Essential EP’s #8


While I was working on the URL FUTUREFEST, a whole new series of releases has shaken the music world, continuing the transformation that has taken place this year. And they keep coming. By the end of the year, I’ll make a selection of the most essential releases of the entire year, that will show how music itself has become redefined this year as well as the ways of speaking about music. I’m starting to believe the whole habit of dividing things into decades makes no sense any more. Over the last five years, things have been accelerating towards a singularity point and we’re now beyond it. There are no bandwagons anymore, no genres, no next-big-things. Even labels and blogs are transforming into something different. And this all mainly due to the avant-garde club scene and neighbouring movements that we’ve only seen the beginning of just yet.

1. Oracles Divination II

Oracles is the new label based in Houston, curated by SINES, one half of the duo Santa Muerte who are one of our favourite acts right now. With Oracles, the approach of avant-garde club with a dark twist is extended by bringing different artists together who all contribute to this concept in their own unique way. Divination II is their second big compilation (the first one came out via THUMP a year ago) that contains both original mixes and remixes by a diverse number of artists.

Next to Santa Muerte, who open the compilation with a breathtakingly dark witch-trap prayer to La Niña Blanca, there is the experimental ambient grime-techno from WWWINGS, Morten HD‘s melodic deconstructed dembow, and the surreal-dark edits from the Portuguese producer BLASTAH. Oracles bridges the avant garde club scene with the innovative energy in the new generation of dark music and is by doing this one of the most forward looking initiatives out there!


2. Kamixlo Demonico EP

Now we also blogged Kamixlo‘s mix for DAZED Digital, there’s little chance you missed Demonico EP. But in case you did, here again big love for one the defining releases from one of the most promising artists today.

Like Santa Muerte, Kamixlo too fuses latin, dembow based tropes with dark flavoured club music but even in a more outspoken way. Here it gets full blown industrial, with distorted kicks and hard hitting snares in a way that remind of the hardcore inspired Doombahton compilation that came out earlier this year. But this is on such a higher level that no comparison to any other thing can do justice to it.

The 5 track EP starts with ‘Otra Noche’, a haunted ambient tune with a deformed vocal from the reggaeton classic with the same name, now sounding like bubbling up out of the swamps of the underworld and dissolving into a mechanical dystopia. ‘Paleta‘, has been somewhat of an anthem in the underground club scene this summer. It has been up on the artist’s soundcloud since the beginning of this year and was taken off at some point as the EP based upon it was being materialised. A motive hidden in the titles is the inspiration in wrestling, a sports which the producer also practices and aspires to combine with music. In a recent interview with Thump, Kamixlo explains that ‘Splxcity’, my favourite track of the EP, is made to give the listener the experience of undergoing suplexes while ‘Lariat’ subjects you to a lariat attack from a wrestler à la Stan Hansen. Kamixlo does not only bring entirely unique sound into underground club music but also challenges established ways of experiencing and enjoying music.

The EP was released on the Berlin based label PAN and it’s new sublabel CODES, curated by the British grime producer Visionist, who also features with a remix of ‘Lariat’.

>> BUY HERE <<


BUGA (not to be confused with Sello Regional’s El Buga) is a relatively new name in the underground club scene (at least, to my own limited knowledge), whose earliest but immediately mindblowing soundcloud tracks are from the beginning of this year. Most tracks breath the air of the new wave of contemporary-futuristic tech aesthetics such as sports cars, motorbikes, metallic gear and sportswear, expressed into dystopian, mechanistic ambient-club and grime. PLUG-IN HYBRID EP bundles this exciting creative potential into a recognisable signature project, with three original productions and remixes from Classical Trax family members Morten HD, EVAA, LHTL and Vaphoree.

4. Toxe Muscle Memory EP

The Swedish club producer Toxe is one of the 6 most close affiliates of the Stockholm avant-garde label Staycore117 and this is her first solo release on the label. The EP is cryptic in terms of how it should be interpreted and I haven’t been able to get behind it. Muscle memory is a phenomenon in physiology and sports that repeated muscle movements become automatic over time. The cover design contains some allusions to fleshiness of muscles in an alienating, surreal way. Also, the line between the avant-garde club scene and the health goth movement aesthetics and wider culture, which particularly reflects on sports and our bodily existence, is thin. In the words of Adam Harper in The Fader, quoting Wyat Schaffer:

“…relies on an anti-nostalgic dystopian present,” providing “an ethos of mythologizing our technological present” and that “it may be hyper-masculine on the surface, betraying a distinctively sus interior of body-mechanized cyborgian humanity within… reimagining the present future by mocking self-awareness as a Humanist project of little efficacy.”

