BROKN

Taking over the underground with blazing fire, BROKN has proven to be a dangerous entity. Pushing the XDM movement into brand new territories and heights. His clean and crisp pieces can shatter the largest dance floors around the world. Hypnotizing listeners’ souls and hearts with mind-bending sound design and eye-opening rhythmic structures. From angelic mixdowns to monumental arrangements, this artist knows no boundaries within the sonic field. Always pushing some of the hardest electronic trap music through his own pieces, mixes, and more.

His remix of ‘Fallout’ for Deadcrow has truly placed him on the map of ones to look out for. Even RL Grime supported it through his performances. His most recent take on Kx5’s, ‘Escape’ highlights what makes his name truly memorable. Taking the atmosphere of the original and elevating it times 10 highlights some of his true power behind the spectrum. Making your aura sing with joy from beginning to end. Leaving a huge smile on your face while it guides you through a tunnel of curiosity.

His most recent single, ‘DARKSIDE,’ is an absolute weapon of mass destruction. First debuted in Montell2099’s guest mix for HARD Records, fans have been waiting on this record for a minute. From a gorgeous cinematic environment to all-out warfare within the chorus sections, BROKN wasted no time or energy within this piece. Tackling his greatest strengths and combining them all into one massive hit. This artist is no doubt one of the best yet to enter the underground, so don’t sleep. We’re stoked to hear more from him in the future.
-JD

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Chenoa Tarin

I saw Chenoa Tarin do a live set at an open mic I hosted last weekend and she deadass blew me away. The Brooklyn-based beatmaker released 7-track A Collection Of Thoughts last year and her dreamy melodies are captivating and evocative. Every song summarizes a feeling or experience and Tarin elaborates on each of them so eloquently, you can imply the project is deeply personal. With beats the punch the guttural and resonate with everyone who listens, it’s hard not to root for her.
-ALL

FRESH STUFF

I’m happy to take you to Italy again this month to meet another fellow compatriot. While in January I spotlighted SYNTHYA, in this anomalously warm February (at least, here in northern Italy) I introduce you to FRESH STUFF. Having several friends in common, Simone (FRESH STUFF’s real name) has been on my radar for quite a long time, but a series of conjunctions made me realize that the time was right for an official presentation. First and foremost, he recently released his first EP, Swords And Flowers. Secondly, out of nowhere, Colin himself has shown appreciation for the EP. What better occasion then? Once a dedicated dubstep-head, a little over a year ago FRESH STUFF freshened up his sound, turning to an interesting personal style that I’d place somewhere between bass house and electro. Sometimes his releases are thornier with more complextro and dubstep touches, as in the case of ‘Light Sword‘, other times they are more bouncy and groovy as in the case of his remixes of camoufly’s ‘Kaleidoscope‘ or PinkPantheress’ ‘Where You Are‘. Better than my words, Swords And Flowers will give you a complete and exhaustive overview of everything you need to know about FRESH STUFF. Enjoy!
-AA

Omar ؏

Los Angeles-based producer Omar ؏ has been making waves with a fresh take on some of dance music’s hottest genres. The producer has been jumping from Jersey club to Drill, Bailie Funk, UKG, Afrobeats, and beyond while sampling a wide array of East Asian sounds that span from Bollywood to Egyptian pop. The unique approach has resulted in an infectious signature sound that’s fresh yet instantly familiar. ‘Drillsila’ is a fittingly titled drill heater that samples ‘Silsila Ye Chahat Ka.’ Omar expertly chops the vocals to haunting perfection, while the backing is dark, gritty, and bumping. If you’re looking for more energetic cuts, ‘Chaka’ is a bouncy Bollywood-inspired UKG heater while ‘KU KU’ infuses Omar’s love for Bollywood with a Jersey Club meets Baile Funk twist. With a packed back catalog and tons of new music dropping regularly, Omar is an artist you need to be following if you’re looking for something fresh in your repertoire.
-C

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Zaiaku

Zaiaku has been hovering on my radar for a few months now, but more recently caught my attention with his emphatic, aptly named All Encompassing EP on VALE. Spanning five tracks and a handful of bass genres, the talented artist really impressed with his ability to flawlessly weave sinister tones and uplifting melodies. While ‘Ypiresia’ shines a light on Zaiaku’s drum and bass mastery, ‘Encompassing’ highlights his intricate manipulation of sound within the umbrella of house music. Coming from (and leaving behind) a metal background, Zaiaku uses unique influences and ideas to drive his tracks in mesmerizing directions. Be sure to keep an eye out.
-SC

Words by Alessio, Arielle, Colin, John & Steph

The post Focus Five: Volume 60 appeared first on FUXWITHIT.

50. Von Storm – Get Dumb

2022 was a breakout year for phonk. The genre has been making waves for years but between drift phonk blowing up on TikTok and a slew of originators playing massive shows across the US, the genre explored new heights. Helping to shape and drive the wave with his own releases and HOLY MOB, Von Storm elevated his status as of one phonk’s finest. ‘Get Dumb’ shows off his style, mixing addictive and simplistic vocal loops, stunning vocal bends, sunset-drenched keys, and that signature knock. This is the perfect embodiment of the vibey laidback-meets-slapping sound that makes phonk so enjoyable.
-CV

49. Deadcrow – Mainframe

If there was a Spotify Wrapped for the flight taken by artists during 2022, I’d be very interested to see Deadcrow’s. In what was his most prolific years in terms of live shows, the Dutch producer also had time to release some memorable songs. The title track of his debut EP on Pilot, ‘Mainframe’ distills all of Deadcrow’s influences into a single formula. The way he masterfully fused together wave, dubstep, and hardstyle put ‘Mainframe’ in a league of its own.
– AA

48. Beyoncé – BREAK MY SOUL

While dance music fans might not have named Renaissance their album of the year, Beyoncé’s impact on the music industry as a whole is undeniable. The debut single from the record, ‘BREAK MY SOUL’ is an anthem that both encompasses the essence of dance music’s history and embodies the route to self-empowerment we all needed after an extremely tough three years.
-AL

47. dope – Mild Drugs

Don’t let the title fool you, dope’s ‘Mild Drugs’ is extremely potent. Expertly crafted, this dark bass anthem fuses bouncy-meets-brutal synths with trippy vocals, rumbling bass, and an undeniable hip-hop swagger. Combining cinematic sounds with such a brutish banger is seldom seen, while the progression uncovers the duo’s exceptional talent. This was an underground anthem from one of bass music’s most underrated gems.
-CV

46. W IN K – FEEL IT TOO

The amount of support and love for W IN K’s art has skyrocketed throughout 2022. The madness behind his production has taken him down a glistening path of passion and perseverance. Starting from creating heavy dubstep, to transitioning into the electronic trap realm, his abilities were truly tested in the highest of ways, but his work has come out on top. And ‘FEEL IT TOO’ is a prime example of what we mean. Throwing any expectations out the window due to a change in sound design, rhythmic structure, and overall vision. Birthing a whole new side to his project while keeping those signature qualities close to heart! The percussion leads which take up the spotlight strikes hard and with pure might to any listener. The crisp and raw detail sprinkled throughout really puts a smile on your face. Making this a massive hit for those big stages around the world. Even Joji dropped it during his performance at Head in the Clouds earlier this year. Definitely keep an eye out for this artist in the new year. You won’t regret it!
-JD

45. Chris Lorenzo, COBRAH – MAMI

A house signature and highly anticipated track which ignited a spark throughout the music community as the don Chris Lorenzo teased his collaboration with COBRAH on ‘MAMI’ during EDC 2022 in the early morning. The Twitter engagement was at an all-time high as videos were shared by fans requesting the ID and for Lorenzo to bless them with a track that only continues to get filthier throughout the bassline. With pure attention to sound design and a vocal melody which will entice you from the start, Lorenzo and COBRAH crafted an immediate dance-floor heater that never gets old.
-AK

44. Eprom – Facebang (Acid Mix)

The announcement of a new collaborative project between Eprom and G Jones has been the cause of one of the meltdowns the bass music community went through this year. On the other hand, with a precedent like ‘Daemon Veil’ it couldn’t be otherwise. While Acid Disk 2 in its entirety fails to hold its ground, ‘Facebang (Acid Mix)’ shines as one of the craziest and most challenging releases of the year. The combination of Eprom’s insane deconstructed fantasies and 90’s acid rave-inspired sounds is something we didn’t know we needed.
-AA

43. EASTGHOST – Only One

EASTGHOST’s style has traveled through many dimensions while displaying adoration for those heart-wrenching melodic attributes. Making his work unique and unpredictable to the ear. And with his massive debut on Sable Valley, ‘Only One’ does nothing but tender the hearts of the broken and lost. Whisking listeners off their feet with self-love and powerful production techniques. Showcasing how powerful and flexible his work flow can be. His take on the wave genre really blows you away. From gritty bass lines, and an intoxicating vocal sample, to those colorful arps fluttering through your minds, it’s a gentle yet impactful ride through the eye of a storm.
-JD

42. CAB – Thermal

From multiple label team-ups, high energy self-releases, and even a guest mix with us here at FUX, CAB has shown pure loyalty to the arts throughout this year. Having many eyes locked onto him and his work time and time again. And ‘Thermal’ being released with the Alter/Ego label was definitely a groundbreaking step for his career. Showcasing raw and organic love for that classic trap sound from beginning to end. Taking you back to the origins while displaying heavier techniques in his own signature fashion. Making this a massive weapon for any stage or environment around the world. Ear striking drums, fun charismatic sample selection you name it! It’ll be included in this wild ride.
-JD

41. Rickyxsan x Hydraulix – ZONED

Being nearly two years since his last release, fans were dying for Rickyxsan to return to the spotlight. Building high amounts of anticipation from all over. Waiting for the perfect moment. And then, the time had finally come for his hard work to be showcased back into the world. Creating senses of inspiration and empowerment through signature sound design and out-of-the-box creativity. Together with his good friend Hydraulix, ‘ZONED’ was put out as his first single back. Honoring their bond as artists while letting fans know he’s far from done. From mind-shattering bass leads, violent drum creations, and of course their classic bounce rhythmic structures, it truly pays homage to the evolution they’ve both gone through over the years. Sending listeners into a hypnotic trance into the unknown. On top of that, he decided to debut his brand new record label, Sonic Trip! A new home for his work to be displayed in the future. Making this a monumental comeback for his journey.
-JD

