Great track here by Portuguese producer Puga delivering a sound harking back to the glory days of Global Bass but with renewed impetus.



One of the original Transnational Bass Dons from the 90’s is this dude, Adham Shaikh. When most of you were still in your nappies or tweaking on your mommy’s nipple, this dude was laying down Transnational Bass light years ahead of most of the current big players in the scene.

He now returns after a 5 year hiatus with a new album to rival most of the present Global Bass bombs hitting the scene.

The album consists of new material and revisits older material with a new re-imagining rather than mere remix treatments.

There’s a predominant Asian influence throughout paying homage to his part Indian and part Kashmiri background but it also travels to places like Armenia and Moorish Spain.

A lot of the material still has one foot stuck in Trans Bass sounds of the 90’s but it is imbued with more recent bass applications in the guise of Dub, Dubstep and Glitch.

Really worth checking out all of this if you feel like floating on a cloud or whirling like a dervish.

We got a cool premiere in the form of some Flamenco Dub for you which once inspired tears from audience members at its live debut!

We also have the title track to give away for free.


Reflecting his South Asian heritage and a fascination with electronic music that began in high school, Basswalla is the result of Canadian musician Adham Shaikh’s 25-year dedication to creating and performing original electronica and global fusion. In India, the suffix “-walla” indicates mastery in a particular discipline, and its use in the album title refers to Adham’s pioneering work in the “global bass” style — characterized by electronic, bass-centric tracks featuring southern hemisphere sounds and an urban orientation. The title also references Adham’s return to his Indian roots in both method and material.

Following years of scoring soundtracks and producing other artists’ projects, Basswalla marks Adham’s first release of original material in five years. The album’s 10 cuts are split evenly between new tracks and updated versions of songs put out over the past 13 years. Wanting to offer more than a “greatest hits” collection, Adham took a fresh, improvisatory approach to reinterpreting the earlier songs. As he puts it, “Inspired to move beyond the notion of simply remixing, I discovered a place more akin to jazz or Indian classical music, allowing me to keep the scale and overall song structure intact while reimagining everything else.” Most of the mixing took place from October 2014 to March 2015 at Adham’s Sonic Turtle mobile recording studio, a converted tour bus parked outside his home in the forests of British Columbia.

With a couple of ambient electronic albums already under his belt, Adham’s musical path took an auspicious turn at the dawn of the 1990s, when he heeded his adopted father’s suggestion that he marry his love of synthesizers and samplers to the music of his father’s (Kashmir) and biological mother’s (India/Guyana) cultures. In search of exotic sounds to sample, he happened upon a recording by bansuri (Indian bamboo flute) master Hariprasad Chaurasia that “wrapped around my spine in a way that I’d never heard [before]” and reconnected him with his long-dormant South Asian roots. From that point on, sounds from India and other parts of the Global South became a regular feature of his music.

The opening and title track of Basswalla fuses global bass culture with devotional trance and captures the essence not just of the album, but of the artist as well. According to Adham, it “sits squarely at the intersection of prayer and dancefloor” and expresses his commitment to “living in service and dedication to craft” on a daily basis. From there, the majority of songs focus on a single instrumental or vocal timbre designed to center the listener’s attention. For instance, “Sabadub (Floating Soul Mix)” takes a track from his 2002 album Essence and strips instruments away until the bansuri part performed by the late Catherine Potter (a disciple of Hariprasad Chaurasia) takes center stage.

“Collective (Yogi Dub Mix)” is transformed from a piece driven by tabla, conga, and bongo percussion to an atmospheric dub track. “Vibe Hunter (The Elders Dance Mix)” replicates a haunting Armenian violin performance set against lively beats and keyboard work in order to commemorate the recent death of “Dancing Ken,” a fixture at British Columbia dance parties. As Adham explains, “I called Ken the ‘vibe hunter’ because his appearance meant that your event was the spot that night.”

Featuring two flamenco-sounding guitar loops that had lain dormant for four years, “Rumba Dub” finally took shape once Adham discovered samples of duduk (a clarinet-like Armenian double-reed woodwind) to pair with the guitars; the track’s power was confirmed for him when it inspired tears from audience members at its live debut. Finally, Adham’s “Deep South Mix” of the track “Crossroads” departs from the original (off 2010’s Universal Frequencies, Best Album winner at the BC Independent Music Awards) by showcasing Prakesh Sonntakke’s performance on mohan veena (a hybrid slide guitar from India) in its entirety and adding a performance on dholak (South Asian double-headed folk drum) by E Shankar.

