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.


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


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.


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.


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!

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

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’


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.



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.



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.



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.


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.



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.


12 Bangers to Get Ready for Festival Season


Over here, the weather is slowly starting to get better and when sun feels warm on your skin for the first time of the year, you know festival season will be there sooner than you think. Time for a teaser roundup with the first hot summer tunes that I’m really feeling. I tried to draw stuff from some different corners of music, varying between dancehall, EDM and the avant-garde club – already-famous as well as lesser known stuff.

The spotlight is on the dissappearing gap between bass & club flavours and vocal songs, not just in the realm of watered-down pop music but now everywhere between the mainstream and the deepest underground. True, the divide is artificial to begin with. As Gaika said in the not-yet-published Sonic Acts interview: dub, dancehall and hiphop are very digital genres where a separation between electronic productions and vocal songs has never existed. But the growing number of collabs where producers team up with vocalists to create songs opens up exciting new possibilities that we will definitely hear back in this year’s sound.

1. KD Soundsystem & Soul Shakers ft. ZwartWerk Met Mij Mee

The track has been out for about a month already but last week they released the long promised music video. KD Soundsystem (f.k.a. Kuddedieren) from Haarlem and the Ghent based crew Soul Shakers are both pioneers in the terrain between global urban & bass rhythms, dancehall and reggae and accessible mainstream party vibes. Easily compared to Major Lazer or Buraka Som Sistema but, I would say, much more interesting and diverse in style. For their freshest hit, they teamed up with the formation ZwartWerk from Mechelen, who fuse the sounds of afrobeats & kuduro with Dutch rap. ‘Met Mij Mee’ is the best example of how sounds & approaches (tropical bass, EDM, urban mainstream dancehall, rap) that were still totally different worlds a few years ago, are coming together and shaping the popular sound of today.

>> BUY HERE <<


2. DJ FASTA ft. Superior Soundboy

DJ FASTA has been pushing this fusion since the beginning. His music is the quintessence of the sound that is heating up dance floors all over the clubs in the Netherlands. Especially now the influence of bigroom and American pop-deephouse is fading away, moombahton and afrohouse are now dominating in the urban-eclectic scene. His new banger ‘Soundboy’ together with DJ Superior, released this week, is one we will definitely hear all over the clubs and festivals this summer.


Also >> DOWNLOAD << his other recent massive tune ‘Buddy Bruka‘ with the upcoming eclectic bass producer AMEIRO!


3. Kid Antoine Bodypaint

In the avant-garde club underground, this track has already achieved absolute anthem status in the two months it has been out. But this is one, like many of the NAAFI edits and tracks from the likes of Murlo, that have the potential reach much wider audiences this year. The incredibly catchy melody is the most perfect mainstream entrance into experiencing the unique conceptual texture designs – this one feels like the sonic representation of a lubricant gel substance – that make this kind of music so fantastic.

>> BUY HERE <<


4. Ramriddlz Hey Mr. RamRod

The Egyptian-Canadian rapper, RnB & dancehall artist Ramriddlz is an important newcomer who has been drawn into the spotlights last year by none other than Drake. I stumbled upon this banger through a repost and was immediately hooked on the vibrant blend of future-dancehall and OVO-esque cloudiness. Judged by the number of plays, likes and reposts, this track is already massive but it could and probably will become even bigger. I could totally see it reach absolute hit status, with a VEVO video. Hopefully we’ll hear this all over the place very soon.



5. DotoradO’PrO’ My Song

Dotorado is back with a brand new banger, that came online just today. Since his eclectic Maluku EP, he has continued his multi-genre explorations with tracks ranging from dubstep-drill-kuduro fusions to kizomba ballads. But now he is back with the signature-sound that made him famous. #Afro-melodico is ready to evolve into a promising subgenre that combines the rhythmical subtlety of afrohouse, the explosive energy of kuduro and the epicness of popular hiphop and EDM. ‘My Song’ is the ultimate successor track to ‘African Scream’: a natural anthem with the potential to grow even bigger.