Yet I have no idea whether this philosophical environment is in any way related to this EP as a source or inspiration or otherwise but nevertheless it creates an ambient of dystopian, cyborgian existence in five original tracks that once again show the boundary pushing energy of the Stockholm scene.


5. Classical Trax Jamz!

Classical Trax, which we introduced last month, is the community where the future of music is being determined this year, in the midst of the total overhaul in all of culture that is taking place this year. They are multifunctional. Not a label, not a blog but a community of people who together shape music and culture for the future. Nevertheless, they’ve become ever more focused on releasing music from their community, especially with their frequent compilations which we will be keeping track of as much as possible, picking the best and most representative things that come out. Jamz! is such an essential compilation with as many as 21 tunes that display the diverse energy that’s coming from their community.

Especially notable are the experimental arabic club tune from the Tunisian producer Deena Abdelwahed, Ida Dillan‘s dark-melancholic techno-flavoured track and the electrifying industrialism from one of our current favourite producers: Monotronique!


6. Pineal Sounds Blue Satin Vol.1

One of the imminent dangers in the avant-garde club/trax scene as it is blowing up right now is that its sound will start degenerating into a formula that people follow simply to be part of the expected success of the movement. I can’t say this is happening right now already but it’s nevertheless refreshing to see how labels and collectives actively resist the formation of fixed formulas and keep releasing compilations where no track really sounds alike.

Pineal Sounds’ first volume of the Blue Satin Compilation series is a perfect example of this resistance. The diversity in rhythms ranges between kuduro, dembow, trap/trillwave (in such a refreshing way as if it had never existed..), techno, oldschool rave, 00s hiphop and Jersey club, alternately flavoured with dark ambient, grime, dreamy or mechanical.


7. ESCAPE FROM NATURE EFN Sound Library Volume 1

Escape from Nature is a new avant-garde label established by the New York based forward looking producer Orlando Volcano, also focused on this same resistance to fixed formula’s. In their own words:

EFN observes, disregards and redefines the boundaries of what club music is and what it can be. The label acts as a space where club music’s functionality and intention can be debated and reconsidered. Why let a space that formed a genre dictate its future?

Escape From Nature showcases the most contemporary music possible, exploring the possibilities of the technology on offer to us.

EFN Sound Library Volume 1 is the first in an upcoming series of compilations from a wide range of artists in the club music underground. Unlike the Blue Satin one, this compilation is not just cross-genre diverse but much more experimental, trippy and less directly accessible for dancefloor audiences. With tracks such as 2lanes‘ dystopian-ambient jazzy flavoured opening track or KOH-IZT‘s (= Wet x Orlando Volcano) uncagtegorisable melodic experimentalism, club music becomes an artistic experience just as much as a nightlife thing as music is commonly experienced.

>> BUY HERE <<

8. This is Kuduro A Compilaçao Vol.2

Generation Bass has a long history of promoting the energetic Angolan dance genre kuduro and it’s always great to see new underground initiatives taking continuing to push genres after hypes fade away in the blogosphere. This Is Kuduro is such exciting new initiative which brings together artists from different scenes all over the world who are interested in kuduro. A major part of the producers affiliated to the platform are from the Portuguese underground scene, but the reach extends to Mexico (ChuCko), Chile (MiloMilo), home-base Angola (Nova Margem) and France (Zee Reech), equally spotlighting unknown talent and established names.

This Is Kuduro brings together the different flavours and approaches the genre has involved into since its origins and shows it’s there to stay for the future!


9. Ian Solow Machine Gun Zouk EP

Zouk bass has undergone a similar wave of attention rise and fall, and especially with the arrival of the Portuguese tarraxo underground that went more into the direction of techno and underground club music than the established ‘bass’ formula, or Generation Bass’ own melodic ‘future tarraxo’, it was hard to discern at some point whether zouk bass was an actual genre and where its boundaries are. Still producers have been trying to re-invent the genre almost from the scratch, carving out a new space, free from the worn-out formulas of EDMified global bass but also subtly different and refreshing from the new waves of underground sounds. The La Brousse crew with Photo Romance and Ian Solow taking the lead, have been particularly important for this.