40. Ninajirachi – Start Small

Years go by, but Ninajirachi (she’s just 23 years old) remains of the most incredible and unique artists in the game. Her fantasy when it comes to productions doesn’t seem to have an end while her technical skills are constantly improving, alongside her awareness of herself. Thanks to its growing influence, what years ago would’ve been music relegated to some small niche on the web, it’s now finding its way to festivals. ‘Start Small’ is just one of the many faces of Ninajirachi’s music that can be found on her debut mixtape Second Nature, but its unconventional and unapologetic energy has been unmatched this year.
-AA

39. ISOxo x frosttop – Angel’s Landing

The history between these two friends is simply astounding. Sharing their own stories through dynamic productions while building an ongoing legacy within their journeys as artists. ‘Angel’s Landing’ is by far an absolute staple for their friendship. Debuting during their performances, fans from all over were ecstatic for this release. These icons truly went all out on this work of art. Showcasing tremendous heart, energy, and perseverance from beginning to end. From a cinematic atmosphere, angelic vocal samples, to their breathtaking violent leads, it’s a one-way trip to a far-distant utopia of rebirth. Making this one of the biggest and most memorable tunes of 2022.
-JD

38. msft x VARI – crash test

Both msft and VARI are such powerhouses when it comes to creativity and production styles. Their unpredictable nature flourishes within their pieces. Complimenting their stories in such a colorful and bright fashion. Making them stand out amongst the rest. Owning their purpose with pride and confidence. ‘crash test’ was an unexpected surprise for both fanbases. Knocking any expectation out of the park with monstrous and chaotic bass designs. Combined with fast-paced drum work and sample selection makes this an absolute anthem for the dance floors. Making any listener have an out-of-body experience from beginning to end. Honoring their friendship in the best ways possible.
-JD

37. Wax Motif, Matroda – La Candela Viva

What happens when two revolutionizing house music connoisseurs join forces to take full control of the dancefloor? Pure rhythmic groove and reverberating basslines are what Wax Motif and Matroda have proven with the release of their energetic collaboration ‘La Candela Viva.’ A track that continues to be rinsed at festivals and clubs across the world, the amount of energy and mesmerizing soundscapes within the collaboration make it a real crowd-pleaser no matter what time of the day it is. As both artists have become globally recognized for their distinctive sound within the house scene, it only made sense for these two to push their sounds forward by absolutely killing the game in 2022 with this release.
-AK

36. PinkPantheress & Sam Gellaitry – Picture In My Mind

First pinkpantheress song on the list! I’ll be honest, I thought this collaboration between her and Sam Gellaitry would only exists in one’s wildest dreams. Instead, we’ve been blessed with ‘Picture in Mind’,,which is not only one of the best but also probably the catchiest songs of the year. I don’t know you, but I can see myself singing “I knew this all along, I had a picture in my mind, so please don’t try and call my bluff,” in a loop for many many years to come. The same goes for the bass. I’d dance forever over this Sam G’s disco-meets-hyperpop-meets-bounce invention. This is what pop at its finest sounds like.
-AA

35. JAWNS – Body Breaker

JAWNS has undeniably shown his true strengths and powerful passions throughout this year. And becoming a family member of Deadbeats was nothing but an iconic step up for his project. ‘Body Breaker’ off his Last Resort EP features everything you’ve come to know and love about the artist and more. From piercing acid leads, to weaponized drum creations, this single honors the history of his project while complimenting the Deadbeats label in a whole new light. Making this his biggest single of the year. Amping up his creativity while showcasing the constant state of evolution throughout his discography.
-JD

34. Buunshin – Farewell

Buunshin’s longest, most personal project to date came to life through the first single, ‘Farewell.’ Equally dark and cold as it is uplifting and warm, the artist had a monumental year of originals, collaborations, live shows and more, all encompassed in the journey that is ‘Farewell.’ Demonstrating vulnerability while staying true to his rugged style, the track served as a new chapter to Buunshin’s musical output, and we look forward to following him along his sonic voyage.
-SC

33. Cordae (ft. Lil Wayne) – Sinister

If you’ve been following FUXWITHIT over the last couple of years, you won’t be surprised to know that Cordae remains among our favourite rappers in the game. His lyrics, flow, and overall swagger are unmatched, and From a Birds Eye View solidified the fact that The Lost Boy was not just a one-off fluke. Despite its 2021 release, ‘Sinister’ with Lil Wayne was too late to make our list last year, but the combination of the high-profile collaboration, clever bars, and seamless flow was a no-brainer for our Top 50.
-SC

32. Capshun x Juelz – Fallen

Capshun & Juelz. Just seeing their names side by side is assured to elicit a strong sense of excitement from underground electronic fans. Serving as the standout single off capshun’s stellar LOGOS EP, ‘Fallen’ set the bar for what was to follow and gave fans the dream collab they’d been waiting for. Everything about this track is meticulously crafted. From the emotive introduction to the pulse-raising builds, and delectable drops, there’s a timeless presence throughout. Effortlessly intertwining their styles, ‘Fallen’ met and exceeded the incredible expectations from the pair.
-CV

31. Dom Dolla – Miracle Maker

Exploring new boundaries comes naturally to Australian-born producer Dom Dolla. Welcoming his global audience into his world of enhanced sound design and catchy vocal melodies, Dom Dolla’s ‘Miracle Maker’ has proven to get the entire crowd moving during his sold-out headline shows across Australia, North America, the United Kingdom, and Europe. Injecting his listeners with their daily prescription of house music, ‘Miracle Maker’ is a crowd favourite as those contagious basslines and classic vocal signatures will keep you bumping all night long. A sound so sweet to the ears, Dom Dolla has crafted a house anthem for the books.
-AK

30. IMANU & KUČKA – It’s Our Destiny

‘It’s Our Destiny’ had the pivotal role of setting the tone for IMANU’s debut album Unfold. Once again, the Dutchman delivered. With its being a quintessential future bass ballad, ‘It’s Our Destiny’ can hardly be defined as the most representative track off Unfold. However, it totally succeeded in making us approach IMANU’s musical journey this year with the right mindset. Let’s be honest, with KUČKA ‘s extraordinary voice combined with IMANU’s top-tier technical skills, what could have gone wrong? More from IMANU down in the list!
-AA

29. Pocket – Heartbreak Engineering

We’ve been following Pocket since the dawn of the project and his artistic evolution and ability to remain true to himself is nothing short of admirable. Having carved a sound that beautifully combines British and North American influences, the Scottish artist never ceases to impress. ‘Heartbreak Engineering’ was undoubtedly his biggest tune of the year, and with the promise of more to come soon, don’t be surprised to see Pocket on this list for years to come.
-SC

28. Grip – Dirty Work

Grip brought back the feeling of street singles with ‘Dirty Work.’ The hook is catchy yet gritty while the production is the perfect backdrop for him to unload bars. And that’s exactly what he does. The verses are a clinic in lyricism, while his flows swerve from pocket to pocket with the ease of a certified vet. While other rappers are working on their TikTok dances and social strategies, Grip is sharpening his pencil and making a charge for the throne. Just peep the bars below and tell me this isn’t one of best tracks of 2022.

“Enough debatin’, want me on a track? To me, that’s supper waitin’/The flow is suffocatin’, somebody resuscitate him/Way I cook on the hook and the verse, I need a fuckin’ apron/All of you boys get put into hearses, sendin’ ’em up to Satan/ Oops, I mean sendin’ ’em up to Jesus, leavin’ ’em cut in pieces/ Here to disrupt your thesis, thinkin’ “GRIP not a hip-hop GOAT”/Must don’t know what time it is, guess his wristwatch broke” – Grip
-CV

27. ELK, Chris Dogzout & UZ – Pressure (Feat. SoloSam)

Elk & Dogzout’s collaborative Lodestone EP is one of the year’s most underrated gems. Released on Quality Goods Records, their chemistry and future beats-meets-trap-meets-rap signature is everything that we want right now. Add in UZ and SoloSam and you knew before you hit play that ‘Pressure’ was an anthem. You can practically feel the breeze off the laidback beat, providing the knocking foundation for SoloSam’s distinct signature voice. A true hustling anthem, it’s approachable, addictive, and familiar yet fresh. Stellar remixes from BACKWHEN, Andre Palace, and Robu (to name a few) only served to elevate its allure. This was a staple in sets, playlists, and FUXWITHIT guest mixes… as it should be.
-CV

26. Kenny Beats – Parenthesis

The sonic story of Kenny Beats continues to write itself in crisp and emotional ink. Throughout the years, Kenny has built a complete empire of talent, variety, and perseverance. Collaborating with powerful musicians while sharing beautiful memories and respect all around. Making this artist project his own. Representing his true identity within the frequency spectrum through timeless productions and ongoing chapters of hard work. ‘Parenthesis’ off his solo album Louie is one of the biggest reasons why he’s gotten to where he is today. From classic soul-filled sample selections, organic instrumentation, and the soul of a legend that surrounds it all, this piece tells so much in only a couple of minutes. Honoring his father and his legacy while continuing to build his with every given melody and rhythmic structure. This piece dives right into the ambition of the overall album with fierce ambition and emotional purpose. Making this a safe haven for all his listeners.
-JD

25. camoufly – Told U So

If you’re a reader of FUXWITHIT and you haven’t had your Twitter feed literally overrun by camoufly and his ‘Told u So’ teaser, know that you’re a rare exception. No promotional campaign from an independent artist has ever been altogether so long, fun, exasperating, infectious, widespread, and successful. Even if sometimes it is regarded as just a meme, we don’t have to forget that ‘Told U So’ is one hell of a track. It took me months to get into it, but since it finally clicked, I can’t stay too long without that bouncy bassline and that diabolical vocal chops.
-AA

