Soundcloud, I called THE GREAT GAME one of the greatest pieces in the entire history of music. That conviction has only grown stronger. Also, with only 10 selections I had to make a choice which to pick from the NON label, all of which is equally essential. THE GREAT GAME can be seen as a condensation of what NON is about into one extended composition.

2. KAMIXLO Lariat

The underground collective around the Endless party in London is the second movement next to NON (Nkisi is part of both), which has been most influential in shaping music this year. And from this collective KAMIXLO has received most spotlight. What personally makes KAMIXLO one of my favourite ever producers is the way his style builds a bridge between the club trax avant-garde on the one side and powerful electronic Latin beats with dark music in a way that continues the legacy of Munchi.

3. WWWINGS & Santa Muerte VOID

WWWINGS is a very exciting project from producers LID DAW, LIL INTERNET and LIT EYNE, which has not yet featured explicitly on Generation Bass unfortunately, unlike the duo Santa Muerte whom we’ve been passionately bigging up this year. This month they teamed up for a joint track which even when compared to all the magnificent stuff that has come out this year, was still an instant favourite that had to be included.

https://soundcloud.com/svntvmverte/wwwings-x-santa-muerte-void

4. Elysia Crampton Axacan

The entire American Drift EP was one of the most unique things to appear this year. Being very comparable conceptually and politically to the work of NON, yet arriving at a quite different type of sound. Most musical look backs of 2015 have include this album and in general the track ‘Petrichrist’ is chosen as the best and most characteristic track. I went instead for ‘Axacan’ because it manages in the most delicate way ever to transform the sound of cumbia into a recontextualised experience. In the avant-garde club scene this is done a lot with baile funk and dembow but rarely with cumbia and rarely as perfectly as here.

5. Lechuga Zafiro  C vs S ft. Triangulacion Kultural

Lechuga Zafiro is both connected to the NAAFI label, the third major source of influence that cannot have be overlooked this year, and runs his own SALVIATEK label in Montevideo, Uruguay, also being in close connection with the underground in Brazil. This is very much a world in which the new avant-garde club movement and the original global bass scene are drawing closer together. Unfortunately, we haven’t had the time (yet) to blog the Aequs Nyama EP that came out last month but this gives a very good impression of the fantastic sound coming from Lechuga himself and the scene around his label!

6. Deena Abdelwahed #7#7#7 — Lelliri Ya Momba —

Despite it falling a bit outside my own immediate blogging focus, 2015 was also the year of Arabic avant-garde music. Deena Abdelwahed is a particularly interesting name because she perfectly bridges Generation Bass’ two main focuses in 2015: Arabic electronic music and the avant-garde club movement which she is also active in.

7. Only Now No Escape

The track No Escape was technically already in existence shortly before the beginning of 2015, but it was one of the leading tracks of the Only Now self titled EP, certainly one of best if not the single best releases of the year. A new EP is in the making right now so expect big things very soon..

8. Savana “OMEN” Painter Project Chatter

Next to tangible scenes and movements, we were also closely involved in some more conceptual developments such as the comeback of bands in both the electronic underground. And of course the ‘dark turn’ in ‘urban’ styles like dancehall, hiphop, reggaeton or kuduro. Savana Painter’s #DANCEHALLEMO genre is bridging exactly these developments, combining dark and heavily band-oriented rock and metal influences with dancehall.

9. 2814 恢复

We’ve touched only on the post-internet music movement, vaporwave in particular, which is still continuously in development after the peak hype has faded a bit into the background this year. Especially the post-vaporwave sound, which has matured out of vaporwave into a sophisticated conceptual kind of sci-fi ambient. ‘2814’, a joint project of Dream Catalogue curator HKE (f.k.a. Hong Kong Express) and t e l e p a t h テレパシー能力者, are the best example of this and their influential album 新しい日の誕生 was so mindblowing and unique that I had to include it. ‘恢复’ (Chinese for ‘restoration’), the lead track of the album, even opens ways to combine this kind of ambient with downtempo rhythmical sounds like future tarraxo or cumbia á la Elysia Crampton.

https://soundcloud.com/citadel2814/dreamcd_1

10. Masayoshi Limori Doden

A spectacular skullbass stomper to close this list, from the Japanese breakcore oriented alrounder Masayoshi Limori, who is generally regarded as one of Munchi’s most important heirs. There were even rumours that Munchi ghost-produced this track, which appeared on the Generation Bass vs Monsters of Doomcore co-release DoomBahTon Vol.1 compilation. I heard from the most direct source that this is not the case but this track shows definitively that his legacy is more alive than ever.