6. GUALTIERO & Ray Mautar Panya

Gualtiero and Ray Mautar are names I’ve mentioned since the very beginning of my blogging time at Generation Bass and later again in my monumental moombahton zombie series. I’ve been enthusiastic about them ever since because they are, among several other important names, keep showing that the Dutch urban club sound that evolved out of bubbling, is still very much alive. The influence of Munchi is obvious, but it’s fascinating to see how subtly but deeply different Munchi is interpreted here, compared to most of moombahton out there. Loud and blunt, but nothing like bigroom house or festival trap, staying true to the roots in oldschool dancehall with a rawness that reminds of the original Portuguese underground. With ‘Panya’, the Dutch underground has fully embraced moombahton as its own and from that point, it can only get better.



7. MC Nino ft. Prince Maiki & Gabriel Rowano Op Iets

Back in 2010, MC Nino collaborated with the influential crew K-Liber4life on the kizomba ballad ‘Geen Stress‘ that became a big hit on Curaçao. His dembow banger ‘Mi Kier Bo’, with Prince Maiki, was again an excitement on the Antilles in 2013. That’s why it’s extra exciting to see him join forces with Gabriel Rowano, still of of the most underrated producers in the area of mainstream oriented global bass. Rowano himself too has made a style switch over the recent years, from oldschool trance inspired, emotional moombahton to a more catchy, accessible party sound, ready for the big clubs and festivals. Big chance you will hear this around in the coming months, especally in the Netherlands. The long announced music video will be also released soon.


8. STIEKZ-O-MATIC & Dutch Flavourz ft. MC Roke No Caba

Yet another banger from the Dutch scene. Stiekz-o-matic is a new but already surprisingly established name I’ve somehow never blogged before. He became more active on soundcloud since a year ago, right at the time when I was getting fully consumed by the avant-garde club scene, at the expense of other things. I realise that’s a pity because in the mean time I’ve been missing out on the shift in the Dutch underground towards a blend of afrobeats, dancehall and moombahton. What strikes me most in this fresh collab with the eclectic EDM duo Dutch Flavourz are the synths: refreshingly different from the long worn-out lazer squeeks, yet electrifying and catchy. Combined with the vocals in papiamento by MC Roke makes ‘No Caba’ one of the most innovative moombahton tracks I’ve heard year. Add this to your sets and spread the new sound of the Dutch underground everywhere this summer!



9. Maxx Gallo Equipo

Maxx Gallo, a vocalist and producer from Los Angeles who early on developed his catchy, vocal interpretation of tribal guarachero back during the heydays of the genre in a way that is much more underground than the 3BALLMTY’s pop hits, and at the same time much more subtle and accessible than the heavy peppered Texan sound. His newest release is part of the multi-genre ‘Electronica Global EP‘ by the Monterrey based label Worldwide, with tracks from Erick Jaimez, Yelram Selectah, Wost, Noizekid and El Catorce. ‘Equipo’ is a lush and sultry track that blends the summer-night atmosphere of deephouse with sensual vibe cumbia and dembow and the characteristic urban-latin underground flavour that makes Maxx Gallo a very promising artist, not just for 3ball or cumbia but in the current reinvention of Latin music as a whole.



10. Ricky Vaughn The One Tonight

Another deep, even more soulful tune here from none other than Ricky Vaughn, freshly uploaded on his new soundcloud channel after his old one apparently got taken down by Soundcloud. ‘The One Tonight’ is a unique track, combining the breezy beach flavours not only with an esquisite dembow beat but also with some of the ethereal, even angelic atmosphere found in sad and vapor trap. Whereas last year, there was a great divide between on the one hand great, exciting innovations remaining exclusively avant-garde and on the other hand the big bulk of accessible mainstream music stuck in its own commercial staleness. Tracks like ‘The One Tonight’ give me the feeling that this year, innovation and the potential to reach wider audiences will go ever more hand in hand.


11. Dj Otto Ft. Ghetto Kids Rakataka

The fantastic things that the Mexico City based bass formation Ghetto Kids has done for the popularity of global bass in Mexico, integrated with the homegrown sounds of 3ball and cumbiaton is something we’ve praised many times before. This year teamed up for the first time with a member of the famous 3BALLMTY, Dj Otto, for a perreo stomper that fuses the best of oldschool dembow, moombahton and Mexico City’s cumbiaton.