24. Skrillex, Noisia, Thys, Sleepnet – Horizon

It was nearly impossible to pick a single track from Closer, Noisia’s third and final album. Each represents a unique facet to the unmatched influence that Noisia have had in electronic music. Nonetheless, ‘Horizon’ felt like the right pick for this list, as it combines Skrillex’s unparalleled touch with what fans can expect from the future of Noisia, singling out Thys and Sleepnet as additional collaborators. Aside from being the most streamed track on the album, ‘Horizon’ is also among the most involved, spanning more than five minutes and showcasing raw emotion that is rare from the kings of bass.
-SC

23. The Blessed Madonna – Serotonin Moonbeams

The Blessed Madonna’s ‘Serotonin Moonbeams’ had been played out on festival stages all year long before finally releasing on November 11, which is why it’s ranking so high on this list. The single is the producer’s first original in five years, and they even enlisted pop icon Uffie for the vocals on the track. What makes it so special is that it reminds us about the best part of loving dance music: the euphoric feeling you get when you get to experience it live, and with the people you love.
-AL

22. Leotrix – FUNNYFACE

Another year, another inclusion from Leotrix. Despite slowing down on releases compared to the previous calendar year, the Australian artist finally broke into the international touring circuit this year, and ‘FUNNYFACE’ has been an undeniable staple in his sets. From a highly-anticipated ID to becoming a regular in bass sets, the track embodies Leotrix’s future riddim style that he has championed unlike any other. Leotrix is a legend in the making.
-SC

21. RemK – R U READY!

The sun continues to shine brighter than a star whenever RemK hits the stage or releases a song. Showing constant evolution through his earth-shattering productions and energy. ‘R U READY!’ was complete proof of how hard he’s been working at his craft. Throwing the audience off guard with such hard-hitting sound design and addictive structure overall. Inspiring many up-and-coming producers to remix or flip the track in the end. Making this his biggest hit of the year as well as a staple for his artist identity. The energy just elevates whenever you hear this piece coming within his performances. Letting everyone know it’s going to get wild and crazy. RemK’s talents never ceases to amaze along with his adaptable persona throughout production.
-JD

20. Space Laces & Watch – Not Bees

The release of the High Vaultage EP shook the bass scene to its core, reminding everyone that Space Laces is in a league of his own. No other bass artist can sit on a tune for a decade and still have it sound fresh and exciting upon its release. The most impressive part of the project though was Space Laces’ ability to single-handedly make electro cool again. From its quirky sampling to its unparalleled energy, ‘Not Bees’ is the epitome of the legend’s production mastery, showcasing his defiance of genres and unmatched versatility. NOT THE BEES!
-SC

19. Knock2 – Gettin’ Hot

No tech-house track could hold its ground against Knock2 ‘Gettin Hot’s bassline this year. Perfectly mirroring his live sets, the track is a concentration of pure raw energy. It’s an untamed beast and if you were at, or you’ve seen the recording of one of his ROOM202 shows you know exactly what I’m talking about. Giving his boundless talent, Knock2’s flamboyant moment was far from being a surprise (both as soloist and alongside ISOxo with their ISOKNOCK 3 spin off) and ‘Gettin Hot’ is just one of the proof that confirms it. Simply 2022’s finest dancefloor weapon.
-AA

18. Ray Volpe – Laserbeam

This year was by far one of Ray Volpe’s biggest and most successful. With the release of ‘LASERBEAM’ off his LEGEND OF THE VOLPETRON EP, the song completely blew up into the stratosphere. Inspiring countless amounts of remixes, edits, and overall support. From being praised on SoundCloud, to many artists supporting within their performances at shows and festivals, the song has become a true staple for Ray’s career. Hard-hitting sound design combined with catchy melodies and the signature vocal sample honoring the title, this piece will no doubt live on throughout the years as a classic for the bass music scene.
-JD

17. ISOxo – REDloop

Despite being released in May, ‘REDloop’ was the most Halloween-ready trap anthems of the last years. From the haunting intro, the gargantuan first and third trap drops, the epic stadium-friendly breakdown, and the mischievous, surprise techno-drop, everything in this track, front to back, was perfectly engineered by ISOxo to be epic. Is anyone still saying that trap is dead?
-AA

16. pinkpantheress (feat. WILLOW) – Where you are

The flexibility within the talents of pinkpantheress is nothing but powerful. Her fluent abilities have helped her pave a strong and angelic path of riches throughout the industry. Touching the hearts and souls of many while always delivering fresh new pieces. Experimenting with different genres which makes her style completely unpredictable. Her collaboration with WILLOW called ‘Where you are’ is yet another hit for both of their discographies. From crisp addictive production to soft hypnotic vocals swirling throughout, it’s a piece that makes you feel free and not alone. And when WILLOW hits the spotlight with her strong range of frequencies, it knocks you back in your seat. Making listeners fall into a trance of rebirth. A powerful single to honor their hard work and bond.
-JD

15. Pusha T – Diet Coke

Earlier this year, Pusha T likened himself to Martin Scorcese of street rap and the comparison is hard to deny. Pusha’s cinematic and raw raps have made him the king of coke rap. While many artists have opted to broaden their subject matter in hopes of greater relatability, Pusha has continued to zero in on his signature, sharpening his skills and raising the bar within his niche. It’s Almost Dry shunned the status quo of bloated (20+ track) rap projects and instead delivered a tight and focused 12 cuts that combine for arguably the best album of 2022. ‘Diet Coke’ embodies the thematic tones, effortless flows, and vivid imagery that make it so special. Two decades in and Pusha T is still finding ways to outdo himself. From the Fat Joe “Crack” samples to the verses, this is uncut dope.
-CV

14. G Jones – Operator

2022 will be remembered as the year ‘Operator’ was finally released. After being rinsed for the first time in 2020, as part of the iconic REMOTE TRANSMISSION mix, ‘Operator’ had quickly become a fan favourite. In a year when the American producer has been unusually prolific, ‘Operator’ stands out as his 2022’s definitive composition and one of the most mind-blowing releases in the past 365 days. If you’re reading this list you already know what the drill with G Jones is. Production wizardries, out-of-this-world emotions, groundbreaking sound design. This might be the normality in G Jones’s world but not for the rest of us humans. When he drops music it’s always a mental experience that no one else can top.
-AA

13. Stormzy – Mel Made Me Do It

Stormzy’s return to the limelight came in the form of a seven-minute, no holds barred onslaught. ‘Mel Made Me Do It’ is a flex, it’s a reminder of Stormzy’s greatness, it’s a jab at his haters, and a thank you to his fans. The track is exactly what long-time Stormzy fans have been awaiting, and he delivered it with ease. Aside from championing grime, the artist also chose to empower a plethora of creators with the incredible music video that accompanies the track, further showcasing that he isn’t self-interested like others in the game. Stormzy is about passion, about art, and about bringing up friends. We stand for that.
-SC

12. Vince Staples – MAGIC (feat. Mustard)

Following his impressive self-titled project in 2021, Vince wanted to come back harder than ever before with the follow-up. Switching up styles in multiple fashions while staying true to his own beliefs within the sonic spectrum. And together with Mustard, ‘MAGIC’ was born. The first single off his newest LP threw listeners into a loop of hypnotic energy. Soul-filled lyrics combined with Mustard’s impactful production showcased how well these two bond over the arts. Creating an out-of-body experience from beginning to end. Proving yet again how powerful these artists are throughout the industry. Crafting timeless flows and paving their own paths for success. Making this track truly worthy for any top-tier list this year.
-JD

11. TroyBoi – Carti

A true mastermind who consistently defines his own unique sound, it is safe to say TroyBoi is a legend in the scene with his dedication to delivering all the right vibes both on and off the dancefloor. Releasing banger after banger, ‘Carti’ is a tune which will provide you the opportunity to relive summer once again. Starting off with a slow tempo groove and classic vocals to bump the speakers to. The track has an original sound drawing in rolling chord loops, and will immediately bring out the best in you. At a minimal effort, TroyBoi incorporates monotone vocals leaving listeners with a hip-hop feel alongside a trap-infused beat. Troy never disappoints and that is a fact in the industry.
-AK

10. LYNY x Chromonicci – Want

A true king of experimental sound when it comes down to trap and bass music, LYNY is the one we trust to take us into another dimension. Whether it be throwing down this year at Electric Forest or rinsing out his ID’s at shows around North America, LYNY has quickly risen to the top and we could not be happier with the outcome. Teaming up with fellow FUXWITHIT favourite Chromonicci to bring back that slow-tempo trap we all need in our lives, ‘Want’ is an addictive collaboration right from the very first listen. Released on our very own FUXWITHIT Records, elements of distortion and hypnotizing loops lure listeners into LYNY and Chromonicci’s world of innovative trap music. Only continuing to get filthier as the tune progresses, this one is definitely a favourite in 2022 as these artists continue to dominate.
-AK

9. Ice Spice – Munch

“You thought I was feeling you?” These are the six words that nobody could stop saying in 2022. Drill has been inescapable in the rap scene this year, and as sample-based music lovers, we’re not complaining. “Munch” went from being huge in New York City (Ice Spice is Bronx-based), to the internet, to the rest of the world, landing the new artist cover stories before she could even release a full-length project. Haters will deny Ice Spice’s influence, but she’s taking her rightful place with the ninth spot on our top 50 list this year.
-AL

8. IMANU x The Caracal Project – Neiges

There is no denying that IMANU had a breakout year. Across the board, few, if any, have risen the ranks as quickly as he has in 2022. With an extensive discography that spans multiple genres, it was difficult to pick a single Top 10 track for the artist this year – so I picked my top Spotify track of the year. Joking aside, we felt The Caracal Project also deserved a top spot in this list, as he had an equally impressive year. ‘Neiges’ kicked off both of their 2022 campaigns in style, showcasing their quintessential drum and bass sound through flawless chemistry. Layered with emotion, ‘Neiges’ (and ‘La Fournaise’) primed IMANU and The Caracal Project for the incredible year that followed.
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7. Benny The Butcher x J. Cole – Johnny P’s Caddy