Machine Gun Zouk EP is the outcome of this re-creation of a zouk bass from the future. Aesthetically and thematically inspired by post-internet underground genres such as vapor-trap and tumblr and musically building on dancehall and DnB, this is zouk bass as if it had never existed as a hype. Nidia Minaj adds the flavour of the Portuguese ghetto tarraxo, while Jurassic Fight Club draws in hypnotising arabic influences and trap. Fautre‘s kuduro, Chris Dogzout x CZuR‘s hyped up tuki-trap and Photo Romance’s mellow zouk grooves definitievely put zouk bass back into the multi-genre palette of music for the future.


10. Brunswick Sound Brunswick Sound Vol.1

This is a third underground-club compilation that would have fitted more with the Blue Satin and Escape from Nature ones but for the sake of variation in the post I prefered to spread it out a bit. This is definitely the most energetic and the darkest of the three underground club compilations. Here less explicit references to genres like reggaeton, baile funk or kuduro as most tracks lean most heavily on grime. Still the sound diversity and creative potential is enormous.

To my very own shame, I don’t know and can’t seem to find out a lot of background information about this label but it comes across as an essential voice in the critical area in music today, where the current, futuristic approach to grime merges with ‘club music’. Don’t sleep on this!

11. RECKLESS Rotterdam Promo EP1

For some reason the playlist with all tracks has been taken off the producer’s soundcloud. So I can’t show it in it’s entirety. RECKLESS is the new project of the 17 year old Rotterdam based producer formerly known as Sambo. As Sambo, he was mainly involved in the Dutch EDM scene, jungle terror in particular. With RECKLESS he teamed up with a befriended producer to form a duo who are now exploring the wave of afrobeats & afrohouse that is currently a big hit in the major cities. This EP is the first step into that direction and from my own personal taste I’d say compared to jungle terror and bigroom, this is most definitely a promising improvement.

Check out this promo track of the EP, dedicated to the popular sound of contemporary Rotterdam. The entire EP can be downloaded for free via the link, with inside an exciting collab with Generation Bass favourite DJ LyCox!


12. Lush SelectsLUSH 002

It’s almost permanently stormy weather in the netlabel underground, with new labels, collectives and initiatives popping up like mushrooms while others swiftly disappear or slowly bleed to death. Lush Selects is an impressive example of  the exact opposite. Since their establishment they have invested so much in community building and personal contact that they are now a slowly but continuously growing, solid community. We blogged their first compilation in March this year and said that it showed perfectly how the concept of ‘future beats’ or ‘future bass’ could be pushed free of fixed formulas, hypes or EDM-like pretentions. Similarly as I am considering now with the avant-garde club movement. In fact I think that these two movements can learn a lot from each other and in some ways this is already happening.

Here the second volume of their compilation series with the most creative post-hiphop, ambient juke and dreamy eclectic bass music. Especially notable are fortyforty‘s Latin flavoured, morning phone-alarm-esque experimentalism, Blak Trash‘ intense, wavy dream-hop and Roche Limit‘s apocalyptic deep ambient dub.


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


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

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

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

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

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

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


Gingee playing percussion in a live set from last year


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




Some pictures of Gingee from the Tambol-photoshoot


Follow Gingee:





Mega Mixtape Roundup #2


Artwork: Vince McKelvie – ‘Separate Faces’ (via Tumblr)

It’s been two months since our previous selection of mixtapes that give the best insights in the directions in which music is moving. I wrote, without knowing what would happen: “summer is usually one of the most crucial periods that shape the course music will take that year.” As the summer unfolded, it became clear that the club trax avant-garde, in all its different forms, is truly THE new excitement of 2015, defining the sound for at least the second half decade ahead of us. And from this movement, it has been the unique, industrial ambient flavoured protest sound of NON, picked up by Rabit‘s new label Halcyon Veil, that has hit the music world like a bomb. But there are more sounds and movements that keep reshaping the cytoplasmic goo of free-floating bits and pieces of music, aesthetics and culture that surround us. We will present one of Soundcloud’s major new repost-channels as well as a number of upcoming artists who have never before featured on Generation Bass.

