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.


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


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

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

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

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

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

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

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

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


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


Follow ßęđŧīmĕ Šŧōŗĩėş:


Essential EP’s #11


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 <<


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 <<


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.



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.



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 <<


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.


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.



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 <<


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!


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 <<

Here’s what you missed at Lush Select’s 18th Sunday School >>


The virtual dance floor, screen cap from Shinji a.k.a. ßęđŧīmĕ Šŧōŗĩėş

Has any of you Generation Bass readers ever wondered what it would be like not just to read the posts and listen to the music by yourself, but to be together, listen, share and talk simultaneously as if you were together in a club? That is exactly what happens at the interactive music sharing platform, successor of the popular after that initiative was effectively destroyed by the music industry. There is an active and growing number of netlabels using plug to strengthen the community of producers and fans online and to exchange new ideas in real time. You suddenly find yourself not only discovering and discussing amazing new music in a much more intense way than on Facebook, you´re at the same time surrounded by dancing and DJ’ing robots, pizza slices and jellyfish, which creates a totally surreal, addictive experience.

The international music collective Lush Selects is a pioneer in the use of online music sharing with regular, well visited Sunday School sessions in their own room which they have been organising for a year now. Active participants record a 20 minutes long mixtape, preferably a video-mix with animated visuals or a recording of the performance added, uploaded to Youtube or Soundcloud, to be showcased during the session. In between the mixtapes, there’s always some room for interactive ‘collective back-to-back’ music sharing.

The last, already 18th edition of Sunday School was two weeks ago. But since we at Generation Bass wanted to announce and attend it but missed, here a recap of what the artists have delivered and what we could have experienced.

Vlkvi & moistbreezy teamed up for an absulutely fantastic back-to-back set of apocalyptically flavoured avant-garde club, post-rap, post-witch house and ambien! Keep an eye on them because judged by their numbers of Soundcloud followers they’re heavily underrated!

Vord also made an edited visual recording of his set, focused on hypnagogic garage beats. This video in particular shows the power of editing video-performance in combination with music, drawing both the artist and the into a whole other universe that appears beyond from time and space!

Starfoxxx makes even more surreal, with a lo-fi webcam video from an intimate bedroom setting, blowing bubbles, wearing cloud and strawberry masks. Transmission issues between Mars and Earth have glitched the data into a psychedelic cloud-trip. Imagine this projected on the big screen above the virtual dance floor populated with ponies, robots and carnivorous plants and the absurdism is complete!

The French sound-wizzard Shinji, whose album Myst has been one of our most favourete releases this year, is mostly making music via his melancholic alter-ego ßęđŧīmĕ Šŧōŗĩėş lately. But for this session he unleashes the dark energy once more with a powerful witch house and metalstep mix, accompanied by distorted, suggestively sinister and horror visuals!

Logicoma is a multi-talented post-trap and futurebeats oriented dj-producer and visual artist based in Baltimore (US). As an affiliate of the VOIDSKUAD collective, he is part of the movement that bridges the gap between the sounds from the post-internet underground and the avant-garde of hiphop. His Sunday School video-mix is a perfect illustration of the characteristic sound pushed by this movement, combined with the equally characteristic, post-internet flavoured animations!

The last video-mix is from the French underground alrounder T0T0, featuring melodic, even psychedelic flavoured chill vibes from genres including futurebass, IDM, chillwave and more!

The two-headed cybernetic monster Frank & Stan deliver 20 minutes of high voltage electrostep and DnB!

Seudo from Columbus (US) leans more towards virtual angel-rave, nightcore and kawaii flavoured future bass!

Circuitree, from Lincoln (US), who describes the project as “celebration of the fusion of organic and synthetic elements in our lives,” present a powerful mix with cybernetically charged DnB, electrostep and moombahcore!

The last contribution is intr3pico from Rio de Janeiro, Brazil. He has been a faithful contributor to the Sunday School sessions and is also celebrating his own artistic anniversary with this mix. It’s a very diverse mix that sharply illustrates the opennes of the online music scene today. His inclusion of some baile funk and Brazilian folkloric bass elements also give a first insight in what it might sound like to have this sort of thing in a Generation Bass setting!


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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.





I was too late to announce the virtual live showcase which was held last week Sunday, but the 10-track Soundcloud compilation came online this week and the tracklist is gold!

The theme was ’emotional electronic music’, which was translated in a multitude of different styles and flavours from retro-gothic synthpop and Jersey club to breaktbeat, moombahdeep and ‘vapor-noir’ flavoured hiphop, delivered by familiar names and newcomers to the URL Future family!



