We return with Streamer and a Remix EP focusing on his “Walking with Camels” EP which we released last Christmas. We loved that EP so much that we just needed a follow up and what better way than to get a bunch of our favourite producers to put a twist on the EP.
The original Walking with Camels sounds like a precious, classic and unmissable (they don’t make it like they used to) 70s recording featuring some tracks in the tricky measures of 6/8 and 5/8.
For the Remixes EP, this world was turned upside down and inside out, deconstructed and reconstructed for the club environment. Most of the remixers opted for Last Sacrifice as the track to remix. It is a track that gets under your skin and refuses to leave and there never seems to be enough of it, always leaving you yearning for more
The 12 tracks on the Ep/Album feature an array of genre styles from current hot fave Gqom (Gome) through to 80’s Synthwave, Grime, Tribal, Vogue/Ballroom, Techno, Wobble, Neuro Funk, DnB, Acid, Jungle and Skweee.
1. Streamer – Walking With Camels (Ballroom Version)
Streamer turns the EP Title track into a Vogue/Ballroom Bass blitz in the desert. Arab Ha! never sounded quite like this before demonstrating that Streamer is a true Master At Work!
2. Streamer – Last Sacrifice (Bandish Projekt Feat. Aishwarya Joshi)
Bandish Projekt created a spine-tingling remix of The Last Sacrifice featuring Hindi vocals on a 5/8 Dubstep excursion.
3. Streamer – Searching For Ketama (Gqom Burn Riddim)
For his first remix of Searching for Ketama (there are 3 in all), Streamer looked to South African Gqom (Gome) for this remix. Commercial and accessible and already supported by BBC Radio 1 and Toddla T amongst others.
4. Streamer – The Last Sacrifice (Insane Fennel Apocalypse Remix)
Insane Fennel added to the ritual and gave The Last Sacrifice an Apocalyptic Wall of Bass Re-rub. first premiered on the Mad Decent Blog.
5. Streamer – Midnight Express (Neuro Version)
Streamer, who it seems can turn his hand to almost any genre style and pull it off with aplomb, gave Midnight Express a Neuro-Funk, DnB, Jungle make-over turning it into something completely MAD!
6. Streamer -The Last Sacrifice (Sarantis Remix)
Sarantis turns The Last Sacrifice into a Grime epic.
7. Streamer – The Last Sacrifice
Sanmon transformed the sacrificial ritual into a Techno behemoth.
8. Streamer – Searching For Ketama (Golden Version)
Streamer’s 2nd remix of Searching for Ketama finds him giving it a Ketama Gold sheen with a harder hitting vibe, taking it way down to 80 BPM.
9. Streamer – The Last Sacrifice (Zhe Pechorin Remix)
Zhe Pechorin gives The Last Sacrifice a new deep-tribal, slow-grind make-over.
10. Streamer- Bedouin (Center Of The Universe Remix)
Our friend Centre of the Universe was bold enough to tackle Bedouin producing an other-worldly remix that sounds like we could have landed on the moon, way before Neil Armstrong did!
11. Streamer – Searching For Ketama (DesertWave Version)
For streamer’s 3rd and final version of Ketama, he covered an idea I had in my mind for a Bladerunner version in the form of a DesertWave remix harking back to 80’s Synthwave sensibilities.
12. Streamer- Midnight Express (Drvg Cvltvre’s Acid Kool Aid Mix)
We close this Ep/Album with Drvg Cvltvre tapping into early Pink Floyd for inspiration combined with his affinity for Acid and he teases us with a slow bulding mellow monster.
A track from the forthcoming Epic Streamer “Walking with Camels” Ep/Album has just premiered on the Mad Decent website, go over there to check it out.
Insane Fennel gave The Last Sacrifice an Apocalyptic Wall of Bass Re-rub. There are a further 11 remixes to drop from producers from all over the world and this has been an exciting project and the results are pretty magnificent! The forthcoming EP/Album features an array of genre styles from current hot fave Gqom (Gome) through to 80’s Synthwave, Grime, Tribal, Vogue/Ballroom, Techno, Wobble, Neuro Funk, DnB, Acid, Jungle and Skweee.
You can check the original EP below and watch out for more news about the other remixes.