But we start with what will be remembered as the most essential piece of music of the decade:

1. Rabit & Chino Amobi THE GREAT GAME : FREEDOM FROM MENTAL POISONING (The Purification of the Furies)

The Great Game, first episode of Halcyon Veil’s newly launched mixtape series, is a masterpiece in all aspects, a watershed in the history of music and culture that is currently being written. Not only does it contain the musical apotheosis of the purging, transfigurative industrial sound pioneered by Chino Amobi (Richmond, US) and the other NON-crew members, it is also absolutely sublime on the literary, aesthetic and intellectual level.

The title consists of a main title, a subtitle and a alternative title, and that cryptic combination is the first key to a treasury of meaning, which unlocks itself bit by bit with additional clues that are given as the music proceeds. The first one is a reference to M.E.S.H.‘s recent album “Piteous Gate“, which deals with the digital age’s information overload, rapidly unraveling of perceptive coherence. It suggestively refers to Gene Wolfe’s other-worldly, far-future fantasy setting depicting the last ruins of a human civilisation against a dying sun. The Piteous Gate, a space-time portal which can spit out anything that has existed in the history of the world, raises similarities with the current experience of the internet as a crucible of molten information, gushing out things from the past into an incomprehensible cultural wasteland. “There is a thin line between Piteous Gate and The Great Game” says an ethereal, robotic voice, with in the background menacing dark ambient soundscapes.

The second clue one is the cover design, which views a close-up scene of Auguste Rodin’s sculpture ‘Gates of Hell‘, viewed from below. Rodin’s massive bronze gate, depicts a few recognisable characters from Dante’s inferno, surrounded by a multitude of anonymous lost souls sinking into hell. It is said to have revolutionised the art of sculpture. Charles Baudelaire’s criticism that late 19th century sculpture‘s dead aesthetic perfectionism and recycled classicist narratives had reached an absolute dead end, reduced to mere luxury objects for the salons and gardens, foreshadows the vaporwave movement in relation to contemporary music and culture. As a powerful response, in both ‘The Gates of Hell’ and ‘The Great Game’, aesthetics and narrative are violently torn apart, relentlessly swallowed by the unscrupulous abyss. Only through such mythical, ritual destruction of the poisonous scripts that have infected our brains, can the passageway into freedom be unlocked. “Welcome to The Great Game.”

But it doesn’t stop at this destruction. The passageway to freedom leads through the inevitable, cosmic enforcement justice. The Furies are chtonic, female deities in Greek mythology. The chtonic deities have survived from the largely erased pre-ancient Greek culture, which was matriarchical and has been wiped out by patriarchy, represented by the Olympian gods, in the formation of classical ancient Greece. The mythological defamation resulting from this invasion has distorted and vilified the furies, who originally represent the resistance against oppression and erasure, into the most ugly misogynist and racist stereotypes of irrational cruelty. Restoring the Furies, purifying them from centuries of accumulating contamination by a narrative rooted in rape, genocide, enslavement and colonialism, reflects the driving philosophy of NON.

Do perhaps the transhuman sounding female voices represent the Furies themselves, guiding the listener on a self-confronting trip through a modern-day version of Dante’s inferno, exposing the continuing perpetration of injustice dominating today’s world, as well as the all-pervasive mind-control designed to obscure it? “Do you see it? Bear witness..” Is it perhaps the case that now, through the digital abundance of information obscured by conventional narratives, the perpetuating lies can finally be exposed? Can the Piteous Gate set free the chtonic powers, reassemble and resurrect the legions of those whose voices have been suppressed throughout the ages? I don’t know. It would be too early to claim a final, complete interpretation of The Great Game, which is up to future generations of cultural critics, but it is clear that all of culture is currently accelerating towards a complete transformation into something new. This mixtape is the gateway, the singularity, the filter through which everything shall pass and be transformed.

Even if you won’t spend a second longer reading this post or even this blog: press play and listen to this, uninterruptedly, from beginning to end.



ANGEL-HO (Cape Town, South Africa), whose Ascension EP we spotlighted shortly ago, is another member of the NON-crew. For a deeper contextual reflection on ANGEL-HO or of Exouçie (“powers”), which is a showcase of the best of his own work, read the post or his interview with THE FADER. But if you just want to get another taste of one of the most important sounds that will shape the near future and haven’t heard it yet, check out this great mix.