Champion Rocka – Savage Plastic Cult [Bringing consciousness back into bass music]

ChampionRocka

The world is steadily sinking into an ever more terrifying spiral of hate, war mongering, terror, climate disasters and economic disintegration. And as we see it happening in front of us, we think we save the world by posting memes, layering our facebook picture with a flag or liking a protest page before we continue to keep up with the Kardashians, taking selfies and get dressed for the partaaaaaaaay. The music we enjoy,the booze and the drugs are for many an escape from reality, a fantasy world in which everything is alright or where the only thing that counts is our hotness-factor.

As a musician, creating and delivering the music that fuel such parties and lifestyles can be depressing. Faux rebellion sells. It makes you edgy and sexy. But as soon as you enter the territory of reality, you cross a line, since that is precisely what people want to escape from .and it takes courage to make a track that really intends to shake people out of their comfort zones.

That is precisely what the New York based, rock-minded bass alrounder Champion Rocka intended to do. As he himself says:

I believe it is an ARTISTS’ RESPONSIBILITY to REFLECT the TIMES they are living in. Imagine JOHN LENNON, BOB MARLEY or BOB DYLAN not chronicling their eras. I don’t see that happening right now. With all the TURMOIL and VIOLENCE happening across the GLOBE I fear most artist are staying silent, and are shirking their duty. So it is my responsibility to say something. SAVAGE PLASTIC CULT is me documenting these times.

The track unfolds as a powerful dark twerk banger, leading up to the a classic grunge-rock anthem flavoured chorus, sung by the producer himself, that repeats like a protest slogan:

“We are a savage plastic cult the bigger we are the harder they fall and there is no use taking us on, cause we are CULT!”

The energetic synths truly manage to transform the bouncing energy usually aimed to incite twerking to tug at your consciousness and press your nose into the mirror of your life and the world around you. But with this seed of consciousness planted into your soul, you can still dance to it like never before at the same time!

Follow Champion Rocka:

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Essential EP’s #8

EssentialEPs8

While I was working on the URL FUTUREFEST, a whole new series of releases has shaken the music world, continuing the transformation that has taken place this year. And they keep coming. By the end of the year, I’ll make a selection of the most essential releases of the entire year, that will show how music itself has become redefined this year as well as the ways of speaking about music. I’m starting to believe the whole habit of dividing things into decades makes no sense any more. Over the last five years, things have been accelerating towards a singularity point and we’re now beyond it. There are no bandwagons anymore, no genres, no next-big-things. Even labels and blogs are transforming into something different. And this all mainly due to the avant-garde club scene and neighbouring movements that we’ve only seen the beginning of just yet.

1. Oracles Divination II

Oracles is the new label based in Houston, curated by SINES, one half of the duo Santa Muerte who are one of our favourite acts right now. With Oracles, the approach of avant-garde club with a dark twist is extended by bringing different artists together who all contribute to this concept in their own unique way. Divination II is their second big compilation (the first one came out via THUMP a year ago) that contains both original mixes and remixes by a diverse number of artists.

Next to Santa Muerte, who open the compilation with a breathtakingly dark witch-trap prayer to La Niña Blanca, there is the experimental ambient grime-techno from WWWINGS, Morten HD‘s melodic deconstructed dembow, and the surreal-dark edits from the Portuguese producer BLASTAH. Oracles bridges the avant garde club scene with the innovative energy in the new generation of dark music and is by doing this one of the most forward looking initiatives out there!

>> BUY ON BANDCAMP <<

https://soundcloud.com/oracles-official-1/sets/divination-ii

2. Kamixlo Demonico EP

Now we also blogged Kamixlo‘s mix for DAZED Digital, there’s little chance you missed Demonico EP. But in case you did, here again big love for one the defining releases from one of the most promising artists today.

Like Santa Muerte, Kamixlo too fuses latin, dembow based tropes with dark flavoured club music but even in a more outspoken way. Here it gets full blown industrial, with distorted kicks and hard hitting snares in a way that remind of the hardcore inspired Doombahton compilation that came out earlier this year. But this is on such a higher level that no comparison to any other thing can do justice to it.

The 5 track EP starts with ‘Otra Noche’, a haunted ambient tune with a deformed vocal from the reggaeton classic with the same name, now sounding like bubbling up out of the swamps of the underworld and dissolving into a mechanical dystopia. ‘Paleta‘, has been somewhat of an anthem in the underground club scene this summer. It has been up on the artist’s soundcloud since the beginning of this year and was taken off at some point as the EP based upon it was being materialised. A motive hidden in the titles is the inspiration in wrestling, a sports which the producer also practices and aspires to combine with music. In a recent interview with Thump, Kamixlo explains that ‘Splxcity’, my favourite track of the EP, is made to give the listener the experience of undergoing suplexes while ‘Lariat’ subjects you to a lariat attack from a wrestler à la Stan Hansen. Kamixlo does not only bring entirely unique sound into underground club music but also challenges established ways of experiencing and enjoying music.