Benny The Butcher and J. Cole was the collab we didn’t know we needed. With no hook and soulful boom-bap beat from Alchemist and DJ Khalil, ‘Johnny P’s Caddy’ provides the canvas for top-tier rap. Benny The Butcher delivers a fierce verse, chartering his street days, hustle, and work ethic. It’s gritty, honest, and inspiring, everything fans have come to enjoy from The Butcher. As Cole repeats Benny’s closing the line (“Bout time that I got my respect, it’s the Butcher…”) you can practically hear him loading up the lyrical artillery. Cole claims rappers wanting him on their song “gon’ see the wrath of the reaper,” and proceeds to prove it by dropping the verse of the year. From the wordplay to the flow J. Cole puts it best, “Stretchin’ the truth, know I never stress in the booth/They feel the pressure, me I feel like I just left the masseuse/Effortless, how I’m skatin’ on these records is proof/ I put your favorite rapper neck in a noose, never lettin’ them loose.” It seems so easy, but that only makes it more impressive. Add in bars like “I’m prolly gon’ go to Hell if Jesus ask for a feature/I’m higher than n*ggas and don’t need a bag full of reefer/Some see the glass as empty, I see a glass full of ether/ Collectin’ his bread en masse like he a Catholic preacher/ Just to count a n*gga cash, you might need a calculus teacher/Eureka, Einstein on the brink of the theory of relativity,” and it’s hard to argue with his claims as “the best rapper alive.”
-CV

6. Hudson Mohawke – Bicstan

Hudson Mohawke’s return to the album format was among the most impressive journeys in electronic music this calendar year. As the first single from Cry Sugar, ‘Bicstan’ laid the foundation for the incredible project that followed, where HudMo dove deep into his rave-loving self to showcase a style that few can mimic. Acid house, happy hardcore, breaks, and beyond ooze in their own different ways throughout ‘Bicstan,’ attesting to the legend’s ability to create his own unique sonic world within a project, and within a song. ‘Bicstan’ embodies the essence of Cry Sugar to a tee, and reminds us that greatness is not defined by the number of streams, but by the ability to create something totally unprecedented when the world often expects conformity.
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5. Kendrick Lamar – N95

2022 finally saw Kendrick Lamar’s highly-anticipated comeback with Mr. Morale & The Big Steppers. After years of anticipation, K. Dot returned with a complex, polarizing, and hotly-debated work of art. ‘N95’ instantly stood out with its in-your-face energy, critical lyrics, ill production, and visually striking music video. Clocking nearly 200 million streams to date, ‘N95’ struck a chord with fans, providing an anthemic feel without sacrificing the lyricism. The track serves as a time capsule of the past few years with Kendrick highlighting everything from the pandemic and market crash, to cancel culture, clout chasing, toxic friendships, distaste for critics, artists selling their souls, and beyond. Kendrick set the internet on fire with the album and ‘N95’ particularly. This shit is hard.
-CV

4. Flume – Say Nothing (Feat. MAY-A)

Flume has made a signature of crafting innovative anthems anchored by stellar vocal features. Connecting with MAY-A, the pair proves the power of the formula in ‘Say Nothing’. MAY-A’s voice captures every tinge of emotion imbued by the lyrics. It’s the perfect fusion of addictive and emotive, pulling at your heartstrings while commanding repeat listens and singalongs. While the vocals serve as the focal point, this is Flume, after all, so the production is masterful. In a sense it’s understated, but it’s the subtleties and progression that make it special. The backdrop rises and falls with the vocals, building, releasing, and amplifying every turn. This one was getting plays everywhere from massive festivals to outdoor events, and Spotify streams. Add in an impeccable house remix from Tchami, and this was one of the best electronic tracks of the year.
-CV

3. Drake – Sticky

Honestly, Nevermind. While Drake’s foray into electronic music was met with mixed results, ‘Sticky’ stuck out (sorry) as an undeniable anthem. Leaning heavily on Baltimore club influence, the thumping kicks and deep bass provided the perfect pocket for Drizzy to explore. While the lyrics charter familiar territory for the 6 God, that didn’t make it any less enjoyable. From showing crew love with, “They only givin’ n*ggas plus ones, so I never pull up to the Met” to smirk-inducing flexes, “You say I changed, I say that I millioned, I did,” it’s exactly what we expect from another Drake smash. Reflecting on the biggest cuts of the year, it’s hard to ignore ‘Sticky.’ The track dominated the summer bumping out of car windows, DJ sets, and did an easy 126 million streams on Spotify alone. Add in the fact that it helped shine a greater light on Baltimore and Jersey club music across the industry, and this is an easy selection for our top 3.
-CV

2. Hamdi – Skanka

We know, ‘Skanka’ was released in 2021, but it came out after our 2021 list was released. And aside from that, the dominance of ‘Skanka’ really came to fruition in 2022. One would be hard-pressed to go to a show and not hear the track. It wasn’t just at dubstep shows, either. From tech house shows, to techno shows, to bass shows and beyond, everybody talked about how they loved hearing ‘Skanka’ live (or that they couldn’t escape it wherever they went). The 140 BPM cut catapulted the artist to stardom, while also giving a fresh new life to classic dubstep in North America. Hamdi single-handedly revived a style of music from the depths of the grave, earning the respect of legends such as Plastician along the way. ‘Skanka’ was the bass track of 2022, no doubt.
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1. Fred again x Swedish House Mafia – Turn On The Lights (feat. Future)

From making hits on the UK pop charts to becoming the one to watch instead, Fred again.. is finally getting his flowers. The garage producer captured the hearts of music lovers everywhere with his simplistic, personal approach to house music, mostly taking samples from his friends, loved ones, and “actual life” to create music that sounds like memories themselves. In this star-studded song, Fred again.. brings on Swedish House Mafia and Future for a rave-ready tune that brings you right into the middle of a warehouse.
-AL

*1a. Fred again.. x Four Tet x Skrillex x Flowdan – Rumble

But honestly, ‘Rumble’ would have taken the number one slot if it were released this year. The ID was played in Fred again..’s iconic Boiler Room set that catapulted him into the mainstream spotlight, demanding attention from those who don’t even listen to dance music. The song might even be overplayed at this point, and it’s not even out yet.
-AL

FUXWITHIT Top 50 Songs Of 2022 Playlist

Written by Alessio, Alshaan, Arielle, Colin, John & Steph

The post Top 50 Songs Of 2022 appeared first on FUXWITHIT.

Age Of Espion

Very few new artists make their debut on a label such as Deadbeats. When an artist does, one needs to take notice. Age Of Espion kicked off his project on the aforementioned label as part of the We Are Deadbeats Vol. 5 compilation earlier this year, and has since earned respect from the likes of IMANU, gyrofield, latesleeper, and more. With ‘Vansali,’ Age Of Espion showcased a future bass-leaning sound that is scintillating and crisp, putting him on the map as one to watch. More recently, the budding producer unveiled an emotive remix for Sonder’s ‘Nobody But You,’ adding an uplifting touch of house to the originally-acoustic track. With only two releases to his name thus far, Age Of Espion is showing incredible promise with a refreshingly unique style that does not appear to be limited to a single genre but falls right within the umbrella of the FUXWITHIT fanbase.
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gny

When it comes to discovering underground hip-hop producers, Lofi Vibe has become a hub for putting on a diverse variety of talented beatmakers. One of the artists I’ve been following closely since his feature on the page, Manila-based gny, goes crazy with it. Whether he’s flipping a Playboi Carti track or creating something completely original, gny’s gentle approach to music-making wraps you in a warm hug, each note caressing you until the song ends. In the midst of doing our digging, we found that gny also had an electronic side project called Technicalia. While that project has been untouched for four years, his signature sound still shines through and his production chops are hugely impressive there, too.
-AL

Isaak

phuture collective’s Destinuna sublabel is an underrated home for vibey gems. One of the label’s standouts from this year came in the form of Isaak‘s ‘So Good.’ The inviting title and vibrant art set the tone but the sonic journey extends beyond those initial cues. Centered around transcendent vocal chops, cool basslines, and a sense of divine beauty, it elicits all the right feels. Building upon that energy and upping the intensity came Isaak’s follow-up ‘Frustration.’ The track was born out of the feeling we all experience. The intro perfectly encapsulates a slow burning irritation that erupts into a powerful future bass meets trap drop that feels almost capshun-inspired. As the year draws to a close we’ll be keeping a keen eye on what’s next from Isaak.
-C

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rvnti

rvnti‘s pure poetic symbolism within his works takes your breath away. Carrying your hearts and souls down a rabbit hole of new beginnings. Letting go of the past while embracing emotions of the present and future. Completely separating his sound from the rest with such power throughout his discography. Angelic piano sections combined with cybernetic bass lines will instantly leave you in tears. Stuck in a trance you’ll never want to wake up from. Testing the waters of electronic trap, house, and of course wave. Honoring the genres in his own sophisticated fashion. From releases on Tribal Trap, KUMO Collective, and The Arcadium Project, to telling stories of rebirth through gorgeous self-releases, the talent flourishes throughout his creativity from beginning to end.