3. Classical Trax Gqom Mix Series

Gqom, Durban’s unique club sound, has been one of our favourite genres for a while now. We’d been kind of sleeping on it and were taken by surprise when it first the blogosphere last year. But we’ve been passionate supporters ever since. And, luckily, so is the new club avant-garde and its leading platform Classical Trax. Here three episodes of a mixtape series, of which the most recent one appeared last week, presenting the best gqom from both well and lesser known producers, mixed by Classical Trax captain Matt.

Expect more, MUCH more, from Classical Trax in the near future. Here on Generation Bass and in general!


4. Unknown Artist Sunday School #18 (Summer 2015 Promo Mix)

Expect a lot soon as well from URL Future head honcho Corey a.k.a. Unknown Artist (US). Lush Selects, one of the central labels of the URL Future platform, hosts its regular Sunday School sessions, the most recent one of which was last Sunday. Contributing artists deliver a showcase mixtape + visuals. Unknown Artist’s contribution was leaked in advance as a teaser, which I immediately knew I wanted to feature on the blog.

The wildly eclectic combination of vivid underground sounds ranging from future beats to zouk bass, post-trap and psychedelic DnB shows the great opportunities for music communities to inspire each other online!


5. GRRL TTM:010

The rapidness of the internet is starting to take its toll on blogs. Music is constantly being pumped around in Facebook groups and on Twitter and Reddit, 24 hours a day. Blogs simply cannot keep up and the ones who do are shifting towards the format of tastemaking ‘channels’ or ‘portals’, presenting you with just the music: picks of the most exciting things that appeared that day. Soundcloud has several of such repost channels and some of them are really influential, inspiring producers with fresh influences from all corners of the web, shaping the direction in which music develops by connecting the dots.

GRRL, from North Carolina US, is one of the most, if not the single most influential channels in the Soundcloud underground and, not so surprisingly, an active member of the Classical Trax community as well. Recently, the influential webmagazine Nest HQ has lifted GRRL into the sub-mainstream spotlights with a great minimix and an interview. Now it’s the Paris based avant-garde label and club night Tobago Tracks hosting this exciting innovator with a 38 minute mix full of alround club, grime, futurebeats, bubblegum bass, angelcore and more! (Check out more mixtapes from GRRL > HERE!)


6. KABLAM NTS ‘Tropical Waste‘ session

We’ve been totally sleeping on the Berlin based producer KABLAM and in fact on the entire Janus collective she is part of. While we weren’t paying attention, she quickly developed into one of the most promising talents of 2015, interviewed and spotlighted by the major web-magazines.

Tropical Waste is a London based blog and party focused on avant-garde club music and they host a radio show on one of the best radio channels out there today, NTS Radio. Last month, KABLAM appeared on the show together with Kepla and Tropical Waste curator Seb (go to the full podcast > HERE!). Her 26 minutes make exactly the combination of sounds and flavours that we at Generation Bass are into right now and which are coming ever closer together as the new sound of electronic music for at least the upcoming half decade!


7. 100% HALAL SUCUX x CUNT x B O D Y R O L E DJ-set

This is a new “avant-garde club”/”trax-underground” platform & party, also based in Germany, curated by the four-headed crew Sucuk und Bratwurst. They’ve hosted many upcoming artists on their events in Berlin’s forward looking Chesters club and they only kind of just started, so expect much more later this year and next year.

This was a teaser mixtape for their most recent event last Friday, with in the line up Ideal Corpus, Silkersoft, Aggo York, AZN Girl, I M M U N E (live set recording HERE!) as well as the three hosts. The party doesn’t have a separate name apart from the hosts, which seems like another example of the habit in this scene to refuse to label or tag anything such that it can be pinned down.

Check out the teaser here! Unfortunately the event was last week already, next time we’ll notify you in advance!



This is already the second episode of our befriended KUMBALE‘s new GRRRLS series, specifically showcasing female artists specialised in next-generation Latin and Caribbean bass music. Following DJ Carie last week, this week it’s the Barbados based Venezuelan DJ Ñaña, an upcoming sensation in the Caribbean dance scene. Her mix as well as her Soundcloud bio show that the multi-genre rhythmic bass sound from the global/tropical bass movement has found a permanent, solid place in the Caribbean nightlife and music scene.