The EP was released on the Berlin based label PAN and it’s new sublabel CODES, curated by the British grime producer Visionist, who also features with a remix of ‘Lariat’.

>> BUY HERE <<

3. BUGA PLUG-IN HYBRID EP

BUGA (not to be confused with Sello Regional’s El Buga) is a relatively new name in the underground club scene (at least, to my own limited knowledge), whose earliest but immediately mindblowing soundcloud tracks are from the beginning of this year. Most tracks breath the air of the new wave of contemporary-futuristic tech aesthetics such as sports cars, motorbikes, metallic gear and sportswear, expressed into dystopian, mechanistic ambient-club and grime. PLUG-IN HYBRID EP bundles this exciting creative potential into a recognisable signature project, with three original productions and remixes from Classical Trax family members Morten HD, EVAA, LHTL and Vaphoree.

https://soundcloud.com/bugab/sets/plug-in-hybrid-ep

4. Toxe Muscle Memory EP

The Swedish club producer Toxe is one of the 6 most close affiliates of the Stockholm avant-garde label Staycore117 and this is her first solo release on the label. The EP is cryptic in terms of how it should be interpreted and I haven’t been able to get behind it. Muscle memory is a phenomenon in physiology and sports that repeated muscle movements become automatic over time. The cover design contains some allusions to fleshiness of muscles in an alienating, surreal way. Also, the line between the avant-garde club scene and the health goth movement aesthetics and wider culture, which particularly reflects on sports and our bodily existence, is thin. In the words of Adam Harper in The Fader, quoting Wyat Schaffer:

“…relies on an anti-nostalgic dystopian present,” providing “an ethos of mythologizing our technological present” and that “it may be hyper-masculine on the surface, betraying a distinctively sus interior of body-mechanized cyborgian humanity within… reimagining the present future by mocking self-awareness as a Humanist project of little efficacy.”

Yet I have no idea whether this philosophical environment is in any way related to this EP as a source or inspiration or otherwise but nevertheless it creates an ambient of dystopian, cyborgian existence in five original tracks that once again show the boundary pushing energy of the Stockholm scene.

>> BUY ON iTUNES <<

5. Classical Trax Jamz!

Classical Trax, which we introduced last month, is the community where the future of music is being determined this year, in the midst of the total overhaul in all of culture that is taking place this year. They are multifunctional. Not a label, not a blog but a community of people who together shape music and culture for the future. Nevertheless, they’ve become ever more focused on releasing music from their community, especially with their frequent compilations which we will be keeping track of as much as possible, picking the best and most representative things that come out. Jamz! is such an essential compilation with as many as 21 tunes that display the diverse energy that’s coming from their community.

Especially notable are the experimental arabic club tune from the Tunisian producer Deena Abdelwahed, Ida Dillan‘s dark-melancholic techno-flavoured track and the electrifying industrialism from one of our current favourite producers: Monotronique!

>> BUY ON BANDCAMP <<

6. Pineal Sounds Blue Satin Vol.1

One of the imminent dangers in the avant-garde club/trax scene as it is blowing up right now is that its sound will start degenerating into a formula that people follow simply to be part of the expected success of the movement. I can’t say this is happening right now already but it’s nevertheless refreshing to see how labels and collectives actively resist the formation of fixed formulas and keep releasing compilations where no track really sounds alike.

Pineal Sounds’ first volume of the Blue Satin Compilation series is a perfect example of this resistance. The diversity in rhythms ranges between kuduro, dembow, trap/trillwave (in such a refreshing way as if it had never existed..), techno, oldschool rave, 00s hiphop and Jersey club, alternately flavoured with dark ambient, grime, dreamy or mechanical.

>> FREE DOWNLOAD <<

https://soundcloud.com/pineal-sounds/sets/blue-satin-vol-2

7. ESCAPE FROM NATURE EFN Sound Library Volume 1

Escape from Nature is a new avant-garde label established by the New York based forward looking producer Orlando Volcano, also focused on this same resistance to fixed formula’s. In their own words:

EFN observes, disregards and redefines the boundaries of what club music is and what it can be. The label acts as a space where club music’s functionality and intention can be debated and reconsidered. Why let a space that formed a genre dictate its future?

Escape From Nature showcases the most contemporary music possible, exploring the possibilities of the technology on offer to us.

EFN Sound Library Volume 1 is the first in an upcoming series of compilations from a wide range of artists in the club music underground. Unlike the Blue Satin one, this compilation is not just cross-genre diverse but much more experimental, trippy and less directly accessible for dancefloor audiences. With tracks such as 2lanes‘ dystopian-ambient jazzy flavoured opening track or KOH-IZT‘s (= Wet x Orlando Volcano) uncagtegorisable melodic experimentalism, club music becomes an artistic experience just as much as a nightlife thing as music is commonly experienced.