‘unforgettable’ is a mind-bending out-of-body experience. His abilities within the sonic spectrum is showcased to brand new heights. Harnessing emotions from all over and shaping them into a tale of woe and forgiveness. Hard-hitting drums combined with a heaven-sent atmosphere that nurtures the broken is something you’ll always keep coming back to. His newest release ‘mind+’ features a haunting vocal choice that carries throughout the story in an impactful and unforgettable sense. Taking the hands of the listeners. And guiding them through the darkness to a safe haven for all. From a thick and fluent bass line, to mystical attributes soaring around the environment like magic, it’s clear that rvnti is a force to be reckoned with. Making a true name for himself and paving a road of organic energy for the future.
-JD

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Shunji Fuji

I have had it on my radar for years, but the Japanese electronic scene as a whole is still a mystery to me. Whenever I dive into it, however, I invariably come home with some gems. For example, during one of my latest digging sessions on Bandcamp, I was lucky enough to come across Shunji Fujii‘s music. Right when my enthusiasm for UKG was waning, his exuberant take on the genre gave me a much-needed boost. What immediately hooked me on Shunji Fujii’s garage flavor is its phenomenal funkiness. Check his latest EPs released via Stricly Flava and Garage Shared. Those basslines slap like no other! Add to the mix a wide variety of instruments like piano, organ, and trumpet but also many more I can’t even name (in this regard don’t skip over his 2020 tune ‘Images‘) and you will have on a theoretical level a fairly clear idea of what awaits you. Now you just have to put it into practice by pressing play below.
-AA

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Words by Alessio, Arielle, Colin, John & Steph

The post Focus Five: Volume 58 appeared first on FUXWITHIT.

avon

Looking to keep the summer going a little longer? avon‘s last few house cuts have you covered. The artist’s sound has all the bounce and brightness of future beats with an addictive house groove. I came upon avon with ‘whip’ and was instantly impressed. The stuttered and looped vocals provide the backbone as smooth bass and dizzying melodies drift over top. ‘rockit’ features some…interesting… sample choices but the vibe is immaculate. Completing the trifecta of recent releases comes the producer’s best work yet, ‘coamoa’ with zulu. Absurdly infectious and effortlessly upbeat this one is assured to have your serotonin spiking and your feet moving. With just over 200 followers and very little info online not much is known about avon, other than the fact that they’re definitely an artist to look out for.
-C

Falldren

If his brand new EP, Second Destiny, is a taste of what we can expect from Falldren from here on out, I seriously believe it won’t be long before you’ll find him back on the pages of FUXWITHIT. I wasn’t familiar with this San Francisco-based producer until earlier this month when my Twitter timeline got flooded with retweets from Yama, Soul Fool Collective, w/out about the release of the aforementioned EP. With Second Destiny, Falldren takes on the role of an alchemist who plays, tests, and experiments, with genres in search of new, unheard combinations. Take ‘Shutdown’ for example. It starts wave, then midway it switches to future garage and it closes with house rhythms. What kind of magic is this? Or ‘Aeris,’ where electrifying hardwave leads combine with phonk-like vocals. What transpires from this latest project, definitely his best to date, is Falldren’s desire to make this fluid approach his strong point with which to carve out his own space in the scene. I will be there to watch every step, what about you?  Be sure to stream Second Destiny and check him live at Pantheon festival on the 2nd and 3rd of December.
-AA

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JWords

Jersey’s JWords is blurring the lines between hip-hop and electronic music through her eclectic use of synthesizers and drum machines. As one-half of H31R, the producer’s frantic beats creates a unique backdrop for maassai’s blistering bars. On her own, JWords explores the disparate worlds of music through projects focused on dance music, experimental electronic music, and rap. Just this year, the beatmaker dropped a diversified catalog of projects including the introspective electronic album Self-Connection and a bouncy three-track EP called DancePackVol.3. A champion of uplifting other Black women, JWords is also a frequent collaborator of Nappy Nina. Last year, the two artists dropped Double Down, leading up to their latest single together, ‘Amen.’
-AL

nujioh

Angelic arrangements combined with euphoric and hard-hitting visions. Those qualities and much more are what you’ll find within the discography of nujioh. Their everlasting skills through sound have proven to be nothing but memorable and heart-wrenching. Hailing from Singapore, their journey has flourished throughout the underground. From dabbling in many styles of the electronic realm to opening up a whole new world through their compositions, the possibilities are endless due to unpredictable tactics and surprises. Always delivering a fresh new environment with every release!

One of their newest tracks, ‘BAWO’ is a bright dystopia of dreams and mystery. Together with boxkitty, they carefully crafted a track enhanced with abilities beyond belief. From a distorted sonic field to earth-shattering sound design, you’ll be lifted off your feet from beginning to end. Leaving a sense of empowerment and curiosity. Representing their powerful friendship and bond through frequency.  nujioh’s latest remix of umru and Ravenna Golden’s ‘speaker’ simply takes your breath away. Honoring the original to the highest degree, the artist showcases pure evolution within their style while giving the audience a taste of what’s to come in the future. High piercing drums, top tier melodic structures, it’s a gift that keeps on giving from each listen. And the distorted bass samples throughout leave you with a huge smile. Creating feelings of inner peace and inspiration. So you definitely won’t want to miss out on what’s to come.
-JD

Ranz

A shoutout from Chee and an inclusion in Noisia Radio via Jon Casey is all we need to take notice of Ranz. The Montreal-based artist with less than 500 SoundCloud followers recently released the monstrous Foundation EP via Wormhole Music Group, and the swagger-filled ‘Honey Time’ earned early support from a couple of FUXWITHIT favourites. Diving deeper into Ranz’s repertoire revealed an impressive knack for making sinister halftime beats, with an additional two-track project on Sound Museum demonstrating that consistently rugged approach. With mixes dating back to 2016, it appears that Ranz has been in the scene for a few years, but has recently showcased a production talent that is worth watching closely. If halftime is your jam, don’t sleep on Ranz.
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Words by Alessio, Arielle, Colin, John & Steph.

The post Focus Five: Volume 55 appeared first on FUXWITHIT.

henryisdead

Fresh of the release of the third chapter of his Midnight Racer series, henryisdead has captured my attention this month. Not only because this is a full album that spans over 14 tracks and hosts a selection of excellent guests the likes of calicry, Tako Tomago, and Murkish but also because it worked as bait to get me into henryisdead’s catalog. I was pleasantly surprised to find such a vast collection (nearly one hundred uploads on his account), a thing that’s still not that common in a young scene like the wave one. And there aren’t just singles, but also plenty of EPs and themed projects, both things I love as they give way more insights into the artist’s identity. Wave is the prominent genre, followed by future garage, drum&bass, and even house (I have ‘‘Warehaus Shuffle’ on repeat) digressions. Exploring the profile of this Minneapolis producer it’s the perfect “SoundCloud experience”. My suggestion is to first listen to the complete Midnight Racer series, whose third chapter is his most mature work and one of the most well-curated wave projects I’ve ever heard, and the Anna Hoods album. These two projects showcase henryisdead’s atmospheric sound at its finest.
-AA

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NUEQ

NUEQ first landed on my radar with his latest release titled ‘Matahash’ where he joined forces with seasoned veterans Dawncall and Azaleh. This collaboration came as quite the surprise because, as someone familiar with the two latter artists, it was interesting to see someone with just over 200 SoundCloud followers team up with producers with tens of thousands of monthly Spotify listeners. The track itself is truly mesmerizing, spanning almost five minutes and telling a story filled with layers of mind-melting sound design and intricate melodiousness. After hearing ‘Matahash,’ I jumped into the rest of NUEQ’s brief yet mighty repertoire and was thoroughly impressed by the artist’s pieces that range from neuro to drum and bass. ‘It’s Greener’ stands out as a highlight, as NUEQ combines a liquid-leaning introduction with a neurofunk-driven drop that hits all my drum and bass needs. Don’t sleep on NUEQ.
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Pete Mac

The era of unprecedented times and uncertainty is back (not that they ever really left), but if there’s someone who’s making some feel-good music right now, it’s Boston-based beatmaker, Pete Mac. I discovered the producer through a lofi Instagram page, and his raw soul samples blended with organic hip-hop drum breaks immediately hooked me. Pete Mac’s laidback energy radiates through his page, and it really seems like he is truly passionate about making beats. Not only will his tracks soothe you, but his vibrantly chill aura instantaneously rubs off on you as soon as you watch a video. He’s constantly dropping flips on SoundCloud, but his Instagram also offers different renditions of the bootlegs that might not be available on the streaming service —like this Missy Elliott mashup—so I suggest you keep up with both.
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rai.

There’s little information online about rai. He’s based in Tokyo and his Spotify bio simply reads, “I just love makin bops.” After listening through his catalog it appears he is a man of his word because there are a lot of bops to uncover. Operating predominantly in the future beats space, his works fuse forward-thinking melodies with knocking bass and snappy drum programming. The Destinuna released ‘Swing, Flow’ is the perfect introduction to his upbeat bounce. The track lives up to its name with a groovy swing and an immaculate flow. Other tracks like ‘カンシャ’ and ‘g.as33’ pack a similar vibe while ‘run’ showcases a darker and harder trap side to his sound. Whatever the direction, rai. delivers.
-C

W IN K

Cold stone rhythms mixed with dangerous bass designs are only a couple of W IN K’s specialties. The California-based madman is full of surprises behind the computer. Amping up his productions time and time again with each release. Separating himself from the competition with deep-rooted compositions consisting of some of the nastiest tones you’ll experience. Taking on different genres, W IN K knows just how to take advantage of the sonic spectrum. Making it his own and creating a world unlike another other. From delivering a fresh and unique take on the dubstep genre to amplifying unknown realms within the electronic trap environment, there’s no telling what he’ll deliver next due to his unpredictable nature. Surprising us all while staying true to his hard-hitting purpose of creating anthem-based gems.

‘BOOT LOOP’ pays homage to his roots from the beginning of his project. His interpretation of dubstep is simply ghastly. A sinister, gritty atmosphere followed by mind-altering bass designs instantly makes you fall in love with what he has to offer the scene. Pulling listeners down a rabbit hole of dark dimensions. The sub-bass combined with a diabolical lead creates a sense of empowerment and inspiration. Not to mention how dangerous the second chorus is with an even wider impact than before. Creating an instant classic for the big stages.

His most recent release, ‘CAN’T TAKE BACK’ highlights W IN K’s greatest strengths and abilities. Opening the track with such an airy and spacious note. Teasing us with the front line melody along with the main vocal that touches your heart in a euphoric and brighter sense. Getting us ready for the storm that’s about to come. Opening up the experience with a space so enticing, you’ll have to keep listening due to its curious after effect flowing through your minds. Wondering where this could go. When all of a sudden, the chorus presents itself in the form of ear-piercing sound design and earth-shattering drums. Everything comes together perfectly. Integrating characteristics from both the dubstep and electronic trap genres is simply eye-opening. Combining two very distinct visions into one big masterpiece. It’s safe to say we see nothing but a bright future for the up-and-comer and we’re excited to see where he goes next.
-JD

Written by Alessio, Arielle, Colin, John & Steph

The post Focus Five: Volume 54 appeared first on FUXWITHIT.

Making his mark on festival stages alongside names like TroyBoi, FLOSSTRADAMUS, and Valentino Khan, there’s no doubt the veteran knows exactly what he’s doing, although he chooses to remain lowkey, sporting a beanie, mask, and sunglasses wherever he goes. While JAWNS isn’t necessarily an anonymous artist, he still proves to be an enigma. Aside from skating clips, memes, and of course, music promotion, it’s hard to find a lot of information about the producer.