Expect more from Kumbale to drop on the blog very soon!


9. Sonora Machaca Latido Regional #26

It has been so long since we blogged something from our friends at Regional, Chile and I realise we’re sleeping on so much excelent new music! One example is the Peruvian formation SoNora Machaca, whose first Soundcloud activity is from this year, so long after Sexxy Saturday Cumbia went practically dormant (more news on Sexxy Saturday Cumbia to be announced soon as well..). They specialise in live performed psychedelic-dub-chicha flavoured Latin bass and featured last week in the 26th edition of Regional’s mixtape series!



CLUB VIRAL is yet another brand new avant-garde club initiative, which seem to be popping up like mushrooms. They are based in Monterrey and show that the continuous innovative wave in Mexico goes well beyond Mexico City only. They have had three events so far and the line-ups so far look like they’re onto very big things, think about folks from the NAAFI crew and futurist zutzut but also international sensations like Venus-X and Monterrey’s own superstar Erick Rincon.

The line up for last party, two weeks back, was completed by Lil Tantrum and Gvajardo, who also delivered this exciting teaser mix with the specific Mexican future club sound, where reggaeton, experimental grime and cybernetic futurism become one!


11. Desafinado  Bassed Tapes Vol. II

With all the hype going on on Generation Bass, first about the post-internet underground and now the ‘club trax avant garde’, (all working-terms by the way that I made up myself to describe movements and developments I see on the internet while not being even close to fully understand what’s going on), you may wonder, what happened to the good old global- or tropical bass? Wasn’t that scene still a promising underground thing waiting for its moment only about a year ago? What happened to the vibrant scene of young underground producers like Billion Dollars, Jet AiressPurple Monkey, Wost, STARK, Washiwasha, Dj Giovanni Rios (to mention some of the most important ones), whom everyone expected to be the next generation innovative names in global flavoured electronic music..?

I hope you haven’t stopped following these names and more just because we were exploring some different things, because they’re still at it and huge. Svmus Bass‘ befriended blog Global Bassed has taken over the baton being the main channel now for anything rhythmical as well as energetic, electrifying and bassful. We will get back soon with a more in depth recap of the most important things that have happened in this scene while we were sleeping. But no better recap than Global Bassed’s second showcase session, mixed by Desafinado!



Something we haven’t posted as much on the blog as we should have. There isn’t enough space to go into all the details where this scene comes from, but there is a vast loosely connected scene on the internet that occupies the borderlands between post-trap, vapor-trap/trillwave, sadboy-/cloudrap and the broader post-internet music world. In that diverse scene, many labels and collectives have appeared, all in some way focused on a vibe best described as futuristic, ethereal, crystalline, hypnagogic and, sometimes, uncanny, fused with trap beats. Some of these initiatives are now dormant, maybe because a major part of this music hasn’t evolved much over the years. But is an important exception. They have gathered some of the most innovative and creative producers from the scene and have built a name with the mysterious microgenre-tag #sanct which I still need to explore more deeply to say anything further.

ANUBIS is one of my favourite producers from this scene whose cyberpunk/neo-tokyo flavoured ambient-chill beats I’ve been in love with for more than a year now. A mixtape from him should be the perfect introduction to #sanct and the whole patchwork of scenes surrounding it!


13. Luibser Producer Guest Mix For Brother Sister Records

This wan’t planned to be part of the post but came online just as I was finishing it. Based in Mexico City, with roots in the capital’s vivid cumbiaton and urban-latin scene, DJ Luibser is one of the new excitements that have come under the radar of several blogs, platforms and scenes. He featured here before as a positive example of electronic dembow in my moombahton post and I saw that many people from the club trax scene are also following him. But it are our Australian friends from Brother Sister Records who are now hosting him in a great guest mix with the freshest cumbiaton..

Expect more from Luibser producer here soon as well!

Why Photo Romance’s Mixpak FM Session is not Only Rad, But Fundamental


One of the most important changes from the last years is that the innovation focus is no longer directed towards EDM as the ultimate destination of everything. The death of EDM has been the best thing that could happen to music and the results are manifesting now in an exciting way. Other movements in contemporary movements, dancehall and underground club in particular, have taken the lead and innovators from different angles, including from the movement formerly known as ‘global bass’, are now coming together in new settings and environments and bring in their knowledge.