1. Audioviscerate Suction Cup Scum

2. J.Holiday Bed (ZZZ Remix)

3. CND9 Foehn in The Jungle

4. Cora Violet Moon Sad Snowman Emoji

5. Danky Stompin’

6. MiscellaneousT Messy (High Score VIP)

7. Shinji Empathy (Crystal Castles Cover)

8. Squirrely Bass  ( ͡° ͜ʖ ͡°) (Biggie X Tyga Lil Wayne)

9. TCP – IP さん Cantforget


Shinji – ‘Vers les Etoiles’ Remixes EP [+ Interview]


Once in a while, you meet a soulmate whose vision and mission resonates on a deep level with how you experience the world. Shinji is such an artist, whose emotional deconstructionism strikes a deep chord with me. This week, he released his newest EP, ‘Vers les Etoiles’, on URL Future netlabel. A perfect opportunity to introduce this upcoming producer from Paris to Generation Bass readers.

GB: Members of the URL Future family will be familiar with your name already, what do Generation Bass readers absolutely need to know about the artist Shinji?

S: I do music to deliver emotions and feelings, sometimes with messages, about myself and the world I live in and about the connection between mankind and its environment and society.

GB: Your style could be described as very deconstructionist, constantly blending the familiar with the uncanny and unfamiliar.. is there any specific genre or movement you consider yourself part of?

S: It’ is sometimes a question I ask myself, I released noisy tracks on a speedcore label (‘Complex Hearing Disturbance’ on Noiseaphonic) and ambient things almost the same year on URL Future (‘Mindfall’ and ‘Inanimate Paradise’).

I consider myself as an emotional deviant of gothic culture, what would become labelled as ‘new wave’ a few years later. I don’t really care about styles, genres, I mostly care about what kind of feeling people could express while listening to my music, I use music as a way to evacuate all these emotions that our society keep us to develop.

GB: Sound- and vibe-wise, you are also very diverse, ranging from dark/hard to wavy, from plunderphonics to own compositions.. what would you consider the main thread in your work?

S: The main thread of my music is to touch people who does not belong to a category of people, all these people who cannot say “these persons are here to defend my rights”. We are the forgotten souls of this society, and I try to make my music as diverse as I can to describe all these emotions in which we recognize through music.

GB: On your artist page, you write that your music springs from the emotions around life and death, that play special role in your life.. could you tell a bit more about that?

S: I began music years ago, when I was 15. My life in 2007 was the worst period ever. My teenage years were a nightmare to me. I was alone, and bored from school and everything, even life. I was listen to music all day long, a lot of different things, music, and reading things about art, paintings, philosophy, and culture in general, but music was the thing.

I started music without any notions of musical theory, except music I was listening to, I started doing shitty sounds on FL Studio for 2 years and posting it on Myspace. I started to self-release stuff in 2009, but I really felt good and in phase with my music when I released my first album, ‘Factory Of Memories’, in 2011. Since that time, my music is linked with my real life, I don’t know if it’s conscious or not, but the music I compose is often a reflect of what my life is.

GB: Can you tell me some more about the artists who influence or inspire your work most prominently?

S: I think you understood that Richard David James a.k.a. Aphex Twin, is a big inspiration to me and so is the legendary gothic dance formation VNV Nation or the experimental metal-tronic-folk artist Igorrr. But in general, I listen to a lot of interesting independent works, or small labels, mostly in which house. Think about guys like Fraunoffer Diffraction, Sidewalks And Skeletons or (((O))), who were really awesome last year.

I could also mention weird music like what Extra Tourist did on his new album, r.roo, or Poemss.

My big surprises were The Hacker‘sLove Kraft part Two‘, Cascadeur‘s ‘Ghost Surfer’ and Wax Tailor’s orchestral album (which I saw live at La Defense), as well as the new Venetian Snares album was epically grotesque and awesome!

I can’t quote everything I loved in 2014. I don’t listen to a lot of music, but I love music I listen to be special in some way and trying new things.

GB: Talking about trying new things, it is very hard to be a young, innovative musician in our times of internet. How has your music been received so far? Do you have an insight into what kind of people are interested in your music locally and on the internet?

S: My audience is quite special I think, it’s mostly composed of people who arrive, and others who leave. I think I have a quite small constant audience.

As you said, my music is very diverse in terms of emotions and styles, most of people I know who follow my music are “strange”, but very open minded. Also, my artistic story is made of opportunities. What I saw from my gigs, people who like what I do are mostly from old techno (like 35-40 years old people), or form-free parties/hardtek scenes (I played few hardtek/frenchcore livesets in 2012), so I think my music find an audience with people who don’t mind about musical genres borders.

GB: You have released via URL Future before.. Could you tell us how you found out about it, what it is about URL Future that appeals to you to you, and what it is that makes you suitable as an URL Future affiliated artist?

S: After my ‘Childvisions’ trilogy and my ‘Elysium‘ EP were released with them, I chatted a lot with one of the owners of Post Religion, who was very enthousiastic about my stuff. Through him I heard about the URL Future Fest and about URL Future in general.

