Kicking Off 2017 With The New Dark Generation

2017 will see a rise of Lovecraftian, cosmic horroresque aesthetics

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

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

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

1. Hexx 9 records (label)

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

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2. 209 SINS

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

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

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3. ßęđŧīmĕ Šŧōŗĩėş

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

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

>> BUY IT HERE <<

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

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

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4. Volkanos

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

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

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

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

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

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5. Young Yogi

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

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7. SADWRIST

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

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8. RARE AKUMA

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

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9. ATILLA THE HVN & NOIRE ANTIDOTE †

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

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

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

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

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10. The Enigma TNG

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

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

>> BUY ON BANDCAMP <<

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11. Toxic Embryo

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

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GRAB NOW >> DJ FASTA’s ULTIMATE TRACKPACK Vol. 2 !! [25 Free Tracks]

FASTA TRACKPACK

Half a year after the first edition, DJ FASTA’s long awaited second Ultimate Trackpack is up for download!

Fans of the Dutch urban-eclectic sound have already been able to enjoy some of the tracks, pre-released on the producer’s Soundcloud page over the past months. But the Ultimate Trackpack has something everyone: 25 tunes in total, ranging from pumping moombahton to dancehall-club to festival-flavoured afrohouse – remixes as well as original productions, riddims and club tracks as well as songs. DJ FASTA’s remarkable approach to the Dutch urban-eclectic umbrella creates a perfect bridge between vastly different worlds of music: equally mainstream as underground, equally ‘festival’ as ‘club’, equally nostalgic as forward-looking!

>> FREE DOWNLOAD <<

https://soundcloud.com/djfastaremixes/download-now-fasta-presents-25-tracks-in-one-pack-hit-buy-4-dl

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Follow DJ FASTA:

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MUSIC, TECHNOLOGY & THE FUTURE PART 2 : The Podcast

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Artwork: ‘Transhuman Godatalia Complex’, a digital sculpture by the forward-looking, science-rooted visual artist Kevin Mack

When music, technology and the future intersect, what are the main issues that come to mind? Label owners may be stoked to find the ideal disruptive business model, forward looking artists may want to experiment with new ways to create and deliver sounds, while bloggers or academics would rather focus on the way in which future technology shape social and political contexts in which music acquires significance. The issues are interrelated. Progressing communication technology – not only the internet but also its precursors such as radio or successors like virtual reality – changes the world in a way that inspires artists to make music, offers a pool of crude material from which music can be assembled and simultaneously offers a medium for music to spread. And if we take a step further, beyond the internet and current conceptions of music, there are even more fundamental questions about the creation and perception of sound, be it by artificial intelligence or by a generation of post-humans who have transcended natural sensory or cerebral limitations to preceiving, interpreting and conceiving the essentially infinite possibilities of imagination.

Our latest talkshow brought these two perspectives about music and technology together, featuring Demian Zivkovic and Lotte van Noort, respective President and Chancellor of Insitute of Exponential Sciences on the transhumanist movement as a cultural phenomenon, its reception and its relevance music and other forms of art and innovative music business consultant Bas Grasmayer of Music x Tech x Future. As a soundtrack to the theme, I selected a broad range of tracks from several corners of the music underground, that are at the same time a direct result of today’s accelerating, high technological time and an artistic reflection on it.

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IESLogo

The Institute of Exponential Sciences is a think tank and platform that brings together scientists, engineers, entrepreneurs, culture makers, journalists and students with an interest in fields of technological innovation that will fundamentally reprogramme human nature. With social events, lectures and partnerships, the institute promotes transhumanist perspectives and initiatives in different sectors of society.

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MusicTechFuture

Music x Tech x Future is a consulting service for professionals in the music business, sharing the sharpest insights in the impact of technological innovation on the music economy in the broadest sense.

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LISTEN TO THE PODCAST HERE >>

Essential EP’s #11

EssentialEPs11NEW

It’s been a while since my last Essential EP’s selection so here an edition with releases that are all from a month back or so. Influential releases like Chino Amobi’s or Kid Antoine’s, which received widely read attention from of the major online music magazines, have already cooled down to lukewarm in terms of attention, making place for even newer excitements. Other ones, like Los Innsurgentes’ La Maldad EP have flown a bit under the radar. Two artists whose previous EP’s were among the most impactful of 2015 are back now with follow-up releases that continue where they left off. Overally, as 2016 begins to take shape, the innovations of 2015 seem maturing into recognisable sounds, enriching, branching off and finding their way into different corners of music.