>> BUY HERE <<

8. This is Kuduro A Compilaçao Vol.2

Generation Bass has a long history of promoting the energetic Angolan dance genre kuduro and it’s always great to see new underground initiatives taking continuing to push genres after hypes fade away in the blogosphere. This Is Kuduro is such exciting new initiative which brings together artists from different scenes all over the world who are interested in kuduro. A major part of the producers affiliated to the platform are from the Portuguese underground scene, but the reach extends to Mexico (ChuCko), Chile (MiloMilo), home-base Angola (Nova Margem) and France (Zee Reech), equally spotlighting unknown talent and established names.

This Is Kuduro brings together the different flavours and approaches the genre has involved into since its origins and shows it’s there to stay for the future!

>> DOWNLOAD VIA SOUNDCLOUD <<

9. Ian Solow Machine Gun Zouk EP

Zouk bass has undergone a similar wave of attention rise and fall, and especially with the arrival of the Portuguese tarraxo underground that went more into the direction of techno and underground club music than the established ‘bass’ formula, or Generation Bass’ own melodic ‘future tarraxo’, it was hard to discern at some point whether zouk bass was an actual genre and where its boundaries are. Still producers have been trying to re-invent the genre almost from the scratch, carving out a new space, free from the worn-out formulas of EDMified global bass but also subtly different and refreshing from the new waves of underground sounds. The La Brousse crew with Photo Romance and Ian Solow taking the lead, have been particularly important for this.

Machine Gun Zouk EP is the outcome of this re-creation of a zouk bass from the future. Aesthetically and thematically inspired by post-internet underground genres such as vapor-trap and tumblr and musically building on dancehall and DnB, this is zouk bass as if it had never existed as a hype. Nidia Minaj adds the flavour of the Portuguese ghetto tarraxo, while Jurassic Fight Club draws in hypnotising arabic influences and trap. Fautre‘s kuduro, Chris Dogzout x CZuR‘s hyped up tuki-trap and Photo Romance’s mellow zouk grooves definitievely put zouk bass back into the multi-genre palette of music for the future.

>> BUY ON BANDCAMP <<

10. Brunswick Sound Brunswick Sound Vol.1

This is a third underground-club compilation that would have fitted more with the Blue Satin and Escape from Nature ones but for the sake of variation in the post I prefered to spread it out a bit. This is definitely the most energetic and the darkest of the three underground club compilations. Here less explicit references to genres like reggaeton, baile funk or kuduro as most tracks lean most heavily on grime. Still the sound diversity and creative potential is enormous.

To my very own shame, I don’t know and can’t seem to find out a lot of background information about this label but it comes across as an essential voice in the critical area in music today, where the current, futuristic approach to grime merges with ‘club music’. Don’t sleep on this!

https://soundcloud.com/brunswick-sound-1/sets/brunswick-sound-vol-i

11. RECKLESS Rotterdam Promo EP1

For some reason the playlist with all tracks has been taken off the producer’s soundcloud. So I can’t show it in it’s entirety. RECKLESS is the new project of the 17 year old Rotterdam based producer formerly known as Sambo. As Sambo, he was mainly involved in the Dutch EDM scene, jungle terror in particular. With RECKLESS he teamed up with a befriended producer to form a duo who are now exploring the wave of afrobeats & afrohouse that is currently a big hit in the major cities. This EP is the first step into that direction and from my own personal taste I’d say compared to jungle terror and bigroom, this is most definitely a promising improvement.

Check out this promo track of the EP, dedicated to the popular sound of contemporary Rotterdam. The entire EP can be downloaded for free via the link, with inside an exciting collab with Generation Bass favourite DJ LyCox!

https://soundcloud.com/officialreckless/sambo-mini-game

>> DOWNLOAD <<

12. Lush SelectsLUSH 002

It’s almost permanently stormy weather in the netlabel underground, with new labels, collectives and initiatives popping up like mushrooms while others swiftly disappear or slowly bleed to death. Lush Selects is an impressive example of  the exact opposite. Since their establishment they have invested so much in community building and personal contact that they are now a slowly but continuously growing, solid community. We blogged their first compilation in March this year and said that it showed perfectly how the concept of ‘future beats’ or ‘future bass’ could be pushed free of fixed formulas, hypes or EDM-like pretentions. Similarly as I am considering now with the avant-garde club movement. In fact I think that these two movements can learn a lot from each other and in some ways this is already happening.

Here the second volume of their compilation series with the most creative post-hiphop, ambient juke and dreamy eclectic bass music. Especially notable are fortyforty‘s Latin flavoured, morning phone-alarm-esque experimentalism, Blak Trash‘ intense, wavy dream-hop and Roche Limit‘s apocalyptic deep ambient dub.

>> DOWNLOAD <<