What we do know: JAWNS has an EP, called Last Resort, dropping this Friday on Deadbeats. He’s a Sable Valley signee who performed at RL Grime’s illustrious 10th year anniversary of Halloween in LA last October. And although he stayed in the game longer than most producers from his era, JAWNS chooses to uplift the next generation of electronic trap producers. In our Q&A, the beatmaker doesn’t fail to shout out his fellow SV labelmates, Knock2 and ISOxo. And with Juelz, he sneaks his way back into a live-act duo called Enter The World. Check out his guest mix and interview.

Hey, JAWNS. This interview and guest mix has been a long time coming and we really appreciate you doing this with us! How are you doing? 

I’m great, thanks for having me! Been a fan of the work you all do! 

Congratulations on your upcoming Last Resort EP with Deadbeats! What’s been the best part about releasing this EP so far? 

Being finished with the shit haha! But honestly, for a while, it’s been a work in progress trying to connect all the sounds I’ve been experimenting with back to trap music. I’ve put out a few songs in the genre but I think this EP has been the closest to what I’ve been trying to accomplish so far. 

With the tools I use for creating music, all I really do is guide it and record the chaos it’s creating.

How do you approach crafting a single versus crafting a more cohesive project? 

For myself, I don’t think there is any difference between the two. I just start with a mood. When I sit down with my synths and have a feeling in mind, I just start plugging shit in and turn knobs until it’s giving me the feeling I want to capture. Or maybe it evolves into something I didn’t have in mind. With the tools I use for creating music, all I really do is guide it and record the chaos it’s creating. I never really know what it will give me. I think the tools and process itself combined with my personal taste glues everything together. 

Can you describe the lightbulb moment that signifies a project is complete, in your eyes? 

You mean when I’ve beaten a song to death until I have to tell myself to stop working on it and that it’s done? lol 

Your aesthetic branding is extremely strong and you help with a lot of your own creative direction. When it comes to building something within the JAWNS universe – what comes first, the visual or sonic idea?

It’s been a few years in the process but the music obviously came first. Actually, before that, there was a feeling I wanted to capture that I got from listening to old punk and rock shit but with electronic music. To elaborate on influences, at the inception of JAWNS, I was listening to and watching a bunch of Beastie Boys shit. They were heavy and raw with the music but also hilarious. Visually they were ridiculous but there was a perfect balance of raw and serious with their comedic approach. To go back to the question, actually, I think the processes for sonic and visual are separate. I make the music, it’s kinda serious, it’s dark and heavy but when I make these videos I just try to have fun and make stupid shit. I guess I just enjoy the challenge of juxtaposition. 

I think both are common in the way they can bring people from a variety of cultures and backgrounds together.

Aside from music, one of your biggest passions is skating. What are the similarities and differences between the skateboarding community and the electronic music community? 

I think both are common in the way they can bring people from a variety of cultures and backgrounds together. Both have very specific subcultures that make it special when you form bonds with those few other people you find that share that interest with you. Even better when those people would typically be people you wouldn’t bond with otherwise. 

Is there anything you’ve taken from skating that you use when making music? 

I would say the motif of JAWNS is purely derived from my identity sculpted by skateboarding culture. Skating has always meant defiance, being in the streets, and experiencing life in a raw form. It’s hard to explain but I got into modular and analog synths because, to me, it has the raw feeling I can parallel to skating. In comparison to producing music, it’s being in the real world, the streets, versus using only a computer, a perfect machine, boxed in. I’m drawn to the unpredictability and imperfection using these tangible machines. Also, the most important part of skating is style. The way you do tricks is more important than what trick you’re doing. It’s about doing the trick in a way that when you watch the way someone moves, without looking at their face, you know who it is.

To come back to music, as an artist, wouldn’t you want someone to be able to close their eyes at a festival and know exactly who’s playing just from what they hear? I bring this up because I think a lot of us would agree a lot of music, in general, has become homogeneous due to the accessibility of software and learning resources. For example, the last song Skrillex released, the very next day someone recreated the song almost exactly in a step-by-step Youtube tutorial. As much of a blessing, as this is for learning, it’s also been a detriment to the variance in music. It feels like the same song keeps coming out. I was starting to notice this a couple of years ago and instead of beating the same virtual synth to death trying to make something new and interesting, I decided to find other methods to make shit and keep myself from going insane. Don’t get me wrong, there are brilliant people who can make amazing shit on the computer. But for me, it wasn’t fun and I just said fuck it let’s try something else, experiment. Now I feel like I have a way to make music that’s purely my own and most importantly, I’m enjoying it. Style over tricks. 

Can you tell me the significance of “Audio Ammo” and “BRAIN DRAIN”? 

Audio Ammo is a DJ collective of my friends and myself when we lived back in Richmond, VA. We were all friends and DJing together for a while. When the electro and bloghouse era began, we started getting interested in electronic music and mixing it with hip hop which evolved into us becoming Audio Ammo. We threw an event called Brain Drain which was the culmination of the variety of music we were into. We eventually started booking other DJs such as AC Slater and Drop the Lime, actually all of the Trouble & Bass crew. We even had Skerrit Bwoy from Major Lazer come DJ and dagger college kids lmao. We also were one of the first people to book Dillon Francis. I’m really proud and fond of this time as electronic music was not even close to how popular it is now. We brought it to Richmond, VA of all places and the party grew so big we eventually had to move it to the biggest venue in the city. This was also the beginning of the journey for me to becoming an electronic music artist/DJ.

Everyone’s into different shit so if you’re bringing people with different tastes together and presenting it in a way that everyone can enjoy it and expand perspectives, you’re gonna have an awesome party.

As someone who used to throw live events yourself, what is the recipe for the perfect party?

The typical things: a good venue/space, sound system, and ambiance. More importantly, if we are talking about non-genre-specific events, DJs that are able to bring together people with a variety of music. Everyone’s into different shit so if you’re bringing people with different tastes together and presenting it in a way that everyone can enjoy it and expand perspectives, you’re gonna have an awesome party.

What makes the perfect party tune? 

I don’t know what makes the perfect party tune, but I know that all the best ones have the best grooves. 

Grooves, tunes, the number two. That’s a bar. Do you think 2 is a cursed number? 

First is the worst. 

Can you rank these electronic solo acts that were once a duo: Flosstradamus, Hotel Garuda, What So Not, DROELOE, JAWNS 

All number 2. See previous question. 

Fair. You’ve been in the scene for a long time now. Which rising artists do you think are the future and should be our next guests for this series? 

Shout out to my boys Knock2 and ISOxo. They’re already flipping the scene upside down. Nitepunk, demon son of The Prodigy. 

Feel free to give them my email! What music do you listen to outside of dance and electronic music? 

A ton of rock, hardcore, alternative, new wave.

What can we expect from this mix? 

Just all the stuff I’ve been into lately! Techno, Trap, DnB, Breaks. All the dark basement devil orgy music.

Is there anything you want to talk about that I haven’t asked? 

To all the music makers reading this. Keep being psychos, keep being weird. 

JAWNS’ upcoming EP, ‘Last Resort’ is available for pre-save here. The project will be available everywhere via Deadbeats this Friday, July 8th.

Tracklist:

JAWNS – Sanity Burn
Guilt Chip & VARI – Panic
G Jones – On My Mind (Cerdin Remix)
ISOxo – Redloop x Baby Keem – Family Ties
MOTVS, T78 – Daje
JAWNS – Body Breaker
Smashing Pumpkins – Zero (LeCastlevania Remix)
Wuki – IGD
X CLUB – Don’t Fuck Around
Aponaut – No Cure (ADM Remix)
The Prodigy – Smack My Bitch Up (Psycho Boys Club Remix)
Deadmau5 & Kaskade – I Remember (RIOTCODE EDIT)
Faithless – Insomnia (Psycho Boys Club Remix)
Hermeth – Devil’s Reject
JKS – Get Crackin’
X CLUB – Sports That Require Petrol
Santigold – Creator (NIKKO Remix)
Must Die – Delete it All x Cool Rave Tool 41 (FCZ Edit)
Nirvana – Tourette’s x A.M.C. – Clack (FCZ Edit)
Dimension – Techno
Gydra – Lava Run
ID

The post Guest Mix + Interview – JAWNS appeared first on FUXWITHIT.

Chunky StrapZ

SoundCloud’s algorithm remains unmatched, proven by enigmatic Chunky StrapZ stumbling into one of the radios I was listening to. Standing at only 50 followers (I was number 50), there’s still not much to know about the artist other than their handful of songs and their biography that states that they’re a “juke, footwork, and Jersey Club producer from the UK.” Chunky StrapZ’s location also states Chicago, but that could just be due to the music’s footwork roots. The song that caught my attention was their juke bootleg of Missy Elliot’s ‘Lose Control.’ It’s hard to top the original’s iconically magnetic beat, but Chunky StrapZ adds a level of frantic, eccentric energy that made me automatically repost it and put it on repeat. I immediately listened to their whole (albeit short) catalog shortly after, but luckily, the producer also just dropped their FTRAX073 EP via FORBIDDEN TRAX. It’ll be exactly what you’re looking for if you’re in need of some fresh new club music.
-AL

Hyades

Fresh of his debut EP released on the recently rebranded PLASMA, Hyades is the last artist (in chronological order) that I discovered who is putting out some really good neogrime. If at this point you’re wondering what the hell neogrime is, I feel you. You can quickly catch up by reading this little Twitter thread. Anyway, this UK heavy-influenced branch of wave is a sound I always liked, but that I started loving after Pholo’s DJ sets at the Liquid Ritual show back in April. Apparently, there’s not much to learn about Hyades online. The only legacy he’s left so far is his music but I won’t be the one who complains about it. His SoundCloud profile has been active only since this February and since then he has delivered 2 EPs (his most successful releases in my opinion) plus a series of singles and remixes. All these releases show a distinct artistic direction that focuses strictly on neogrime. Hyades is walking this specific path testing inch by inch what this genre can offer. As I’ve already said many times before, artistic freedom is an undeniable postulate, but the artists who choose to dissect a single, specific vision are my favorites. What else can I say, enjoy my favorite tracks from Hyades below and keep him under your radar.
-AA

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Jandi

Since the dawn of the pandemic, I’ve found it difficult to sustain my love for heavy bass music, largely due to the lack of live shows. However, every now and then, I am pleasantly surprised to come across an artist that keeps my love for dubstep intact. Most recently, that flame was kept alive by Jandi when I randomly landed on his 2022 Wip Reel (thank you SoundCloud algorithm). Spanning almost twenty minutes, Jandi’s unreleased works are emphatic, energetic, and relentless, and after hearing the mix I knew I had to listen to more. From official releases on Subsidia Records and Cyclops Recordings such as ‘Crystal Fang,’ to remixes for Akeos and Ferra, Jandi’s tunes are tailored for festivals, with ground-shattering bass making itself heard throughout his discography. Boasting a distinct signature and often utilizing sly switch-ups to keep his drops fresh, Jandi is a promising talent sure to make bigger waves in dubstep in the coming months.
-SC

MXSY

Hailing from Dublin, Ireland, MXSY continues to impress many with his hard-hitting and vicious tracks. Powerful sound design mixed with spacious environments creates the perfect space for his realm of frequencies. From classic trap tunes, to experimental wonderlands, he’s an artist with many tricks up his sleeve. Always bringing something new to his project while being totally unpredictable. In fact, one of his recent singles, ‘socks.’ made its way to infamous label, dumb collective.! A fun and intoxicating vocal combined with mind-boggling tones shows how much fun he has creating art. It’s a tune you’ll have on replay for a very long time. Gaining the same amount of excitement each time. Perfect for those big stages.