New DnB Bass EP from one of India’s finest Electronic producers taking in Neuro DnB vibes & marinated with spicey Indian and Arabic flavas.
Some of the tracks are already getting some rotaion on BBC Radio 6 Music.
Catch a vid here and watch out for that Cat:
This dude started out with Generation Bass and is now playing at some major events in India:
Blending organic and electronic influences into something really special, MOSILLATOR takes bass music to the next level. Beyond steady wobbles and crazy sick bass lines, beyond hard hitting and mosh pit male energy, this is a seductive piece of work that destroys dance floors world wide.
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 <<
We can never get enough of Manchester based Sufi Dub pioneer Celt Islam on this blog. Although over the course of over 10 years his sound and style has not changed that much, it has nevertheless constantly evolved in a cycle that continues to swirl and sound totally unique. Just like the whirling dervishes, Celt Islam is here to stay for a long while yet and Allahu Akbar.
FRICTION is a sublime EP of oriental electronic music and Celt Islam is one of the most gifted producers of his kind. We can trace his melodies and samples back in the most progressive part of Islam: Sufism. He is on a mission to unleash the Sufi spirits in the world of 2016 ; a philosophy which is essentially inclusive, tolerant to difference and other religious systems as well as borderless by default .
“Christian, Jew, Muslim, shaman, Zoroastrian, stone, ground, mountain, river, each has a secret way of being with the mystery, unique and not to be judged.” (Mevlana Rumi)
أخبرني عندما يأتي إليك أنك تعرف لي من بلادي تضحية
Tell me that when we meet you will know me by my sacrifice
حيث يمكن أن تبقى السماء والأرض جنبا إلى جنب مع روحي
where heaven and earth can rest along with my soul
مع العلم الخاص بك الرحمة والشفقة
Knowing your mercy and compassion
وسوف تقع على وجهي ويبكي
I will fall to my face and cry
أنا لم يرفض لك ولكن قد اعتنقت جذوري
I have not rejected you but have embraced my roots
حتى أن كنت قد يكون من دواعي سرور
So that you may be pleased.
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.
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!
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’.
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.
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.
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!
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.
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.
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!
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.
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!
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!
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.
BANGANAGANGBANGERS are an upcoming innovative bass crew whose filthy, energetic style we’ve been digging for a while now. The exciting thing is that they can translate new flavours to a more mainstream audience while maintaining the essence of the underground.
This year is the second time they host an night at the Amsterdam Dance Event and will put on a show that bridges different corners of the bass spectrum. Notable in the lineup is the Grimeyard crew, hosted by Zwart Licht who are the most influential embassadors of the grime in Amsterdam. The Belgian dj Murdock will bring drum ‘n bass, while Eskei83 from Germany takes care of the turntablism. And with Guerilla Speakerz and Brocco, moshpit bangers are guaranteed.
Bottom left: Tico Sandoval, S x m b r a (Generation Bass), DJ The Teacher (Kuddedieren), DJ John Tinnick (Safari); Top left: SSDSS (Kumbale), MC Gene Power (Kuddedieren), Samira (Kuddedieren), Zoë (Kuddedieren), DJ Addik (Kuddedieren)
I believe I’ve never sweated and danced so much in one weekend as the weekend before, with the only exception probably being the previous Rimboe Riddim party, organised by the Dutch dancehall crew Kuddedieren, where I had the chance to meet Brazilian legend Omulu, chill with an old friend of Munchi’s and lost myself dancing ecstatically in a small, sweaty tourist club in Amsterdam where groups of British girls and French guys made the show. This time Kuddedieren performed in my very own hometown for Tropicale BassClub, in the same venue where once the 108 Moombahton parties marked the beginning of my music journey, and I was there to report.
Almost the entire scene was there. The tropicalistas from Safari were on the line-up together with Utrecht’s homegrown cumbia hero Café de Calaveras and the Gouda based upcoming tropical bass excitement Cookachoo. But the biggest surprise were visitors from Germany: KUMBALE‘s head honcho Rene a.k.a. Sonidero Sin Dinero Sound System and Mexico’s no.1 percussion virtuoso Tico Sandoval! The Kuddedieren crew knows them from their gig at the KUMBALE curated Esperanza Latin party in Berlin, which we at Generation Bass helped to develop, and booked Tico to enrich their music with live drums.