With an even split of updated originals and brand new material, Basswalla affords Adham Shaikh and his fans the opportunity to simultaneously examine where he’s been in his career, and what the future might hold for an artist well into the third decade of a successful life in music. With a raft of nominations and awards for his studio work and a bevy of devoted fans eager to hit the dancefloor whenever he drops the bass, things continue to move in the right direction for Adham. In the end, it’s the tension between the studio and live shows that propels his musical journey. “It‘s pushing a pea over a mountain with a chopstick. Every now and again you hope for a plateau and every now and again you wish you weren’t on a plateau and actually more in the drama of action.”

Basswalla – Tracklisting

01 Basswalla
02 Sabadub (Floating Soul Mix)
03 Collective (Yogi Dub Mix)
04 Cultivation (feat. Shamik)
05 Vibe Hunter (The Elders Dance Mix)
06 Beyond I (Desert Sky Reframe)
07 Still Shakin
08 Rumba Dub
09 Crossroads (Deep South Mix)
10 Water Prayer (Deep Crystal Mix)




Transnational Bass Integration, It’s Happening Now! (..and Why That is a Good Thing)


Remember the post where I gave you that map of Global Bass with some thoughts about where it’s heading? This post will be kind of a ‘PART II’ to that one. One of the buzzwords you may have heard me saying over and over again in discussions on Facebook (before I went on a Facebook break for some months) is ‘global bass integration’. But what is it and why should we even care?

For the ones who haven’t heard the yet I’ll make a long story short. There are basically three forms of ‘global bass’ existing today (I won’t get into a discussion whether or not the roots of the movement today go back to the 1990s Dutch and UK multicultural music scenes and African and Latin urban-electronic movements and or rather to transnational pop-rock that has been around since the 60s and 70s and even further back, I leave that to experts with more music experience than myself):

1.) the original scenes behind the non-Western dance genres (kuduro, tarraxo, baile funk, cumbia, 3ball etc.)

2.) bloggers, DJ’s and producers, often from the West, bringing these genres under the attention of new audiences who do not themselves belong to those original scenes..

This distinction is important because when you talk about a scene, you’re talking about a group of people rather than a style of music or aesthetics who recognise themselves as part of one group, associated with a certain name (or often, that name is given to them by outsiders). If you want to talk about a global or transnational (or, for that matter, a tropical) bass scene, you are only talking about those people who consider themselves as part of the movement that combines non-Western dance genres, most often for different, Western audiences. It is, no matter the intentions, an activitiy where the pitfall of cultural appropriation is always just around the corner. Especially when the genres are adapted to fit the formula of EDM, tailored for consumption by American festival crowds.

Stereotypically, over the past ten years, there have been two types of parties where you can hear genres like kuduro, tarraxo, cumbia, dembow, baile funk, etc.:

1.) Parties from the scenes of those genres, so, in Angola, Lisbon or even the kuduro scenes in the metropoles in France, all over Latin America’s working class neighbourhoods and in the hispanic neighbourhoods in US cities etc.

2.) Indie-tronic parties labelled as ‘tropical’, with white hipsters indulging in a tropical fantasy-world filled with palmtrees, big shaking butts, seductive fruits and menacing wild animals..

Of course I am exaggerating, but the big difference is that only in the second scene, you could hear the different genres together, instead of just one (or a limited number) of them. On tropical parties, moving from cumbia to moombahton, to rasterinha to trap has been bread and butter for years. But I doubt if there has ever been a cumbia track played at bailes funk in Rio or a tarraxo track at a 3ball party in Monterrey. And when some years ago, Venezuela’s Tuki became known via the global bass movement, the creators were amazed to find out that the sound they had developed was so similar to kuduro or bubbling, which they weren’t aware of when they created it.

I think it is clear today that the ‘tropical formula’ as a way to popularise these genres into the new EDM craze has failed. It couldn’t compete with trap and twerk’s hood-fantasies of guns and money and bling. But it was not just controversial, it also failed to involve the scenes around the people who created it. Most of them didn’t even associate themselves with concepts like global or tropical bass. If the transnational bass scene could reinvent itself into a movement that does not grab every non-Western dance flavour as raw material for the newest fad in American EDM but exchanges ideas and sounds between the original scenes themselves, the future may look very different.

Since the early days, a lot has changed in this direction. Much of the younger generation of producers in any of the indigenous genres has grown up with the internet, global bass blogs and, especially in Latin America, many producers nowadays know about all the ‘neighbouring sounds’ existing elsewhere in the world and often start to associate themselves with the global bass movement. In this way, a ‘reverse movement’, taking other sounds from the appropriating hipster avant-garde back into indigenous scenes sometimes occurs.