Releasing my EP with them was the ultimate link between the IRL and the URL. It was the perfect place to disseminate my work to a whole new audience, and Corey has been really kind to me from the start.

I think that URL Future projects are innovative and unique, and are suitable with my vision of a better world. And most of all, Corey is really open minded in term of music. I know he trusts me about the quality of my releases, and I’m still free to share my darker stuff on other kind of structures (mostly compilations). But for now, my main music will be released through URL Future.

GB: This is your first release in 2015, is there anything next on the planning that we can already look forward to?

S: There is an album in the making (‘Vers Les Etoiles’ is an extract of it), which will be called ‘Myst’. It will be some more intimate stuff than ‘Factory Of Memories’ or ‘Inanimate Paradise’, mostly melodic stuff, sometimes with singing, sometimes not.

I’m really enjoying that it will have an audience, and people being touched by what I feel. I also have a lot of things for my other aliases for those who know them, and maybe some other EPs and tracks in compilations. Compiling an album means leaving out a lot of valuable tracks, and I hope I’ll have the opportunity to release these ones in another way still.


‘Vers Les Etoiles EP’, consists of the main track, an orchestral introduction as well as five remixes. 

The main track is a deliciously melancholic, 80s underground electro-pop flavoured track that fits perfectly into the ‘spacedelica‘-sound that we will be hearing more often in 2015. Remixers in turn add flavours varying between uptempo oldschool rave, synthpop, liquid dubstep and witch house.

Grab the EP here!


1: Vers Les Etoiles (Shinji Orchestral Introduction)

2: Vers Les Etoiles (Shinji Original Mix)

3: Vers Les Etoiles (Princeton Cover)

4: Vers Les Etoiles (Last Nova Remix)

5: Vers Les Etoiles (ΣDO Remix)

6: Vers Les Etoiles (†RIɅLS Remix)

7: Vers Les Etoiles (Jack The Recreator Remix)


Follow Shinji:





El Catorce – Zig EP [Mexican Bass]


Mexican producer El Catorce pulls out all the stops for this EP in multi-genre style covering Nu Cumbia, Zouk Bass, Latin Trap, Moombahton and Witch House.

This is brilliant!

El Catorce is the musical project of Jose Sandoval, DJ and producer from Mexico City. He mixes and experiments with fusing Tropical and Latin American music with elements of Electronica, Moombahton, Hip-Hop and Trap.

Daniel Disaster (Of Heroes X Villains) Live On 88.5 (Plus Bonus 320 Download!)

Daniel Disaster is one of the weirdest people I have ever met. His accolades are too numerous to count. His tracks are too massive to comprehend. He literally runs Atlanta. And yet, for some reason, he ended up crashing on my futon for a few days between shows in Brooklyn and Princeton. The college asked me to sort him out to come spin at a frat club, and it was quite possibly the most hilarious show I’ve ever seen. After a yell of ‘the beer is free… somebody get me a free beer’, things went apeshit. They kindly asked me to remove the ‘PG’ video we had cut, which obviously didn’t include an ivy league girl getting fingered right in front of us.

That said, Daniel spent his entire stay playing tracks that I didn’t expect, and sat in the dark in my apartment listening to Salem at 4am. I will never understand those 3 days.

But this mix is a perfect example what I consider to be an incredibly strong movement. I’ve heard many names for it. Most people seem to be leaning towards ‘Witch House’, or some similar variation. From everything to the Grim – Faded tape, to the Grave Wave mix Mishka provided, it seems people are drawn to this mellowed out shit with heavy drums and Screw influence. This mix encompasses that vibe perfectly. I can’t even say I knew it dropped. It went up a couple weeks ago, and somebody from Australia linked me to it as I was home rewiring my setup. It’s sad how disconnected I am.

Download / Stream

Also ran across this banger Heroes and Villains produced. They share booking agencies with Tamara Sky, and I was curious how long this would take to happen.



Starfoxxx just re-invented himself under an alias STLKRFXXX and released this Moombah X (Expeimental) EP, which I’m totally loving.

Here’s what he says:

The latest experiment on Moombahton. Took some heavy drag witch house sounds and took it to 108bpm and had it ride some Reggaeton and moombah beats. Mixed in the distorted semi lo fidelity of Witch House as well. A lot of dark droning vocals. Only listen if you are mentally stable. This shit makes me look over my shoulders constantly when I got my headphones on. Munchi already disproved of this with a frowny face emoticon.

I LUV IT, more pls Sir:

KAROLINA EP by starfoxxxchicago


I honestly have not played an EP on constant repeat for a while …this shiiit gets deep into your mind and ferments there and refuses to leave….it’s dark, dangerous, claustrophobic, moody, melancholic but sensual at the same time…it’s PSYCHOTIC…Now I really feel like stalking someone with this as my soundtrack…..:-)