12. DjK-ev India Takata

I preserved this one for the end… Nothing works better for a track to become an anthem than an incredibly catchy melodic hook that people on the dancefloor wil recognise immediately. This easy-listening banger from the Aalen (Germany) based global bass producer DjK-ev has everything to give it this effect on the dancefloor: the dancey chords, the flute and of course the delicious Indian sitar. With enough exposure and momentum, ‘India Takata’ can be THE summer hit of 2016!





Wikipedia says:

Yavor Yanakiev (Bulgarian: Явор Янакиев, born 16 May 1985) better known by his stage name 100 Kila (Bulgarian: 100 Кила), is a Bulgarian rapper from Varna, Bulgaria. His stage name means 100 kilos in English.

Yanakiev was born and raised in Asparuhovo, Varna. His parents separated when he was 6. His mother moved to Greece and currently works there. From there she sent him money. He lived with his father and brother, until his father left them. Yavor studied in school until 8th grade.[1]

Yanakiev is of Romani Gypsy descent.”

Check this out:



If you dig it DOWNLOAD IT HERE.

BRAAP and BSBass

EP Cover 1440x1440 (1)

The label Braza, is introducing all kind of electronic music from Brazil. Since you know a little from that big country, you will – at least – know about baile funk, Rio de Janeiro ghetto music. But, since Brazil is the 5th huge country in the world, and his size is almost all south america, you can guess there are another electronic cultures around there. And there is.

The duo BRAAP is from capital Brasília. Brasília is a ‘young’ city, it was born at 1950 more less and from a call of president to brazilian people from all country to help to build the capital. So there is a big mix of culture there and BRAAP grab all of it the EP BSBass.

They open the EP with Greengo, a trap music with brazilian influences. Then follow with VAI, moombahton song grabbing funk carioca influence. Going through, they met MC Jimmy Luv – from SP – and the group MOVNI.

MOVNI is a rap group from Brasília. They don’t have a characteristic accent – remember, BSB is a younger city, they are coming to the 3rd generation now in 2016. What is most interesting here are the lyrics talking about orbit, space, world, planets and another dimension things. They are 3 guys very intelligent and creatives, I never listened to any other kind of rap like that. And again, they are original.

I like the EP by the quality and technique, the BRAAP – Leandro Morgado and Marcus Diniz, are taking Brasília electronic music to another level, and including the city on global bass map.

You can download all material for free at Bandcamp – in exchange of your email. Or can support the artist with a regular download at oficial stores.

Follow BRAAP at Soundcloud and Facebook. And keep following Braza to know more about brazilian electronic music.


Gingee’s Tambol EP sets an Example for Everyone [Review]


It may sound paradoxical but in some cases, the biggest compliment can be to see that your own work has become superfluous. In an age where blogs as a medium are becoming superfluous everywhere, this brings along double feelings as well, but when I saw on Gingee’s Facebook page that her new EP, Tambol, ranked #2 on the reggae/dub charts on Beatport and #16 in Hiphop, I could only be happy that an artist who means a lot to us, is moving forward without chancing her unique style.

We’ve supported Gingee, a Filipino-American producer-DJ, vocalist and percussionist based in LA, since the beginning and were always enthusiastic about her creative fusion of diverse global bass flavours with live singing, rapping and organic, often traditional Filipino percussion such as the kulintang (small pitched gongs).

‘Tambol’ means ‘drum’ in Tagalog, the Filipino language. The EP’s cover design features drums next to kulintang gongs and other traditional percussion like the long tinikling bamboo clapper poles and cowbells.

The 5 track EP is built around dembow as the central vibe, diversifying into different tempos and grooves and involving synth as well drum elements from genres as diverse as house, dancehall, hiphop, meditative ambient and even feature some oldskool turntable-scratching. Gingee is one of the pioneers of electronic hybrid music with full lyrics rapping and singing and indeed three of the tracks are songs.