1. NAZAR Hubris EP (Track Meet)

Let’s start with Nazar, whose NIHIL EP was perhaps the single most original release of 2015. His confrontational, political approach to kuduro created a throat-gripping, industrial flavoured sound. ‘Hubris EP’, the Angolan avant-garde producer extends this powerful signature style with an even more rich set of influences, venturing into 808 drums, industrial techno and the ethereal synths of avant-garde club. In ‘Tyranny’ the producer also makes his first appearance as MC, using his own vocals to ironically praise Angola’s president.

The EP had been announced for a long time but could finally see the light via the upcoming avant-garde club label Track Meet.

>> BUY HERE <<

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2. ANGEL-HO Emancipation (NON)

One of the other most groundbreaking works last year was without any doubt ‘Ascension EP’ by Cape Town based NON co-founder ANGEL-HO, debuting on Halcyon Veil. Now, 6 months and many great single tracks later, he is back with a fresh EP released via his own NON WORLDWIDE label. And like Nazar’s, his sound too has become richer and more crystallised. Whereas ANGEL-HO’s arrival at the stage of the music scene seemed more concerned with disrupting the dominant cultural forces, now the post-disruption era has arrived with full force. This means that the black queer trans identities that ANGEL-HO represents have broken free from the colonial forces designed to suppress and erase them, triumphantly expressing themselves the way they want to, no longer needing juxtaposition to binary heteronormative whiteness as a reference frame at all. As I interpret it, this is also what the magnificent artwork (made by Chino Amobi) refers to: proud dragons, breaking out of the burning remnants of the past. “The old has gone, the new has come.” In sound this means that the characteristic tumultuous industrialism is no longer an end-point but a beginning. On ‘Emancipation EP’, ANGEL-HO’s signature sounds like accellerating cars and shattering glass are the crude ground from which all kinds of new sounds rise up in freedom.

ANGEL-HO teamed up with Desire Marea, one half of the performing art duo FAKA, whose vocals apear on the first and last track of the EP.

>> BUY HERE <<

https://soundcloud.com/non-records-1/sets/emancipation

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3. Chino Amobi Airport Music For Black Folk

Richmond based producer, designer and NON co-founder Chino Amobi has a unique style of producing that deviates most notably from conventional club music. Chino Amobi’s music isn’t there to make you dance and feel good about yourself. That is precisely part of the story that Amobi – as I understand him from interviews and from my personal interpretation – wants to convey with his music: resisting the exploitation of black music for the entertainment of the privileged, de-stereotyping black music and reclaiming it as a tool to express the reality of the black experience. Airport music is not much different. Brian Eno’s iconic experiment using hypnagogic soundscapes to transform the dull, hasty terminal into a serene and thoughtful environment has brought ubiquitous soothening background music to airports, most of which based on jazz and soul.

Amobi radically reverts the perspective. With trunkated, looped pieces of recognisable elements, unpredictibly interjected by menacing sounds and vocal messages, he exposes rather than dissolves the chaotic, tense atmosphere of the airport and its post 9/11 obsession with security and threat. The way Amobi manages to capture the intimidating unrest not of being in danger but of being looked at as the potential danger, an experience that can make air travelling an alienating activity for black folk, is an esquisite achievement of translating complex emotion into sound. And that makes him, in my opinion, one of the greatest composers of all time, on par with the eternal masters of blues, jazz and classical music.

‘Airport Music For Black Folk’ has been recorded in Berlin and was inspired by Amobi’s European tour, resulting in five tracks named after the cities and airports he visited. The elements used in the tracks overlap and the album is most fully appreciated when listened as a whole.