The thriving urban-electronic-eclectic scenes 0f multi-cultural youths in the metropolitan cities the UK or the Netherlands and on the island of Mauritius, can be an example for the new transnational bass to be.

The producer-dj duo Smash & Aries are an upcoming act in the Dutch urban-eclectic scene who smoothly fuse RnB, hiphop and house with genres like afrobeats, kuduro, kizomba, dancehall, moombahton and more!


Wanna know what’s going on in the Mauritius scene? Check out this mixtape from DJash Ley, supporting the upcoming talents DHARISH, AVI S, FUNKJ and DJash Ley himself! It’s mostly Afro-Latin house but a look at the producers will show that they produce everything from house to kuduro, baile funk, moombahton and trap..


Mexico City is one of the most innovative places in the world for music these days and not just on the hipster side of things. One of the most important developments next to cumbiaton is the rise of an urban-eclectic scene much like in Europe, where urban-Latin sounds of reggaeton and dancehall are combined with EDM. DJ Krizis, a big name in Mexico City’s reggaeton scene, introduced moombahton on such an urban-eclectic night last year which even in design looks a lot like what’s going on in the Netherlands..


I already shared his moombahton mixtape before but in case you missed it, here anoter shoutout!


From the very start, I’ve been a supporter of moombahton as a future branch not of EDM but of reggaeton, especially with live MC’s.. ‘moombahton urbano’. In Sweden there is DJ Cuervo who pushes the urban-flavoured combination of moombahton, reggaeton and dancehall. Check out his mixtape he made together with Dj Blass!

DJ SmokeMachine from Lisbon is an exciting innovator who pushes the wider global bass genres, mostly zouk bass but also some tuki, and even cumbia & 3ball into the Portuguese ghetto-zouk underground!



So then what about tracks, are producers from different scenes exploring each other’s sounds? Well, yes they’re starting to do that more and more..

One of the things I’m most strongly hoping for most that the funk scene in Brazil and the Afro-Portuguese underground will get more involved with each other in the near future. They speak each other’s language so there’s definitely potential there. And I’m always on the lookout if I perhaps see producers from each side liking and commenting on each others tracks. This has already happened a couple of times but unfortunately I couldn’t find the examples back to share them here.

DJ Dotorado recently made a funk tune for his Maluku EP, pushing funk into the Portuguese underground! He took the EP off his soundcloud, I don’t know why, but the demo is still online..


And of course don’t forget Anderson Teixeira‘s tribute to funk from last year.. Tarraxo das Brasileiras! I hope that somebody from Brazil reads this and will play this track at a baile!

Funk itself too is evolving a lot lately. Next to beatbox sambles and horn stabs, percussion beats are back and there’s a lot of experimentation going on with synths. Innovative funk producer duo RD da NH & André BPM made an exciting track last month which perfectly closes the gap with Portuguese underground flavours!


And this is from last week, rasterinha-twerk with lots of bass!


And if there is any other genre many producers from the Portuguese underground are into, it the hiphop side of trap & Chicago-drill. This two rad tunes from DJ Babaz Fox and DJ Estraga fuses drill with kuduro!


One of the most unexpected examples of global bass integration I came across randomly is this amazing collab from the Argentinian bass alrounder FDA The Producer and the Detroit based future-trapper ▲ZER, which mixes Argentinian urban cumbia villera with trap. That is already cool in itself but the most exciting thing is that this is released on the prominent EDM-trap label Defco Records, who have seldomly touched global bass flavours before, let alone cumbia!

Once and a while the EDM-trap scene shows some interest in global bass and I predict this will grow stronger in the future. Check out this massive, arabic flavoured banger from the German talent Karl Hungus. Traphood Family tagged it as ‘twerk’ but the moombahton element is just as strong here!

It is not just the Portuguese underground which is getting more interested in baile funk. Bass producers, and not just the hipster ones, from the Spanish-speaking part of Latin America are discovering it too..

3ball OG Clap Freckles made this exciting funk-guarachero (3baile!) track a year ago and I’m actually surprised that nobody else has followed this example yet..

The 16 year old mexican alrounder DJ ChuCko is a quickly rising global bass talent with potential to follow in the line of names like Bacondo, Wost and Billion Dollars. And the promising thing is that he experiments with all different kinds of transnational flavours. Check out this electrifying funk-3ball-latinhouse banger!


And here he fuses kuduro with 3ball!


More latin-kuduro here from the Venezuelan duo Mambo Killers!


And fresh this week from the Boston based Latin-EDM duo Ysuli Bros (CZuR + M∆¢H!ИЄ GµИ 8Ø8’s), kuduro mixed with bachata and trap!