‘Tinikling Riddim’ is an instrumental twerk-house tune inspired by tinikling bamboo choreography and was released as exclusive free download for YourEDM, who also wrote an enthusiastic review. ‘Hear the Drum Beats’ is an uptempo bubbling tribute to the global bass movement as a celebration of cultural diversity and empowerment. For ‘Sound System’ Gingee teamed up with electro-reggae OG MC Zulu, fusing dancehall grooves and powerful bass sounds with hypnotising kulintang patterns. ‘Gong Spirit’, a song about the ancestral spirituality of music, continues this meditative vibe and involves a didgeridoo-like sound as an organic replacement for bass synths. The final track, ‘Escape’ is instrumental again and my personal favourite for its subtle dark and futuristic approach to zouk bass. Gingee shows once again her independent creativity which will definitely set an example for everyone in the global bass movement!

The tracks were developed in collaboration with the freshly created Party Time Society label and mastered by no-one less than Ricky Vaughn.


Gingee playing percussion in a live set from last year


The EP premiered last weekend on a exciting cultural event in LA called Soundpaint (which unfortunately I couldn’t find anything more about on the web than the flyer..)




Some pictures of Gingee from the Tambol-photoshoot


Follow Gingee:





Club + Rap


Once another sign that music is moving away from the separation between dj-producer centred music and music genres with the vocalist-performer as the main artist, such as hiphop or reggaeton. In pop it happens all the time, because it’s pop, and apparently it sells to put a David Guetta and Nicky Minaj together on a track. But until recently, it rarely happened in the underground or even in the sub-mainstream.

Following the Dutch urban-eclectic scene, several genres from the global bass scene have moved in this direction and following the popularity of crews like the Sadboys and TeamSESH, producers from the vapor-trap/trillwave scene are often making beats for rappers. But now, also producers from the club trax avant garde are starting to team up with rappers, opening exciting new ways. Not just sound-wise but also for delivering club music: as live shows.

Fellow music passionate James Giovanni once asked on Facebook why instrumental grime, produced to stand on itself, is still called grime, while hip-hop instrumentals without rap are either considered incomplete or are assigned another label altogether such as trip-hop or EDM-trap. But if rap is one of the most defining elements of hiphop music, what happens if music which is stylistically of a different genre, features rap, not sampled but with lyrics created as part of the track?

Of course this has happened before. Genres like grime, dancehall and reggaeton, which aren’t considered hip-hop, feature rap. And never forget that the now almost forgotten earlier generation hybrid called hip-house (<<– WATCH THIS DOC !!) has been an important influence for the development of Baltimore club music, resulting in amazing oldskool club gems featuring rap. In 2015, this direction is being rediscovered and even though there may be more, there are two rappers in particular who are leading the promising fusion of the undergrounds of club and rap: Thast & Sugur Shane.


Thast is an upcoming rap queen from Tampa, USA, whose first soundcloud tracks are from two years back. She started with twerk and trap flavoured beats but always with a somewhat innovative twist to it. But the fusion started two months ago, when club producers Xxsory (US), DJ Svani (Norway) and GET FACE (Norway) remixed her track ‘Rep Ur Country‘. Xxsory continued to make remixes of ‘Stop Hatin‘ [remix] and ‘Fuck U‘ [remix]. Check all of them out they’re rad!

But the obvious next step was an actual collab where DJ Svani and another Norwegian avant-garde club producer Hi Tom, delivered the beats.

Thast is setting a promising example and I hope we’ll hear more of this soon, both from her and from others !







Sugur Shane

The Philadelphia based DJ, producer ánd rapper Sugur Shane has been crossing the borders of genres including hip-hop, house, Philly club and vogue for a very long time already, always keeping active in these different worlds of music. Fusing non-hip-hop music flavours with rap for has been the most natural thing to do for him even in times where people told him that this was impossible. But now this is on the brink of changing, he is back with two exciting releases, one track produced by Latin club avant-garde duo Santa Muerte with vocals and lyrics from Sugur Shane and a full EP created together with Krueger from Chicago and a remix from the New York based futurist DJ NJ Drone!