>> FREE DOWNLOAD <<

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4. Los Innsurgentes La Maldad EP

The Apodaca based duo Los Innsurgentes announced their dark flavoured 3ball bass EP ‘La Maldad’ more than a year ago but ever since, they went virtually silent until the point that even I, first hour fan of Los Innsurgentes, no longer expected it ever to be released. When listening to the EP, it is good to keep in mind that these are actually old tracks, probably finished and released long after they were first created. I was personally amazed how archaic, even nostalgic it sounds, to hear such an experimental use of growl bass synths. ‘La Maldad’ truly feels like a time glitch directly out of the now almost forgotten golden age of global bass, with producers like Caballo, when this formula of percussion with growls ruled supreme. The tense, mysterious atmosphere, especially in tracks like  ‘Base Frapp Cafe’ and ‘Litros de Sangre’ goes back to an even older root of Mexican electronic music: ruidosón.

Apodaca is a suburb of Monterrey, where the US-Mexican border region begins. The outburst of creativity, from Nortec to NAAFI, that made Mexico one of the most innovative places in the world for music over the last decade, is inextricably connected to the socio-cultural and political reality of that border and the American War on Drugs with all its evil (‘Maldad’), death and destruction it has created. Whether this is a second beginning for the duo or rather a goodbye present before leaving entirely, this anachronous EP sends a message that the Mexican electronic underground, 3ball in particular, needs to wake up once again.

>> FREE DOWNLOAD <<

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5. Kid Antoine Bodypaint (Her Records)

The track ‘Bodypaint’ by the Copenhagen based producer Kid Antoine is already an excitement in the club underground and got a shoutout from us recently as well in our summer festival bangers post. But beyond the track, the EP of which it is part, containing another original production, ‘Flood Control’ and a remix of ‘Bodypaint’ by Florentino, can’t possibly be absent in a selection of essential releases. Presenting the ethereal, futuristic vibes of the avante-garde club movement in an accessible way, perfectly combining with a wide variety of genres and sounds is becoming his immediately recognisable signature. He did that already on his debut EP ‘Proximity‘ a year ago and ‘Bodypaint EP’, which contains even more energetic drive, is the perfect follow up, again released on MM‘s label HER Records. On top of Kid Antoine’s already baile funk & dancehall inspired & jersey club inspired polyrhythmic beats, Florentino adds even more pumping, almost moombahtonesque dembow. If there must be any best example of ‘the sound of 2016’, where the flavours of avant-garde club will reign far beyond the avant-garde, trickling up into everything, ‘Bodypaint EP’ is all you need.

>> BUY HERE <<

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6. y y y Last Breath

I’d already been following this enigmatic avant-garde project from London for a while when I noticed how unique their work actually is and how solid their following. Scene-wise, they seem to come from the cloud/silk/vapor trap side, but in the grey zone between this section of the post-internet underground and the avant-garde club movement, which are often still worlds apart despite of the extensive overlap in aesthetics. Sound-wise they even smoothly blend in influences from genres like witch house or futurebeats. In the Soundcloud followers list too, I see all the imortant avant-garde club names popping up, which makes me wonder why we at Generation Bass have been sleeping on this all the time.

‘II’ is a unique, emotionally gripping EP with powerful sounds that, if anything, sound like a more less industrial version of the radical alchemy of WWWINGS. Officially it was set for release on the 25th of March, but so far the only thing I can find of it online is this folder without a buy or download link. If anyone knows their bandcamp, let us know via our facebook page. For the time being you can grab their equally impressive previous work, ‘[] EP’ HERE for free.

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7. Wolf & Witnessing Acapulco (_WDIS)

‘Acapulco’ is the intriguing product of a collaboration between the better known Infinite Machine curator, Wolf, and experimental futurist Witnessing, both based in Montreal, sharing Latin American heritage and personal friends of each other. They decided to explore their roots in the context of the critical reflections on the future which both of them usually focus on in their creative work. The track is a stunningly thoughtful, introspective as well as vibrantly expressive ambient-dembow-club tune. The catchy melodic work slightly resembles Kid Antoine, but with the viscous smoothness scorched away by a combination of the gothic heaviness of y y y and the raw chaoticism of Los Innsurgentes. Together with KABLAM‘s uptempo skeletal remix it makes a mini-EP which was released already two months ago on the Berlin based avant-garde label _WDIS.