His latest release ‘pullup.’ in particular really knows how to energize your soul with its violent environment in the beginning. Leading up to a huge blast of filth within the chorus. Making listeners fall to their knees with awe. Metallic leads combined with head knocking drums was a great way to showcase the track’s true power. Introducing the next chapter for his project and overall sound evolution. Proving he’s just getting started.
-JD

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VON STORM

After nearly a year of focusing on future beats in my monthly picks, it’s time to switch things up. Don’t worry I’m not venturing too far away. This month’s pick welcomes us into the wonderful world of phonk. For those unfamiliar with the genre, the sound draws inspiration from classic Memphis rap, adds in a heavy dose of bass, and some serious vibes. My go-to phonk tape for the past few months has been HOLY MOB’s Vol. 10 and the opening track ‘Enemies,’ sees VON STORM connecting with Caspian Rose & Necroez for an anthem. The track prompted a deeper dive into his SoundCloud and the quality runs deep.  From the effortlessly breezy ‘GET DUMB,’ to the energetic ‘LAY LOW,’ and the gritty ‘SOLID GOLD,’ each track illustrates a new dimension of the genre and why you should be listening to it. If they’re not already, you need to get VON STORM and HOLY MOB in your life immediately.
-C

Written by Alessio, Arielle, Colin, John & Steph

The post Focus Five: Volume 52 appeared first on FUXWITHIT.

Aagentah

Hailing from Manchester, Aagentah only recently landed on my radar with ‘Oxygen,’ a crisp yet groovy drum and bass contribution to Powered by Inspected – Series 3. I’m a bit ashamed of this, though, as the talented artist has released on the likes of SATURATE, VALE, Intrinzic Music, and much more. An artist with backing from such a wide array of labels screams variety, and Aagentah embodies that perfectly. From dubstep to halftime and beyond, the producer is able to take the broad umbrella of bass music and push it with every release, keeping a consistent sinister tone throughout his pieces yet never stagnating on a specific sound. A deep dive through Aagentah’s extensive catalogue quickly reveals this diversity, with pieces such as ‘Nadir’ alongside Subp Yao showcasing his unique approach.
-SC

BACKWHEN

Conjuring spirits from the other side with elegant atmospheres, blissful melodies, and gentle drums, BACKWHEN has put in a tremendous amount of work over time.  Consistent and high-quality art are what you’ll find while diving through his sea of undiscovered treasures. Perfect for any type of day. Ready to soothe your mentality and aura 24/7. One of his recent releases, Solar Pleasure, opens the gates to a vibe-filled universe. Crisp, clean production mixed with raw, organic emotion is nothing but present through this masterpiece. From dreamy solo tracks to mind-blowing collaborations with other heavy hitters, BACKWHEN proved once again how versatile his skills really are. Ready for any situation or opportunity that arises.

His newest album, ILLUSIONS with WATERMANE is an absolute gift from the other side. Their bond and passion for the arts truly burn to the highest degrees within this nine-track journey of discovery. Taking listeners through the clouds with their mesmerizing arrangements and storytelling through soft, impactful frequencies. It’s an album you’ll always come back to with the same amount of excitement as before. These two are truly a power combo you don’t want to mess with. BACKWHEN is certainly a master of what he loves creating most. Peaceful and star-striking compositions. Whether you’re at the beach, driving under a starry night, or just sitting at home, his tracks can turn any setting into a positive and comforting space for all to feel welcome.
– JD

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CalvoMusic

When I spoke to Jersey Club legend R3LL back in January, one name he kept mentioning was CalvoMusic. He’s been a staple of the scene throughout the 2010s, giving his fresh take on Baltimore Club with his own subgenre called “New Club Waves,” which he describes on his SoundCloud bio as “a sound mixed with influences from various genres Calvo became fond of over a 21-year time span.” His multi-dimensional interpretation of dance music creates a unique listening experience for any East Coast Club music lover.

-AL

eery

Hailing from Oslo, Norway, eery is operating in a pocket between phonk, trap, lo-fi, and hip-hop beats. It’s that perfect blend of laidback and approachable without being too mellow. His tracks bang in a perfectly vibey way. His recently released Golden Hour album serves as the perfect introduction to his sound. ‘Float’ and ‘Supa’ possess an exceptional laidback lean-soaked aesthetic, while ‘Angeru’ and ‘Fl1 Rework’ rely on catchy melodies and a more upbeat approach. No matter the track, everything flows effortlessly allowing listeners to drift into a sense of weightlessness in the clouds. Whether you’re looking for the perfect background beats or trying to get lost in the music with nothing else distracting your senses, eery is the ticket.
-C

[soundcloud url=”https://api.soundcloud.com/playlists/1427437375″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]

Static Angel

At the moment there are many artists who are taking wave to new heights, but this month I want to put the spotlight on one in particular: STATIC ANGEL. Why? Because she just released an official remix of Krewella’s ‘Never Been Hurt’. I mean, you can love Krewella, hate them, be indifferent, but you cannot ignore that they’re still relevant figures in the EDM circuit. And they’re supporting wave. What a time to be alive! Seeing STATIC ANGEL among the three artists involved in the remix pack feels like a huge achievement not just for her but for the whole wave movement as well. But this obviously didn’t happen by chance. She already has such an interesting discography that easily convinces you to get on board and follow her journey. After you get used to expecting everything, from classic wave tracks to breakbeat cuts, from hardwave anthems to hard dance bangers, you simply can’t stop wondering, what’s next? Besides independent releases, you can find STATIC ANGEL’s music released by imprints such vibe.digital, Interval Audio, and The Games We Play.
– AA

[soundcloud url=”https://api.soundcloud.com/tracks/1238262469″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

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Words by Alessio, Arielle, Colin, John & Steph

The post Focus Five: Volume 51 appeared first on FUXWITHIT.

However, DijahSB’s polarizing presence in the music industry is what drew us to them. While others pander to the masses, the rapper holds no prisoners with their impeccable intellect and empathetic approach to justice and reformation. “Anything that’s against the greatest good for the greatest amount of people, I’m going to speak up,” they proclaim.

Taking the trip from Canada to Brooklyn for NYC-based music and ice cream social, Sundae Sauuce‘s event, DijahSB took some time from their short trip to impart hot takes on loyalty, ice cream for breakfast, and when to let your Twitter fingers rain.

It’s pretty rare that you see rapper-producers collaborate as frequently as you do with Cheap Limousine. That type of loyalty was super common in the 90s and early 2000s, but it seems like doing the weirdest shit in any genre is everyone’s goal rather than consistency. What makes you go with this approach instead?

First of all, Cheap Limousine’s sound just fits my pocket so well. And you kind of stuff that is old school, but sounds so new. And that’s how I like to describe myself as well. Old school flavor, but new school feel. So we fit perfectly in terms of that. But I also just love the loyalty aspect of it. Like you said, just being able to grow with one person and seeing that come up with them. It makes a difference. Building that relationship with somebody and then seeing it become something—it really makes a difference rather than like, a one-off producer that maybe one song blows up then the rest of them doesn’t. So just being able to kind of connect on that level musically [feels right]. And then you never know which song—because we have so many songs [together]—could be the one. I think that makes me much happier, much more obligated to work with just one person. But other than that, his music and his production are just some of the greatest stuff that I’ve heard ever so it’s really easy for me to just choose nobody else.

In 2022 the EP, you did do something a little different and collabed with another Toronto group, Keys N Krates. Seeing as you normally work with Cheap Limousine is based in Italy, how was it working with other musicians who are actually in your area?

It makes it that much sweeter because that’s what I love. There’s a different kind of love [because] they’re so successful with what they do. So for a team like that to want to have me on their production really warms my heart. It just validates everything that I’m doing thus far. Because they’re so successful. They’re so great at what they do. So for them to have for me to be on board with them. It really means a lot.

Can you rank these rapper-producer duos from most to least goated: Missy Elliot and Timbaland, Drake and 40, Guru & DJ Premier, Prodigy & Alchemist, DijahSB & Cheap Limousine

Dijahsb & Cheap Limousine
Missy and Timbo
Guru & DJ Premier

… Who am I missing?

Prodigy & The Alchemist and Drake & 40.

I’ll do The Prodigy & The Alchemist and then Drake.

Do we like Drake?

We.. we like Drake. We like aspects of Drake.

[Laughter] So Drake, Keys N Krates, DijahSB. Now that we’ve mentioned some Toronto artists, what is a common misconception of the Toronto hip-hop scene?