Check here the vid of his track with bass arounder Astronomar from last year –>







Essential EP’s #5


In the midst of a totally reshuffling music landscape, 2015 has so far been the best year for music in a long time. In a way it looks like 2009, very early days of what would come to be known as ‘global bass’, when a small circle of enthusiasts, producers, dj’s and bloggers, engaged in a passionate underground community on the internet, passing around the freshest finds from all over the world to remix, mashup, insert into mixtapes and to make the next round of tracks with ever more influences and flavours. The atmosphere was to inspire and to be inspired and to celebrate the diversity of the most exciting club and bass music coming from places ranging from Baltimore to Luanda, from Rio de Janeiro to Tilburg.

Previous essential EP’s >> #1 ; #2 ; #3 ; #4

Then came the mainstream media attention and the rise to fame of one platform from this underground, becoming EDM’s innovation magician, drawing hype after hype out of its hat. But under the covered table supporting that hat was still this underground, blogs like Generation Bass, who kept on finding and, against our will, scouting talent from around the world who could then readily be grabbed by the ears and pulled through the hat. Hyped as if they were created out of nowhere. And the scene labelled as global/tropical bass became a race to be seen and heard by the big fish, with a sound already pre-crafted for the festival stages, ending up with a meaningless final genre which took the concept of EDM + hipster exoticism to the extreme (you know what I’m talking about).

Today, the vibe from 2009 is back like never before. There is a vibrant community on the rise, remarkably uninterested in self-promotion. Instead they find each other in finding the most exciting talent to involve in their circle, to mix and experiment, with an amount of energy and enthusiasm that keeps stunning me every day. But the wind is blowing from a different corner now. This time it aren’t the old global or tropical bass folks any more.

I am talking about the club-trax avant-garde, with Dj Rueckert‘s Classical Trax community taking the lead. They connect the club undergrounds of Baltimore, Jersey & Philly with grime, vogue, baile funk, 3ball, future reggaeton, dancehall, kuduro, gqom and more. Even cumbia is making its entry! On a personal note, what I´ve seen in this scene so far is so vastly superior to anything I´ve experienced during my years in ‘global bass’, a scene which I entered at its peak, right before the inevitable downfall. The trax scene is refreshingly free of the need to rebrand Afro-Latin & African flavours as exotic, ‘tropical’. They don’t even seem to avoid it actively, it’s simply out of the question. Baltimore, London, São Paulo and Durban have truly become unquestionable equals here and what binds everyone together are the club, the internet and the music, the trax. I realised that the artificial anti-eurocentrism in the global bass scene and the whole notion of certain music genres being ‘non-western’, no matter how ‘politically conscious’, all too easily becomes a twisted concept, hypocritical and offensive to all those producers in the scene who live in and fully belong to North America and Western Europe.

What has come in place are avant-garde visuals shaped by movements like healthgoth, DIS Magazine and post-internet aesthetics. In a sense, the club-trax scene encompasses the original heart of global bass as well as the heart of the other excitement from the last five years, the post-internet underground (witch house, seapunk, vaporwave and derivative microgenres). I’ve been predicting and promoting such fusion for more than a year. Now it is suddenly there, and in an unexpected way, more exciting than I could ever have imagined. No wonder that most of the list of Essential EP’s on Generation Bass have been coming from the trax scene for many editions in a row now. And let’s start right away with the leaders of the movement: Classical Trax’ Architecture compilation!

1. Classical Trax  Architecture… The Compilation

‘Architecture’ is an gigantic, 26 track compilation, divided into two Chapters, that includes a treasure of better and lesser known artists with a very diverse set of styles and flavours but with grime as its main ingredient.




Probably nowhere else do the club-trax avant-garde, Latin bass and urban genres come so close together as in the Mexico City based netlabel NAAFI. After a couple of months release-silence they’re back this week with the absolutely mouthwatering second edition of their Pirata pack series. Like we saw in the first edition, Pirata is a seamless blend of remix and mashup elements, acapella editing (something very common in the Latin American urban underground) and original productions flow together into one whole that is at the same time nostalgically accessible, and uncannily futuristic. Pirata 2 whirls fromexperimental grime and industrial sounds to underground reggaeton to Nicki Minaj and Drake, and the result borders on the absolute perfection.