>> FREE DOWNLOAD <<

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8. MHYSA Hivemind EP (NON)

A third NON WORLDWIDE release that can’t possibly be missing from any essential releases list is MHYSA’s ‘HIVEMIND EP’. E. Jane a.k.a MHYSA, a.k.a. E. The Avatar and one half of the performance & sound duo SCRAAATCH, is a multi-talented musician, visual artist, poet, critical internet theorist, activist and futurist from Philadelphia whose work is an interrelated patchwork of visions for the future of Blackness and queerness in a high technological world. With a combination of music, designs, performance and more, she exposes and radically rejects the ongoing systemic colonialist, racist and patriarchical oppression structurally built into the technology shaping the world. Like Chino Amobi’s has shown for airports, control, exploitation and exploration are persisting, white-colonial dreams that have shaped the internet to such extent that its language, assumptions and default structures produce an othering and agressive universe. Her resistance is itself cybernetic, embracing, bending and using rather than rejecting technology in order to create new, radically independent futures for Blackness and queerness to flourish.

‘Hivemind EP’ addresses the existential nature of social media as a networked space and the way it visualises the workings of collective consciousness, power relations and the impact of art and social change. With six stunning, thoughtful experimental ambient tracks she paints panoramas of and lays the cornerstone for her Utopian visions, for and by Black women. Two tracks are co-produced with teammate plus_c under their joint project SCRAAATCH, and another one together with Generation Bass favourite DJ Haram.

>> BUY HERE <<

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9. Compilation Japan Edition (Club Late Music)

Club Late Music is an exciting, relatively new, globe-spanning collective & label curated by 100% HALAL (Frankfurt), AZN Girl (Brussels), Bubbles (London), Dragon UMA (Yachiyo), Ideal Corpus (Marseille), Michel Ours (Paris), Prince Lucien (London) and T/B/O (Los Angeles). Their musical focus ingeniously connects the world of avant-garde club to the euphoric and kawaii flavoured sounds of retro-rave and nightcore – a combination that we will definitely see more in 2016. Earlier releases like the ‘Summer Hits Compilation‘ and their mixtape series have our radar unfortunately. But ‘Compilation Japan Edition’ is a perfect, much more diverse follow up that shows even more pronouncedly the forward looking direction in which this blend of music is paving the way for new developments this year and beyond. It probably got its name after the download-for-free-entrance promo for the club night at Lounge Neo in Tokyo, already three months ago. In the run-up to this party, it used to be downloadable via this interview on the Japanese music & culture webmagazine Public Rhythm, but the link is now broken. We’ll keep you updated about future releases!

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10. Abu AMA Riad Noir (hexx 9 Records)

Finally the debut album of Abu AMA, the producer whose absence of support from our blog for so long still puts me to shame. I recently called his unique ‘ArabXo’ sound, blending Middle Eastern music with tarraxo and mesmerising experimental dub, the most Generation Bass sound ever. But even more importantly, his engagement with Middle Eastern culture is far from a gimmick, either exoticising or demonising Arabic culture. Quite the opposite, his strong political message, weaven continuously into the titles as well as the compositions, is an incisive denouncement of the demonisation and fearmongering depiction of the Middle East, refugees and muslims in Western media and culture and a passionate cry for end to the vicious geopolitical destruction of the region. This is significant, especially considering the producer’s embedding in the dark ambient music scene, a world where harmful, othering exploitation of the fears from our collective prejudices can still be bread and butter.

‘Riad Noir’ (‘Black Garden’) contains 10 delicately produced tracks that show the full breadth and depth of Abu AMA’s style, released back in January broad multi-genre dark underground label hexx 9 Records, also home to a number of essential producers from the ‘new dark underground’ like Volkanos or Bedtime Stories.

>> BUY HERE <<

DesertWave Part 4 – Chillin' @ The Pyramids

Desert Wave 4 - chillin @ the PyramidsbrownFULL

Desert Wave is an Arabic/Eastern themed concept which is both ambient and rave in equal measure.

It conceptualizes a hallucinogenic & psychedelic vibe where you can trip’ out in mellow mood at the Sand Dunes (Volume 1) or be more upbeat at the Light Fantastic, raving till dawn (Volume 2) and going back to the past to remember the future in an Arabic Edition of BladeRunner (Volume 3) and now Chillin’ @ the Pyramids (Volume 4).