A big misconception is that there’s a big support for us. A majority of artists are just so talented, so great, but a lot of it is lacking financial support. And you don’t really have a [major] label [in Toronto]. You could say, there’s OvO, but that doesn’t really count. There is Sony Canada, but that’s for all of Canada. I don’t think there’s really like a label that’s championing specifically Toronto hip-hop artists. I feel like we need that pipeline of Toronto [independent artists] to a label that kind of has the pipeline to other avenues, to be able to make it internationally. Because if you’re staying in Toronto, it kind of stifles you. It’s kind of just… That’s it.

A big misconception [of the Toronto hip-hop scene] is that there’s a big support for us. A majority of artists are just so talented, so great, but a lot of it is lacking financial support.

Whereas if you make it internationally, or in the states, it’s different. That’s why it’s best if Toronto had something to export its talent to a label and develop the talent here, that would change everything. You’d have a lot more Toronto exports. I wish Toronto would put more value into music and entertainment because it does make a difference, even financially, for the city. Drake literally stimulates the economy right now.

There’s been an interesting dichotomy during the pandemic of artists who have either quit their jobs to do music full time or relied so much on touring that they had to find “normal” jobs once we were in lockdown. I’m sure a huge switch causes anyone to feel unsure of themselves, but I like to ask artists who’ve made the transition full time into music: What was your come-to-Jesus moment was that you made the right decision?

There’s been a few things. Like seeing more money in maybe a day than I have in like, my entire retail yearly income. That makes me understand that there’s money in this and that I’ll be able to sustain myself for the first time. I got a huge check and I said, ‘Wow, I got this because I made something that took me maybe 25 minutes to write.’ And the value of music is so it’s so strange because just this one thing that you wrote can bring so many opportunities, especially financially. So once I realized that I realized that anything is possible. And every day, I just have my mind open to the possibility of a new opportunity that could help me financially.

There have been times when I do get those opportunities and I’m like, ‘Okay, I made the right decision.’ I’m not going to a job that stresses me out because now I have the right mindset to be able to create. And that’s the most important thing to me. So it balances it out, you know? The only difference is with retail and other jobs, you get paid every Friday and it’s guaranteed. Whereas freelancing or being an entrepreneur, you don’t know when that check is coming. So that’s the only thing that’s really been difficult for me. Other than that, like I’ve been enjoying being a full-time musician.

Speaking of money and the value of music, you’re never one to back down from giving your hot takes. I think your outspokenness on NFTs is pretty brave considering Twitter is always Twittering. 

I feel like they’re just really inaccessible. The process of setting up the wallet and buying the coins and all that shit, it just makes the music feel like it’s just for a certain demographic of people that can afford that. I don’t feel like that’s the part that should be scarce about music. I want everybody to be able to access it. With streaming technology, anybody could look up your music and listen to it. And although it might be a disadvantage to the artists most of the time, for the consumer, it’s a great way to find artists that you love. And I just felt also that so people getting scammed. And once I figured out what exactly it was I was just like…

Not for you?

Not for me. I’m not going to dabble in it. But the thing is, I want to support them. I understand why artists would do them. It’s so difficult to make any sort of money in the industry. So this NFT shit has people programmed into believing that this is how artists are going to retain ownership and make money. All I really think that it does is remove the people that actually care about you—the fans that actually want to listen and support you. I feel like it just removes them. And then now you have a bunch of crypto bros that are buying your thing, but they only want to buy it because they think it can have value later. They don’t care about the artist.

How do you decide which battles on Twitter are worth fighting?

Actually that’s a funny question. I’ve been a wild out on there, but I’ve been I’ve been calmer than usual recently. You’re right. It’s about picking the right battles. So to Tweet about and be public about, a majority of the time I’m going to speak out against something because it’s something that other people are going through. And I want people to feel validated when they see that somebody is on their side.

The other day, they were arguing about working from home. And I talked to somebody about it because they said something stupid. And they’re like, ‘Why do you even care if you don’t work a nine to five? If you’re a rapper full-time, why do you care?’ Because it’s not about what situation I’m in. I don’t have to be in this situation to care about it. It’s not fair that people can’t work from home. That’s the kind of thing that I defend. The working-class people and anything that’s like, against the greatest good for them, and the greatest amount of people, I’m going to speak up.

Anything that’s against the greatest good for the greatest amount of people, I’m going to speak up.

As a non-binary artist, do find it easier or harder to process gendered discourse in hip-hop? Especially the huge topics right now like Rico Nasty and Playboy Carti, or Megan Thee Stallion and Tory Lanez.

I’d say it’s difficult. I feel like it’s difficult when we’re being judged, or people are against us because of it. It’s a difficult conversation to navigate on Twitter, because you don’t know the tone. And it’s very hard to get across a point when everybody’s just mad or angry, and not really debating to gain information, but they’re debating because they want to be right.

I feel like we have to just continue having conversations because once you think about it, it benefits everybody it benefits men and women to just not conform to gender roles. So once people realize ‘Hey, I’m actually fighting for you as well as myself.’ I feel like gets better the conversation. People just want to be angry and nobody ever debates for actual information. They just want to be right.

That’s so true. Sometimes it’s also just fun to have discourse on stupid shit. Like just yesterday you said, “People who drink Dr. Pepper are a menace to society.” You just performed at an ice cream parlor at 11 am on a Sunday morning. Do you have any hot takes about having ice cream for breakfast?

Honestly, it’s so weird that there’s stuff like breakfast food, lunch food, and dinner food. Like it feels weird to eat a fucking chicken sandwich in the morning. But like who made that up? Who made it up that you can only have eggs and toast and bacon in the mornings? And like things like steak and burgers in the evening? Who made that up? Why is that a thing? Ice cream for breakfast? I just did it. I feel great. I feel energized. I love ice cream. It’s not very good for me because I’m lactose intolerant. But anyway, that is my hot take on ice cream for breakfast. I’m on ice cream for breakfast’s side. And yeah, it’s just so funny. I asked him about that other day. Like why do I feel weird eating a burger in the morning? I always feel like I have to eat something light instead.

But breakfast is the most important meal of the day!

I KNOOOOW!

So what’s your favorite ice cream flavor?

Definitely like cookies and cream. Or like anything with caramel. I love a good caramel sauce.

Back to your music, you just dropped 2022 the EP.  Why is naming projects after years so important to you?

I like to put a stamp on the year and look back at it as this is what I made this year. And also I started doing it during the pandemic. With 2020 the Album, I wanted to make something that would help people kind of forget about what’s going on. And it’ll just be something I could look back at and say, during this really difficult time, I made one of the best albums, some of the best music I’ve ever made. That was what was going through my mind when I named it. 2022 the EP, the same thing. I just wanted to make something to kind of help people going through it. Myself included. Because creating is like therapy for me. I had fun making it. I hope people have fun listening to it and that it will be an escape from what’s going on.

Creating is like therapy for me.

What is the biggest life lesson you’ve learned between the releases of 2020 the album and 2022 the EP?

Anything could happen at any moment. Scary how nature can turn into a whole different world for us to live in. So you really got to take it day by day. Because you never know what the future can hold for you. And the best thing that you can do is try your best every day and try not to think too far into the future. Because you never know. Everything could get canceled. And you have to change the way that you make music or that you make money in a matter of months. So you really just gotta take it day by day and try your best to be the best version.

I know you’re friends with chromonicci.. I actually just interviewed him and he was telling me how when he writes lyrics, they’re not always based on his lived experience and are actually sometimes like a loosely-based character. That’s common in rap and I know your influences are the hyper-relatable Lupe Fiasco and Kid Cudi, but do you ever do character work?

That is something that I haven’t explored, but it’s definitely something that would be interesting to me. Because I also want to maybe get into acting later on. So that could be like a good crossover, a good way to kind of see if that’s something that I was able to do. Being able to write from another perspective. I think people that do that are genius, are great. And it’s fun. Like stepping out of yourself and becoming something else. Definitely something I would want to explore.

With you mostly writing about your life, how do you recharge after baring your soul in bars?

I think it just comes naturally to me that it really doesn’t affect me in that way. I’ve always been a vulnerable person before it was cool. So the way that I navigate is very sensitive, very vulnerable. And I don’t take those as bad traits. A lot of people think it’s a bad trait to be vulnerable or sensitive. But I actually love feeling emotions and feeling sad, feeling angry—even though those are deemed as negative emotions, they’re still emotions that everyone feels. That the fact that I could feel those and go through that means that I can also feel the other extreme of happiness and joy. And that really makes a difference while navigating life.

I actually love feeling emotions and feeling sad, feeling angry—even though those are deemed as negative emotions, they’re still emotions that everyone feels.

Who are some Toronto artists we should be hip to?

Savanna Ré, RAY HMND, Terrell Morris, and everyone who’s on my manager’s roster.

Listen to DijahSB’s 2022 the EP below.

The post Getting the Scoop on DijahSB [Interview] appeared first on FUXWITHIT.

With Eva Shaw’s Hype-Hop series—where the artist merges EDM and hip-hop—she continues to find inventive ways to reintroduce the two genres to one another. The DJ/producer has always been deeply integrated in both scenes, so her efforts to remind people that the genres actually aren’t so different, is something we’re all about.

Dillan and I first met in the studio in Toronto. He rolled up with some liquor and a huge smile and we instantly clicked. We are both weirdos and like experimenting with music and sounds, plus he cracks me up and inspires me every time we connect. During the pandemic, we sent a lot of music back and forth and I had randomly one day started doing dance beats on his bars. This one we both freaked out over and I decided to put it as a main single leading up to my debut album, “SOLO”. I normally put my G-house releases on the Hype Hop EPs but I thought it would be dope to show my versatility on this album by mixing up the genres. I am so excited about this record and I think this one will really appeal to both EDM and Hip-Hop fans.
EVA SHAW

Together, Eva Shaw and DillanPonders produce a playful club track that’ll bang in any environment. Eva’s low and slow four-on-the-floor beat, matched with Dillan’s suave and sultry bars on the aptly-named “JUICE” will give the ego boost everyone needs. And the rapper confirms that was the song’s intention: “Working with Eva is always a blast, I always trust her direction.  I initially recorded these bars to a completely different beat and she went ahead and turned the song into a massive heater. ‘JUICE’ as a record is pretty self-explanatory.  Big vibes + Big confidence = Big tunes, its just math ”

The post Eva Shaw and DillanPonders Got The ‘JUICE’ appeared first on FUXWITHIT.