//WDIS, acronym for What Do I See, is a Berlin based avant-garde label, also strongly involved in the club trax scene which is like Classical Trax one of the rising projects to watch in the near future. Their 7 track mini compilation _VIRALITY, adorned with a mindblowing artwork of what I believe is a big-data network connectivity visualisation, has been out for some weeks now and it generated a lot of enthusiasm in small circles on the internet already. NAAFI nestor Lao appears on it, together with promising members from the trax scene, including the healthgoth futurist DJ NJ Drone. Seven forward-looking grime club tracks inspired by the mysterious, biological properties of the internet.




A whole different kind of fusion between global bass and the post-internet underground is emerging in Brazil. Vaporwave is a vivid online subculture in Brazil and for every international style goes that at some point in time, a homegrown hybrid variant will emerge that adapts its aesthetics and elements to the local context.

That’s exactly what happens at the freshly established audiovisual platform Favela Wave, launched by the enigmatic Brazilian video designer KOI. The Tumblr page shows an eery, deconstructionist combination of vaporwave aesthetics, glitched and accelerationist brand-logo edits of Brazilian life and harsh favela scenery. The YouTube channel takes it to an even higher level by editing Chicago-drill, Brazilian hiphop and baile funk tunes into post-internet flavours that vary from lush future funk to suffocatingly dark witchhouse (<< this one is pure GOLD check it out!!).

The music to accompany these visuals is provided by a newly emerging underground of Brazilian avant-garde producers such as JAKZ, godjira and Vini ダサい, who are with one leg in online scenes such as vapor-trap/trillwave, dark trap and with the other in Brazilian urban club sounds like funk and rasterinha. This is a whole different kind of movement than the turn-of -the-decade neo-funk movement which tried to make the sound of the favela accessible to a wider electronic music audience. This is a new generation exploring ways to reflect on a rapidly changing, contemporary Brazil. In that sense it is comparable to what’s going on at NAAFI, but less trax-y and a lot darker.

The first fruits of Favela Wave as a label are bundled in a massive 14 track compilation full of brutal, futuristic dark-trap baile-funk hybrid stompers!



5. Deltatron Ritmo & Sustancia EP

The Peruvian latin-bass alrounder Deltatron is a very interesting artist. As creator of the ‘dumbia‘ genre and founder of the label Terror Negro Records, he belongs to the circle of artists supported by the blogosphere since the early days of the global bass scene. On the other hand, he is one of the very few from that era, especially in the cumbia scene, who is at the same time so clearly part of new emerging urban-Latin avant garde à la NAAFI. Integration is happening in many parts of the scene right now but Deltatron is one of the most outspoken examples and apparently without a too drastic style-switch.

He was recently spotlighted again as a producer for the rising next-gen reggaeton artist Tomasa del Real and on this fresh EP that came out some weeks back on El Flying Monkey Records, it’s the avant garde duo Santa Muerte making their appearance. Ritmo & Sustancia is an EP with 7 pumping tracks that completely distroy the boundaries between ‘global bass’ as we know it and the future generation of Latin music that is taking shape right now.



6. Siete Catorce  Principio /// Final EP

Siete Catorce is another example of such artist. He first appeared in the border city Mexicali under the moniker of Den5hion in the days of ruidosón, a dark avant-garde style from North-Mexico which predated the popularity of 3ball and fused prehispanic rhythms with experimental synths and eery dark ambient effects. When 3ball came into the spotlights of the blogosphere, Siete Catorce became known for his unique, minimal-deep and experimental approach to that genre. In the recent years, when he moved to Mexico City, he was hailed as part of the avant garde gathering around the innovative climate generated by the NAAFI crew, where he released his previous EP ‘Flor de Lirio’.

This newest EP, out since a month again, is self-released again. Where ‘Flor de Lirio’ was more influenced by future beats, industrial, footwork and trap, ‘Principio ///Final’ returns to his characteristic sound of deep-trippy 3ball. The last tune, a collab with analog acid cumbia experimentalist Mareaboba, derserves a special note as gets most clearly into industrial territory and opens the way into a whole new sound.