Tropicale Bassclub is the result of booking agencies Topbillin Netherlands and Mother Music to showcase the most promising Dutch tropical bass mainstage acts in such as Cookachoo, Zanillya, RBBP, Kuddedieren and Capadose, together on a club night, touring the country’s major cities. The format and sound of these artists all seem to have been shaped in some or other way by examples like Major Lazer or Buraka Som Sistema: an energetic blend of dancehall, kuduro, EDM-trap/twerk and moombahton, without the grotesqueness of their Mad Decent counterparts.
One thing that stood out last time and now again was the great diversity of music styles, even though dancehall was definitely the central flavour. Café de Calaveras opened the night with a hot set of familiar reggaeton, dancehall and afrobeats and many references to hiphop and RnB, while the Safari soundsystem moved deep into Andean electrofolklore, cumbia, kuduro and DnB, evoking a majestic dance battle on the dancefloor! Being a live-only act, Cookachoo performed a set of own tracks in their characteristic, theatresque style that resonated well with the audience.
After Haarlem, Leiden and Zwolle Utrecht was the third city to host Tropicale BassClub and the turnout was definitely satisfying for a first night in a new city. But after Cookachoo’s gig, when Kuddedieren themselves ascended the stage for their traditional closing act, many people had already left because they thought they’d seen it all by now. Nothing could have been further from the truth. Even though their format may superficially look like Major Lazer or Buraka, the crew of DJ’s Addik & The Teacher, Singer/MC/Dancer Zoë, dancer Siggy, dancer Samira and the freshest addition MC and dancer Gene Power, is of a different order. A live performance by Kuddedieren is unlike most things you will ever experience. In the whirlpool of energy you are drawn into, it no longer feels like watching a performance or listening to a DJ. They are having a party for and with you.
The crew: Zoë, MC Gene Power, The Teacher, Addik (seated), Siggy
Kuddedieren aren’t EDM DJ’s with an MC and mere entourage dancers, nor a band only playing self-made tracks, and not a traditional dancehall soundsystem either. The project was started a few years ago by Ruben (The Teacher) and Addik, who wanted to extend DJ’ing with more extensive live performance and made auditions for dancers. These eventually became Siggy, Zoë and Samira. It was hard to find people loyal to the project, especially for MCs since all the upcoming EDM acts were looking them, so it took a while until Gene was added to the group, making this dedicated team complete.
Eventually, the atmosphere was so easy-going that Zoë invited everybody left in the large hall to come on stage to finish the party cozily together. Girls from the crowd managed to get hold of the drumming sticks and examined their sense of rhythm while Tico joined the dancing madness. Unfortunately, the speakers blasted so many decibels that Tico wasn’t always audible that well, but the moments where his timbales and cowbells pierced through the thick wall of bass were moments of pure joy. And before finally calling turning the lights back on, the crowd could get free their last bits of dancing energy left in their bodies to a several minutes long solo of pure organic drums!
KUDDEDIEREN with the crowd on stage after the show
GB: Aren’t you guys way too unique for the name ‘Herd Animals’?
KD: We reflect daily needs (dancing, music, sexiness and entertainment) to the crowds we play for and make a decent mix between the well-known tracks and the new hot vibes. So the herd thing in the act is: we follow the crowd but we also make the crowd following us by hitting fresh tunes and hot elements in our performances as well as in our own tracks. What you give is what you get, that’s the whole point of the name ‘KUDDEDIEREN’.
With the radioshows and the Rimboe Riddim parties, we want to spread the electronic tropical vibe and be a platform for acts, music and everything around that. We support acts totally unknown in the Netherlands like Omulu as well as popular Dutch headliners such as DJ Dyna. They all do tropical music but in their own way.
Dancehall and reggae are always the basis, to show the mainstream audience what they can expect, but for the readers of Generation Bass: we also play zouk bass, afrohouse, trap/twerk music, a little EDM and also a bit of kuduro and drum ’n bass.
GB: That’s interesting, global/tropical bass as an extension to dancehall, rather than a form of EDM.. Where you the first in the Dutch dancehall scene to experiment with that?