Dancehall as a movement is part of the broader Jamaican underground which has been consistently innovating itself for generations and right now new directions are being explored that pave the way for a whole new generation. The Brooklyn based label and platform MIXPAK is one of the most influential centres of innovation in dancehall these days. Having worked with major Dancehall artists like Popcaan, Beenie Man and Vybz Kartel, their reach is extensive and the sounds brought in by carefully selected innovators can be expected to become more permanently incorporated into dancehall’s musical DNA.

With the Mixpak FM series, they showcase the sound of the most important innovators in music on a regular basis, like Generation Bass favourites Santa Muerte, Zutzut and Endgame who featured earlier this year. This month, they chose the Paris based French-Senegalese producer-DJ Photo Romance, who has been an Generation Bass household name for quite a while now and whose talent and innovative capacity we’ve been praising since first time we heard his music. His eclectic style of future tarraxo, zouk-luv extended with neighbouring flavours like moombahsoul, kizomba, rasterinha and afrohouse among other things and rich melodic synths, has been an example for the multi-genre future that the direction-less movement called global bass should gravitate towards.

And with this mixtape, this unique, forward looking palette developed inside the scene we’ve been cultivating for so long at Generation Bass is now being pushed into the avant-garde of dancehall.. definitely one of the best places for music to move to in 2015!

Follow MIXPAK:







Follow Photo Romance:








Great new mixtape from our #FutureTarraxo pioneers Bison & Squareffekt and here’s what’s said:

Bison & Squareffekt are one of the Portugal’s hottest new Bass duo’s have made a massive impression in the past 6 months and have been auded by the Portuguese Bass Masters themselves, Buraka Som Sistema.

Bison & Squareffekt both had their first releases on Generation Bass. Bison with “The Wave of Tarraxinha” and for the second time with Squareffekt and their “Odyssey of the Mind” series. Volume 2 of that series will soon follow. They have also been featured on the amazing Portuguese Bass Underground Release,They also been supported by blogs like Generation Bass,Enchufada,Mad Decent,Do Androids Dance,The Fader among many others.

Together are making a unique sound fusing the Space Age Beats from Africa mixed with vintage 80s atmosphere and creating what the blogosphere are calling the Future Tarraxo and bring it to an all new level, this guys fits like a glove and make one of the hottest producer teams anywhere in the world right now!

1.Bison & Squareffekt – Futura
2.Dj 2PeKes – Tropicaliente
3.Dj 2PeKes – Deep in Zouk Bass
4.Steve TellcO – Zombo Zouk
5.Dub Phizix & Skeptical – Rags
6.Jameston Thieves – St. Lucia
7.Caski Feat. Chimpo – Um Bongo
8.Alo Wala – Badman Bible (RIOT Remix)
9.Go Tiago – Swax
10.Tenor Fly – Rude Boy Talk (Toddla T & Melé Remix)
11.RIOT – 4AM (feat. MC Strategy)
12.Mala Noche – War Zouk
13.Dub Phizix – Buffalo Charge
14.Bun Out – Drop The Hype
15.Elliphant – Ciant Hear It (Zoorock Remix)
16.Toddla T Vs The 2 Bears – Big Tune A Drop (feat. Mr lexx)
17.Pote – Tia Guarra



Our boy Banginclude will be touring for the first time in Europe from the 15th of May until the 06th of June in Italy and France.

Banginclude has been with the Generation Bass family since 2011 when we released his track on The New Wave of Moombahton Compilation and since then we’ve released a further 2 EP’s by him and have included him on various other Zouk Bass compilations that we’ve spearheaded and led on.

Try to make sure you catch him if you’re near any of the venues he’s playing at cause it’s rare to find such a prodigious talent from American shores land in Europa and plus he’s gonna tear up the dance floor and so you need to be there so you can say “I was f***** there on banginclude’s first Euro Tour”!

Here are the tour dates:

MAY 15/Tropical Thug/Rennes, FR |
MAY 16/Sweat Lodge/Nantes, Fr |
MAY 22/Get Tropical/Paris, Fr |
MAY 23/To come/XX |
MAY 28/Bootleg/Bordeaux, Fr |
MAY 29/Eastern Bass Conference#1/Strasbourg, FR |
MAY 30/To come/DE |
JUNE 04/Ckrono Bday Party/Florencia, IT |
JUNE 05/To come/IT |
JUNE 06/After Booty Tour Party/Strasbourg, FR

To celebrate this very emotive occasion, he’s let loose on a bunch of Global Booty Edits just for you.