As noted above this volume takes in more of a chilled, dubby and ambient tone. Enjoy.

Download:

Stream:

Bored Lord… The Global Artist.

Bored Lord is part of Rare Nnudes, a digital collective that includes fellow cyber artists BastienGOAT, minivan_markus, and p l a i n t e x t. Their Bampcamp contains some truly ace releases by a variety of Internet musicians, and true to the vaporwave/seapunk form, it’s strewn with as many Japanese characters as English ones. The collective’s two slogans are “birthed from the Internet’s mainframe” and “transcendent digital shamanism,” which I think says a lot while meaning nothing at all.

http://rarennudes.bandcamp.com/

MUNCHI : NAFFIE BACK/PA LO UNDER EP

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It’s been 2 years since Munchi’s last release, the brilliant “Perreo 101” which we were privileged and honoured to unveil to the world. Prior to that release was the exceptional Rasterinha EP which ranks as one of my all time faves in the Munchi cannon alongside the legendary “Rotterdam Juke”.

The musical landscape has changed a lot over the past 2 years. A hell of a lot. As Victor has been correctly identifying via his amazing blog posts, standard Global Bass fare now sounds pretty old-fashioned and a product of a bygone era. Things are evolving and progressing. The Global Bass of new is trying to shed its tags and associations as being looked upon as a World Music/Global/Exotic genre and is placing itself alongside standard club music and wishing to be identified as just that, Club Music.

The innovators of this new evolution are mostly kids with their origins in the country from where they take their inspiration. Munchi is one of the First Generation of that ilk which is now being inhabited by the likes of Nazar, Happy Colors, DJ Haram, Bison, Nigga Fox, El Mahdy Jr, Non label, Naafi label and many others.

So where does Munchi fit into all of this. Well he is one of the innovators, one of the Godfathers I guess you could say. Were it nor for him, would we have come this far? Don’t forget he was doing stuff like SkullTrap and other weird, dark and aggressive mutations well before many. This filtered down to this new generation and his influence is undeniable. Even right now he occupies the classic position of an “innovator”, over-looked & barely talked about except by the ever faithful, almost forgotten. That’s what usually happens to innovators, true originators.

This is not the massive come-back, some of us might have been anticipating or wished for. The material could quite easily have come out in circa 2010-2011. The sound and technique hasn’t evolved that much beyond that circa. However, I think it’s totally unfair to have expected Munchi to meet those high expectations at this stage.  Let’s not forget, Munchi has not been busy honing his skills, technique or musical growth, he’s been busy looking after himself and trying to manage his ill-health. So with that history in mind, all of this has to be put into some context.

This is just the start, we hope, Munchi is just warming himself up and that revolutionary come back, that new sound some of us are expecting from Munchi will arrive, be rest assured. For now, anything by Munchi is better than nothing by Munchi and I’m just so happy that he is taking little tentative steps to make music again.  This must be encouraged and I pray it continues.

It’s not a MASSIVE COMEBACK but a SLIGHT RETURN and a most welcome return too. It would be unfair to expect Munchi to come back and blow our brains with something totally new and revolutionary like he has had a habit of doing in the past. This EP is what he says it is, it’s an EP going back to the roots.

Don’t get this twisted or wrong, this EP is fyah, total fyah and a cut above what everybody else is doing with this kind of stuff. Those damn drums, that tightness of production!!! It’s an education for many, a history lesson, you will learn something from this that will inform your own music making and that will add to your knowledge.

Munchi is just easing himself back into music making again, warming up to it in that inimitable Munchi way by causing total mayhem first before soon silencing us all with his wonder!

Let me hand you over to the boy genius:

It’s back to the roots on this EP – Bubbling and Reggeton. Shoutout to the originators!

“Naffie Back”

After hearing “Tupac Back” a couple of years ago I knew exactly what to do; “Naffie Back”. This concept lingered in my mind for too long, so in March this year I finally made it happen. Instantly dropped a preview on Soundcloud too, because wtf happened to that Naffie drop?