KD: We haven’t really been part of the dancehall scene here to be honest. Dancehall is actually one of the most effective ways to make the girls dance and make a party going. That was the main reason for us to play a lot of it during our sets. About a year ago there was a guy and he told us that it was not really approriate for us to play those styles. He said: “it doesn’t fit you”. That was the reason for The Teacher and Addik to go to Jamaica, have some experiences over there, learn more about their culture and make some music. They made vlogs during their trip, you can see them here:
KUDDEDIEREN in Jamaica
Now, after the Jamaica trip, we learn more about Jamaican and caribbean music in Holland as well, but we are still more involved with the Jamaican dancehall scene then the Dutch dancehall scene.
GB: What does an average week look like for KUDDEDIEREN?
KD: Check out our vlogs, it’s all in there!
Freshest vlog, out since this morning (Featuring me.. a bit.. in your face)
GB: Any specific future plans you can already share with us?
KD: In the first place we have some fresh tracks with KUDDEDIEREN (almost ready) with a (big) Jamaican artist. We’re still looking for a good partner (label) to put it out with the right attention. Besides we are extending the tropical network in Europe right now. There is a really nice niche-market in Europe but we need to work together to let it grow and spread the virus. But we are working on it! That is also were Rimboe Riddim fits the plan at this moment.
After the party and next morning, I hang out with Tico and Rene ‘SSDSS’ who had to perform that next night at yet another party:Alta Cumbia Night, organised by the Amsterdam based cumbia band La Banda Fantástica who haven’t quit at all since theFantástica parties came to an end a year ago. Not at all, the spacious venue (OT301: a vibrant alternative cultural centre) was completely packed. According to Facebook about 500 people showed up but I wouldn’t be surprised if there were even more.
The event combined a passionate cumbia party with a serious tone: the premiere presentation of “Ayotzinapa, crónica de un crimen de Estado”, a gripping documentary about the 43 Mexican students who vanished from the face of the earth by the hands of the country’s deeply rotten government, directed by Xavier Robles. Watch it here –>>
“Ayotzinapa, crónica de un crimen de Estado” (Ayotzinapa, chronicle of a state-crime)
From 22:00 onward the night changed into cumbia, starting with the vintage & classic latin rock DJ Larva and ‘Fantástica Un Cumbia Happening’ OG DJ Rengo Estar, both from Argentina. Unfortunately, I didn’t arrive early enough to see either the documentary or the beginning of the night. I arrived around midnight and was impressed by the venue’s hidden entrance, nice garden in front and especially its size. DJ Rengo Estar would tell me its fascinating history: squatted in the late 90s and now in the middle of an official legalisation process. On the wall in the long entrance hall was a big sheet with on it, in black and white, the faces of the 43 students from Ayotzinapa and their names: a commemoration that once again made me realise how intricately music is related to the social and political struggles of the people who create it.
I once theorised that one of the reasons why there is so little cumbia in the Netherlands is that the Mexican, Argentinian and Peruvian communities here are very small. Apart from their yearly Independence Day, Colombians in the Netherlands don’t seem to give an awful lot about it. But La Banda Fantástica single handedly managed to build a strong scene in Amsterdam, attracting a unique cocktail of young and older [email protected] (mostly but not exclusively Mexicans, Argentinians and Chileans), hippies, hipsters, ‘urban’ dressed kids, nu-punks, avant-garde fashionistas, glamourous Latin-night clubgirls and every possible overlapping combination between these categories. As I, reunited with the Rene and Tico and equipped with a beer, entered the main hall in the middle of La Banda Fantástica’s grand performance and saw this party happening in front of me, I realised that you can speak of an actual, full-blown cumbia SCENE in Amsterdam that goes way beyond DJs-producers exploring a mere gimmick.
La Banda Fantástica performing for a passionately dancing crowd
The band members with burlesque performer Nina
La Banda Fantástica played a diverse collection classics from Argentinian cumbia villera, Mexican cumbia sonidera, Andean chicha and the Colombian originals and also lots of catchy cumbia rock. Towards the end of their performance, we were surprised with a very nice tropical burlesque show by La Nina!
