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


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