There was a time that upon hearing the Naffie drop you knew – the club is about to be destroyed. Previously I made two VIP’s of my favorite classics in the form of “shoutouts”. These were literally to just be able to hear the Naffie drop in the clubs again. I recall hearing the “Blow Your Speakers” remix for the first time. This changed my life. I recall hearing the “Satisfaction” remix for the first time. I almost cried due to the amount of that my mind was being blown. So in making the 3rd shoutout of the series, the intent was to make a track that was going to be something like a ultimate shoutout that covered each aspect since this dude did so many genres. The mother of all shoutouts lol! Just the thought alone had me smiling.

So instead of rebranding it or watering it down into the 1.000.000th new genre, imma call it exactly what it is – Bubbling. More like Bubbling O.D. while you’re at it lol with references to the Bubbling dons Shaun D, Master D and De Schuurman. Hopefully they’ll all bless the world with new Bubbling tracks, cause nobody does it quite like them – SHOW THEM HOW ITS DONE.

“Pa Lo Under”

I used to listen to Reggeton’s Dembow rhythm on my walkman all day. Obsessively learning all I could about Reggeton. Fuck it’s crazy, back then all the producers were on the same old forum talking shit to eachother. I even hear the sounds I posted back then scattered in packs or even in productions over the years. This is for all the trademark sounds, all the homegrown labels, shitty VST’s that were only used for Reggeton, the limited sound palette you had to use over and over again, the creative ways to sing the most retarded lyrics and most of all the Reggeton singers that couldn’t sing for shit!
YES, I LOVE IT.

Nothing is as fun as making a Reggeton track. So I present to you another one of those ultimate shoutouts lol. Covering all my favorite Reggeton producers in a Moombahton setting, stuffing it with an impossible amount of references to shout them out haha. You know who you are!

So salute to the Reggeton kings, while throwing on my FUBU clothes for one last time to keep on grinding in this sandungueo. HA!

BRAAP and BSBass

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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.

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RETURN OF THE ORTHODOX BASS: NEW OLIGARKH ALBUM!

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Just about a month after i first wrote about Oligarkh from St.Petersburg HERE ON GB – they have released a brand new album! It`s better sounding than the 1st one, but with relatively same idea of fusing Russian religious and folk music with hip hop, trap, EDM (whatever that may be) and beyond. Same old formula, just enhanced. Check it out:

 

 

The album is for sale on iTunes, but we have exclusive free download of the 1st album track RIGHT HERE!!!

 

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OLIGARKH: RUSSIAN ORTHODOX BASS

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This is the real deal, trust me. That`s all i have to say about it.

 

 

Oligarkh is a young hip-hop/IDM producer, seeking for special Russian vibe in between progressive electronics and sounds of his motherland.
His music is a collage of images, melodies and words that portray the features of the national character. Spiritual, folk, chanson and lyrical music is framed by solid bass bells, 8-bit balalaika and broken rhythms. With their help, he drives the audience from light of the church to dark night forest, from walls of Kremlin to remote villages, from ghetto-like suburbs to luxury rich districts. All his music is based on this contrast, opposition of high culture and popular, contemporary and ancient.
Oligarkh’s debut, an “abstract-orthodox” longplay “Zemlya i Volya” (Land and Liberty) was released in the end of the last year and got lots of reviews. Russian internet was confused, “is it true love to motherland or first echoes of new Russia?”. Some people see in him “a typical occurrence for doom generation”, others — “reconsideration of pre-urban sound” and epic trap-shit.
Together with a drummer Oligarkh makes unbelievable solid music from fragile abstract hip-hop to heavy dubstep. His gigs are supported by video collages from historical films, documentaries, fairytales and media heroes.”

Source: morezvukov.nl

 

 

“St. Petersburg electronic band Oligarkh is a unique phenomenon on the Russian music scene. Their debut album made quite a mark on the Runet with its impossibly eclectic mix of Orthodox prayer, traditional Russian lyrics, bell-ringing and modern electronic bass music. Even young people are unsure if they like this kind of mixture, while the older generation is just shocked.

The musicians themselves think that their songs help to unearth their native culture. Listening to a peaceful prayer with an offensive drum beat, for instance, creates a prevailing sense of darkness. And that’s where the mystery lies. According to the band, that’s the secret of the Russian soul, when the lines between good and bad are blurred.”

Source: rbth.com

 

 

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