7. Yaw Faso & unsoundbwoy Walk The Rope

Unlike what the cover image says, this EP is NOT released on Brother Sister Records but self-released by unsoundbwoy. Brother Sister tipped it to me so I thought it was their release, I’ll change the picture ASAP.

‘Walk the Rope EP’ is a collaboration between the innovative hiphop, dancehall and Afro-tronic producer and vocalist Yaw Faso and the bass music alrounder unsoundbwoy, both based in Melbourne, Australia. The 3 track mini EP contains elements from azonto, afrohouse, dancehall and DnB, blended into a sound that is yet again exemplary of a new generation global bass moving away from EDM, slipping back into an underground where the boundaries between electronica, urban and roots flavours have vanished completely.


8. This Is Kuduro 1y

Kuduro platform ´This is Kuduro´ was established a year ago as a new channel and platform for the new generation of kuduro. The Angolan electronic genre that has reinvented itself many times, each time drawing in new and exciting flavours and vibes as diverse as RnB, hiphop, dancehall, grime techno and industrial. All these influences and a lot more come back on this anniversary compilation featuring artists from diverse musical backgrounds. Especially notable are the contributions of afro-industrial ambient futurist Only Now and the dark flavoured hiphop, trap & kuduro alrounder SP Deville who both move the sound of kuduro into radically new directions.



9. Erick Jaimez El Tigre

No matter how head over heels I am about the Classical Trax sound, it would be shortsighted to suggest that the entire new generation of Latin music does or should converge onto one type of sound only. But fortunately that is not the case. Well before avant-garde trax emerged as a new post-EDM gravity point, a unique, fresh urban-Latin electronic sound has been on the rise in Texas’ cities after the rapid rise and collapse of 3ball among Mexican youths in those places. Most attention from mainstream media has gone to El Dusty and the #cybercholo movement in Corpus Christi, which featured prominently in El Dusty’s hit trapanera with 3Ball MTY star Erick Rincón.

The sound of this new movement is a characterised by sampled traditional cumbia and regional Mexican/Latin music with trap, crunk, 3ball and house beats. If there is anyone who most clearly deserves the honour of being the motor and inspiration behind this sound, it is the Dallas based #CVMBIATRVPLORD Erick Jaimez, one of our favourite producers for a long time now, with behind him cumbia crunk pioneer DJ FUNK E.

‘El Tigre’ is his freshest release, out for two months now on the rising contemporary Latin label Kumbale, and in many aspects a perfect follow up to his #CVMBIATRVPLORD EP. El Tigre continues where #CVMBIATRAPLORD stopped, moving beyond cumbia and hiphop into mariachi, salsa and techhouse flavours. And since this EP has been out, a number of exciting tracks have appeared again on his Soundcloud pushing his sound into even more diverse directions!



10. Monotronique Voodoo EP

Last time, I introduced the trailblazing Ukrainian producer Monotronique with his conceptual Afrika EP. In the meantime, I got to know him better and found out, not surprisingly, that he too is an active member of the classical trax community.

Last week he released his newest project, ‘Voodoo EP’, via the online avant-garde label, event platform and clothing line Get Busy! Where Afrika EP was characterised by eery, hyperreal minimalism, Voodoo EP ventures into much darker industrial ambient à la Nazar and Only Now, with influences of jersey club and grime. Dark industrial rhythmical music is heavily in the air this year, and this EP may be a first sign that the trax scene may be getting onto this vibe as well.. to be continued!



11. El Catorce Antesala EP

The Mexico City based alround prodigy El Catorce is a third artist who, like Deltatron and Siete Catorce, bridges the early days circle of global bass and cumbia digital with the newly emerging avant-garde. Also without a personal style-switch (band-wagon leap), as his cumbia, moombahton and trap have always sounded refreshingly forward-looking and unlike anybody else. Yet he hasn’t received even as half as much recognition for it as he should.

High time to spotlight this creative producer who on his new, absolutely genius EP – titled ‘Antesala’ (which translates as ‘entrance hall’ or ‘waiting room’) – blends flavours as diverse as Andean flutes, lyrical reggae-hiphop, vaporwave/future-funk, trax style club & grime, oldskool dubstep, moombahton, NAAFI-esque avant-garde reggaeton, footwork, trap and dark-industrial sounds! Remixes are provided by prehispanic trapstep emperor Javier Estrada and futurebeats specialist 10010.