On his 3rd official EP release on Generation Bass we unleash his classic “Bubbah Meck” track which first made gigantic waves back in 2013 and is still a staple track in any DJ set worth its salt.

The original track is unlike anything you’ve ever heard before adopting riddims originating from Angola, Africa and blended with Big Room western dance sensibilities with all sorts of mayhem occurring in between from the monkey noises (that are a trademark Banginclude feature) to squeaky synth stabs through to wild animalistic tribal percussion. All done in an original style unique to the Banginclude Brand! It’s a classic!

The EP comes with 3 official remixes and 3 competition winners of the Remix Contest.


The official remixes kick off with “Zouk Bass” originators/creators DZC Crew who stay faithful to the original but who put their own Tarraxo (Tarracho) spin on it complete with delicious vocoder vox making that plainly clear.

Jameston Thieves rip up the track and make it sound even more Big Room than the original and we never thought that was possible. They create a driving electro-core behemoth of ginormous proportions. This epic remix would be able to slay both King Kong & Godzilla at the same time whilst teasing T-Rex with a light fluffy butt-feather that Banginclude uses to make those funny monkey noises!

Baaze completes the official remixes with a more minimalist, industrial percussive take with a fair amount of funkiness.


The main man himself chose all the Competition Winners.

Treovr flips the track and reduces all the madness and mayhem of the original into a melting pot of fun & games – like a candy coloured sea-monster bobbling on the waves of a psychedelic ocean.

Searchl1te takes the track and soaks it in a Tarraxo Glitch with a helping hand of bleeps and police sirens whilst retaining the Future Bass atmospherics of the original.

Finally, Antea comes up with an exciting alternative interpretation of what the track would sound like if you put it through regimented training in the army with an all singing and dancing drill Sergeant.

Grab it now on DIGITAL RELEASE:

Banginclude is a Brooklyn, New York based producer and visual artist who aims to make music that keeps the ladies moving on the dance floor as well keep his fans on their toes, by always cooking up something different. He calls his style “Global Booty Music” and draws inspiration from various sounds and styles around the world.




DZC Deejays:

Jameston Thieves:






Artwork : Antae

Genre BASS
Release Date APRIL 2014
TracklistAS ABOVE
Download storesJuno
Streaming servicesSpotify

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

And here he fuses kuduro with 3ball!

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

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

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

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

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

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

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

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

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

We at Generation Bass are ready for it!



Raúl Chacaltana, better known as DM∆TTH, is a young DJ from Lima Perú who has been involved in the Tropical Bass scene for some years now, and although he is architecture lover, he’s also a Bass Music lover!! And as a consequence of that he bring us this amazing EP called “MASHUP”.

And this is what it is, a serie of killer mashups from very different styles, all together!
Throughout the EP you’ll find tracks from big names like: Munchi, Buraka Som Sistema, Björk, Schlachthofbronx, Miss Bolivia, Quantic, Bigote, etc!


Schlachthofbronx x Quantic x Dengue Dengue Dengue! – Cumbia Riddim (DMTTH Refix)

Björk, Munchi & Dengue Dengue Dengue! – Sandungueo x Lilith (DMTTH UP)

DJ Neber x Miss Bolivia – Cumbia Warrior (DMTTH UP)

Buraka Som Sistema & Slick Shoota – Murda Tool x Sente (DMTTH UP)

Munchi – Guess Who’s Back x Fuck This (DMTTH UP)


Bonus Mashup: Mon Rivera & Su Orquesta x BIGOTE x Sara Hebe – Lluvia Con Nieve x Otra Vez (DMTTH UP)

SmokeMachine – TropikTon [Zouk Bass]


Directly from Lisbon, SmokeMachine bring us this banger track titled ‘Tropikton!’.

Tropikton is a fresh mix of Zouk Bass and the classic vocals from the Old School Reggaeton like “El señor de la noche” from the legend Don Omar, “Caile” and the Reggaeton Anthem “Flow Natural” the second single from Tito El Bambino’s album Top of the Line. featuring Deevani and Beenie Man.

Enjoy it!