But by far the most exciting cases of global bass integration are from the Dutch underground legends Dj Sueside and DJ Lockie.. I was blown away when I found out that they have made some 3ball!

These tracks made a dream come true. When I first found out about 3ball after travelling in Mexico, I immediately wished I could somehow connect that sound to the urban-eclectic scene here in the Netherlands, together with bubbling, kuduro, reggaeton, Dutch house, grime etc. But there are very few Mexican youths in the Netherlands so I doubted it would ever happen. But this idea got me in the global bass scene and the rest is history ;-)..

I should have blogged this stuff right away when the tracks came out but I didn’t manage and have been waiting for this moment ever since!


Even though DJ Lockie is an absolute hero for everyone interested in bubbling, both inside and outside the Netherlands, his biggest ever fan is the hard-Latin-tronic experimentalist from Santa Rosa California, DJ Broken Record. This enthusiasm resulted in a mini-EP, dedicated to the town of Santa Rosa, fusing zouk bass & cumbia!

And don’t forget that the rhythm in some Portuguese underground kuduro tracks come very close to 3ball as well. I remember that Anderson Teixeira had a track once which was almost identical to tribal prehispanico, but he took it off his soundcloud so the closest I can find now is DJ Nigga Fox‘ unique style. If we haven’t blogged his newest track yet, shame on us, it’s RAD!

And while bubbling is coming back in the Netherlands, the Dominican dembow scene almost reinvented it with tracks like this banger from DJ Scuff!

If from the central global bass genres, this eclectic attitude diffuses further to shape the future not just of Western genres but also of urban-Latin music, dancehall, soca, kizomba etc. the future of music can be very thrilling.

We at Generation Bass are ready for it!


Remove The Stones EP

We’re celebrating Christmas Day with Russia today and with one of its rising Bass stars INSANE FENNEL.

You can now grab his new album for FREE today!

Insane Fennel’s 2nd album on Generation Bass “Remove The Stones” comes 1 year after his previous magical album “From Russia With Love”.

Insane Fennel continues to be a name to watch. Since bursting onto the Transnational Bass scene, he has been one of our favourite artists in that scene. He fuses African Tarraxo beats, Juke and DnB with native Russian melodies and instrumentation and it’s an intoxicating & enthralling combination.

His music is melodic, cinematic, exciting and moving. He paints a sound scape that is unique to him and that’s what we love about him.

The new album will soon be available for free for only a limited amount of time. It will be available in MP3 and also in glorious WAV in due course on all the usual digital outlets in due course.


Insane Fennel is one of the most powerful representatives of Russian underground Transnational Bass scene. The starting point of his musical activity is considered to be in 2005 participating in grindcore group “Katse”. His passion for electronic music led to experiments with techno, dnb, dubstep but his meeting with Zouk Bass in the Buraka Som Sistema Boiler Room rolled his neck in the direction of a new ZOUnd.



Traveler's "Dub The World" Mix


The Six Degrees label have been at the helm of Transnational/Global Bass since the late 90’s, early 2000’s and they just don’t get enough of the praise and credit that they deserve for it. They use to do a wonderful Traveler series of compilations curating great Indian, African and Arabic Global Club anthems and I use to use a lot of their material for my early DJ sets.

Of course, a few years ago it was also the perfect home for our ground-breaking and classic compilation “Generation Bass Presents Transnational Dubstep”.

In addition to their brilliant releases as a label, they have also been running one of the most interesting, eclectic and diverse radio shows/podcasts for a number of years, lovingly put together by Bob Duskis.

Each week, usually, consistently, without failure, he compiles a bunch of awesome tracks behind a different theme. The theme could be anything, it might be something to do with the weather or it could just be somebody’s name and he curates a bunch of tracks around that theme, all having something in common with it. I think it’s a brilliant and unique idea and he should be given a much bigger platform to express it on but as we know all great ideas usually stay residing in the underground!

This week, he put together an awesome mix of Dub from around the world and I’m really feeling it. So check it out and follow these shows cause they’re great and educational too.

Tracklist is on the player:

Traveler’s “Dub The World” Mix by Sixdegreesrecords on Mixcloud


Remove The Stones EP

Worldwide stream of Insane Fennel’s new album “Remove The Stones”.

Insane Fennel’s 2nd album on Generation Bass “Remove The Stones” comes 1 year after his previous magical album “From Russia With Love”.

Insane Fennel continues to be a name to watch. Since bursting onto the Transnational Bass scene, he has been one of our favourite artists in that scene. He fuses African Tarraxo beats, Juke and DnB with native Russian melodies and instrumentation and it’s an intoxicating & enthralling combination.