12. SidiRum & Barda Todos Nosotros

Sexxy Saturday Cumbia blogger and producer Nico Bruschi, a.k.a. SidiRum teamed up with Barda, both from Buenos Aires and close companions in Argentina & Chile’s flourishing digital folk scene, a third enduring new Latin underground that is becoming the sound of a whole new generation electronic listeners in South America and beyond. Where movements like Classical Trax and #cybercholo are characterised by a dark deconstructionism and dancing energy, South American digital folk is toughtful, deep relaxation music. A meditative, purifying experience rather than club music. Little influence of urban genres like reggaeton, dancehall, trap and cumbia villera here but the Jamaican influence is certainly there, in the form of dub.

This stunning EP – released via yet another rapidly growing netlabel, Frente Bolivarista, moving out of the shadow of predecessors such as, ZZK and the Generation Bass-affiliated Chilean label Regional – draws from a variety of folkloric Latin rhythms, including Andean cumbia and Argentinian chacarera. Electronic influences include analog electronica, 80s spacedelica, deep dub, gothic flavoured minimal synth, oldskool prog, future bass and psybient. All tracks are original productions, created collaboratively.



Tropikal Camel : In Die Hafla EP [Hafla Bass]


A great EP by Tropikal Camel aka Rocky B whose Neft release will drop on Generation Bass next month.

On this EP he soaks in the music of his origins and twists and turns it into his own style which we can call Hafla Bass, as we love making up new sub-genre names on the blog.

Here’s what the Folcore label say:

Rocky B’s new project The Tropikal Camel are a series of sonic adventures in Tribal Arabic music, future bass, shamanic sound scapes and industrial beats.

The title of Tropikal Camel ‘s debut album, Rocky’s first release outside of Israel,
“In Die Hafla” , means in the party (Hafla), a phrase in Arabic and German.

This name is a reflection of Rocky’s journey to his roots in Iraq, Kurdistan, Morocco and Austria,
As a grandson of immigrants that were forced to forget their motherland’s culture, and repress their cultural heritage.

Rocky’s music in this album reflects a process of liberation from those oppressive chains, toward a consciousness free from shame and denial.
At the same time it tells a personal story of Rock’s experiences in Berlin as an Eastern immigrant in the West.

This album is also a tribute to many releases in Israeli/Jewish/Arabic music culture that were and still are popularly known as hafla music, or “party music”. This kind of recordings contains celebratory songs sang in weddings and holidays, including many tracks which are cover versions of music from all over the Middle East.

As an extension of this tradition, Rocky sample from wildly diverse sources such as old belly dance records from Lebanon, Zorna music from Egypt, Anatolian rock from Turkey, etc.
The album is released by the Spanish label Folcore from Barcelona that focuses in global bass from Europe and south America.

It’s free too:

Guvibosch : Jerusalem Bass


We’ve told you about Guvibosch before about 6 months ago HERE!

He’s originally from Jerusalem but now based in Berlin. He has collaborated with Rocky B as “Neft” on an EP which we’ll be releasing soon called “Dead”!

Guvibosch is back with some new tracks that highlight his individual take on dark industrial beats bordering on the experimental and Dubstep.  This is really captivating material and so take it in and prepare yourself for the upcoming Neft release.

OtinaOtina : Basslines & Culture 3


Another great selection rom San Francisco based OtinaOtina whose 3rd volume of Basslines and Culture soaks in a heavy South Asian influence with Trap, Grime, and Dancehall.

In collaboration with SOISY.

It’s a great listen:

GameFace- Nightshift
iMC – Ramta Jogi (ft Awon, Tiff the Great,& Dephlow )
Nucleya – Street Boy – Dub Sharma Remix
Aazar – Masala
iMC – Kawa Kawa (ft. Delican)
SukhKnight – Work All Day (Footsie)
GameFace- Brutal
InKBoyZ x GameFace – Chinnavar
iMC – Doomed 3
Rimshox – Tere Liye
iMC – Butterfly
Popcaan – Everything is Nice