After the band performance, Rene and Tico ascended the stage, closing the night with the more electronic interpretation of cumbia. Everything that we’ve been blogging passionately for years, from cumbia-dub, cumbia trap, cumbiaton and 3ball, now blasted through the industrial hall in front of 500 people, accompanied by Tico’s energetic breaks and polyrhythmic insanity.
Tico jamming the congas!
Tico made a nice vlog of this intense and fun weekend that was just one long party and amazing scene-meetup from beginning to end!
Has any of you Generation Bass readers ever wondered what it would be like not just to read the posts and listen to the music by yourself, but to be together, listen, share and talk simultaneously as if you were together in a club? That is exactly what happens at the interactive music sharing platform plug.dj, successor of the popular turntable.fm after that initiative was effectively destroyed by the music industry. There is an active and growing number of netlabels using plug to strengthen the community of producers and fans online and to exchange new ideas in real time. You suddenly find yourself not only discovering and discussing amazing new music in a much more intense way than on Facebook, you´re at the same time surrounded by dancing and DJ’ing robots, pizza slices and jellyfish, which creates a totally surreal, addictive experience.
The international music collective Lush Selectsis a pioneer in the use of online music sharing with regular, well visited Sunday School sessions in their own plug.dj room which they have been organising for a year now. Active participants record a 20 minutes long mixtape, preferably a video-mix with animated visuals or a recording of the performance added, uploaded to Youtube or Soundcloud, to be showcased during the session. In between the mixtapes, there’s always some room for interactive ‘collective back-to-back’ music sharing.
The last, already 18th edition of Sunday School was two weeks ago. But since we at Generation Bass wanted to announce and attend it but missed, here a recap of what the artists have delivered and what we could have experienced.
Vlkvi&moistbreezy teamed up for an absulutely fantastic back-to-back set of apocalyptically flavoured avant-garde club, post-rap, post-witch house and ambien! Keep an eye on them because judged by their numbers of Soundcloud followers they’re heavily underrated!
Vord also made an edited visual recording of his set, focused on hypnagogic garage beats. This video in particular shows the power of editing video-performance in combination with music, drawing both the artist and the into a whole other universe that appears beyond from time and space!
Starfoxxxmakes even more surreal, with a lo-fi webcam video from an intimate bedroom setting, blowing bubbles, wearing cloud and strawberry masks. Transmission issues between Mars and Earth have glitched the data into a psychedelic cloud-trip. Imagine this projected on the big screen above the virtual dance floor populated with ponies, robots and carnivorous plants and the absurdism is complete!
The French sound-wizzardShinji, whose album Myst has been one of our most favourete releases this year, is mostly making music via his melancholic alter-egoßęđŧīmĕ Šŧōŗĩėş lately. But for this session he unleashes the dark energy once more with a powerful witch house and metalstep mix, accompanied by distorted, suggestively sinister and horror visuals!
Logicoma is a multi-talented post-trap and futurebeats oriented dj-producer and visual artist based in Baltimore (US). As an affiliate of the VOIDSKUADcollective, he is part of the movement that bridges the gap between the sounds from the post-internet underground and the avant-garde of hiphop. His Sunday School video-mix is a perfect illustration of the characteristic sound pushed by this movement, combined with the equally characteristic, post-internet flavoured animations!
The last video-mix is from the French underground alrounderT0T0, featuring melodic, even psychedelic flavoured chill vibes from genres including futurebass, IDM, chillwave and more!
The two-headed cybernetic monsterFrank & Stan deliver 20 minutes of high voltage electrostep and DnB!
Seudofrom Columbus (US) leans more towards virtual angel-rave, nightcore and kawaii flavoured future bass!
Circuitree, from Lincoln (US), who describes the project as “celebration of the fusion of organic and synthetic elements in our lives,” present a powerful mix with cybernetically charged DnB, electrostep and moombahcore!
The last contribution is intr3pico from Rio de Janeiro, Brazil. He has been a faithful contributor to the Sunday School sessions and is also celebrating his own artistic anniversary with this mix. It’s a very diverse mix that sharply illustrates the opennes of the online music scene today. His inclusion of some baile funk and Brazilian folkloric bass elements also give a first insight in what it might sound like to have this sort of thing in a Generation Bass setting!