His music is melodic, cinematic, exciting and moving. He paints a sound scape that is unique to him and that’s what we love about him.

The new album will soon be available for free for only a limited amount of time. It will be available in MP3 and also in glorious WAV in due course on all the usual digital outlets in due course.


Insane Fennel is one of the most powerful representatives of Russian underground Transnational Bass scene. The starting point of his musical activity is considered to be in 2005 participating in grindcore group “Katse”. His passion for electronic music led to experiments with techno, dnb, dubstep but his meeting with Zouk Bass in the Buraka Som Sistema Boiler Room rolled his neck in the direction of a new ZOUnd.



FEX goes WEST (with Mano) Promo Mix


Tasty Transnational Bass mix here promoting a new event, full of those killer vybz and including a track by our very own DJ Paparazzi. Check it out.

Via FEX :

For 5 strong years the FEX collective has kept the tradition of highlighting international Dance music for Chicago audiences. With their concentration on emerging artists they have been able to lay claim to the title of being on the cutting edge. Due to the efforts of the collective, world genres have had a fertile Chicago breeding ground, with venues like The Subterranean, Coup D’ Etat, Harbees and the Double Door playing host.

Beginning in 2015 founding members NewLife and David Lozano will branch out to the West Coast. Although the personnel will be shifting slightly the party will still go on. With NewLife continuing at the helm he will curate the forward-thinking musical sounds that FEX has become known for. While splitting his residence between Chicago and California, he will also be working to spread the vibes nationwide.

Grown Kids Radio representative Mano is the chief West Coast affiliate for FEX. He arranged last year’s foray into the West Coast, which included Kush Arora, Oz from Afrolicious and the FEX crew. The “Wildfire” party at San Francisco’s Boabab nightclub was the spark that set these wheels in motion. The affiliation is highlighted here in this latest mix collaboration between NewLife and Mano.
F E X // Promotional mix by NewLife (Chicago) and Mano (San Francisco). FEX is branching out west in 2015, while still being based in Chicago. First Saturday will continue on with DJ NewLife and guests. Enjoy the mix…


1. Dengue Dengue Dengue! – R 2
2. Clap Clap! – The Rainstick Fable
3. Obeyah – Helicopter Riddim
4. Clap Clap! – Universal Modulator
5. Gregor Salto, DJ Gregory – Vem Rebola feat. Dema Pancha & DJ Mankila
6. 3 Beatz Musik – Hoje Não Saio Daqui (Oh Tcha Tcharara)
7. Marlldex – Voodoo Drums
8. CDM DJs – Dedicao Ao Maboku
9. Lurka – Nah So
10. Siete Catorce – Syncopate
11. DJ Khalab – Walkiana
12. NewLife – Em Conflito 3
13. Omulu x Comrade – Bagulho Doido
14. Michael Jackson – They Don’t Care (Dasilvio Armindo Remix)
15. DJ Paparazzi – Blue Love
16. D’Tok Produtor – Que Te Faz Doer Male Male
17. Haiti Ground Zero – ElectroVaudou 5
18. John Wizards – Limpop (NewLife Edit)


1. El Guincho – Novias feat. Javiera Mena
2. Batida – Mama Watoto feat. Cannibal
3. Just a Band & Octa Push – Boom Boom Boom
4. Funkystepz – Fuller (Rev VIP)
5. La Makina – No Me Digas Que No
6. Batida – Tribalismo feat. Circuito Feixado
7. Magic Drum Orchestra – Crunked Up
8. Ghost Writerz – Back It Up feat. G.O.L.D. & Shiffa Dan
9. Werkha – Tempo Tempo
10. Afronaut, Hector Calderon – Hecho En Casa (Landslide vox mix)



From Bolivia with love, our dude Oi Mas Bass and his crew have started an independent NET label
with music not just limited to their own country but also including great Bass-Tastic stuff from Peru, Argentina, Mexico amongst others.

You might recall we introduced them back in early 2013 Bolivian Bass!

Please check out their stuff and help support these local labels:

Here’s a selection of some of their releases:

1 Year Of Babylon Records – Free Compilation


One of the underrated Transnational Bass labels is Stas’ Babylon Records. They always drop quality stuff with great underground producers with a unique, predominantly Big Room oriental Moombahton and Trap flava.

They’re still finding their feet and trying to hone a unique sound within the busy marketplace but I wouldn’t take my eyes off them. They’ll master their art soon.

They’ve just dropped a dozen tracks by some artists you’ll recognize from Generation Bass releases including Stas himself and other notables such as Kameronessi, Hataah, B Azta, Temir Bulut and  Hataah.

Good stuff: