GENESI, Miss Monique & Carl Bee – ‘Nomacita’

In just a few years, Italian DJ and producer GENESI has established himself as a rising star in the dance music world, blending Melodic House, Techno, and underground influences into a distinctive sound. Recently, he released his highly anticipated single, ‘Nomacita,’ alongside Miss Monique and Carl Bee. This collaboration has already captured the attention of fans worldwide with its deep grooves and captivating melodies, showcasing GENESI’s ability to evolve and push boundaries in the genre. His rapid ascent continues to impress, with his breakout track, ‘Everything You Have Done (Meduza Edit),’ amassing over 65 million Spotify streams and earning him recognition as one of the top new talents in the industry.

€URO TRA$H – ‘House Music For Stripclubs’ Album

ellow Claw’s daring alter ego, €URO TRA$H, returns with their highly anticipated second album, House Music For Stripclubs, released via the Barong Family label. This electrifying 13-track collection dives deep into the unapologetic essence of strip club culture, blending seductive basslines, gritty vocals, and addictive grooves to create a sonic journey that pulses with underground energy.

Levi – ‘Electric Feel’ [Get Together]

Levi has made waves spinning at exclusive yacht parties along Sydney Harbor’s fashion circuit, and is now raising the anchor. After a breakthrough single ‘Jump’ and successful debut European tour that helped secure him representation with United Talent Agency, Levi continues gliding to the top with a reimagined version of MGMT’s ‘Electric Feel.’ While ‘Jump’ amassed over 50 million streams – Levi’s latest track with Get Together and Resound Records offers a bold reinterpretation of the iconic song. Featuring vocals from Orem, the remix preserves the original’s essence while injecting a contemporary electronic pulse with deep basslines and sharp synths fit for the after parties of Sunburn Festival, his last stop on his current India Tour.

TWO LANES – ‘SIGN’

TWO LANES, known for showcasing their unique and carefully crafted style of electronic music, have released the first single off their 2025 album with ‘Sign’. With their new single, the duo blends together melancholy piano melodies, shimmering soundscapes, and moody vocal samples, and beat elements—inviting the listener into an immersive experience. The single follows the release of their well-received EP ‘Innervision’, which quickly became a defining project for the year. With ‘Innervision’ receiving millions of streams and glowing feedback from fans and critics, ‘SIGN’ seems destined to follow in its footsteps.

Don Fuego – ‘Big Après Energy’

Don Fuego are gearing up for another raucous après ski season with a fitting heater of a track. ‘Big Après Energy’ is just that – a powerful electronic homage to the mountain lifestyle they love to call their own. The “après ski” is the traditional term for the post-skiing party at resorts, and has made itself a home worldwide for house music fans.

GREG (BR) & Pitros – ‘Rockstar’

GREG (BR) and Pitros have teamed up on their latest release, ‘Rockstar,’ a festival-ready tech house track that blends their reputable tech house styles into something that is pure heat. Both artists are part of a new wave of talent reshaping the house music scene, and their collaboration captures the essence of this evolving movement.

Now for all those aspiring artists in the music world and industry leaders, Winter Music Conference (WMC) will officially make its highly-anticipated return to Miami Beach for its 35th anniversary celebration, taking over the historic Eden Roc Miami Beach from Wednesday, March 26 – Friday, March 28, 2025.

The 35th edition of the globally-renowned conference will deliver three days of dynamic, cutting-edge programming, blending educational panels, keynote talks, networking opportunities, and exclusive events. Highlights include the WMC Kickoff Networking Mixer, the Official WMC Pool Party, the inaugural EDMAs/IDMAs Hybrid Awards Show, and the first official Miami Music Week Hotel Takeover, all designed to showcase the best of the dance music industry.

Be sure to check out the website for more information here.

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GNDHI – ‘Bangalore’

GNDHI, the eclectic artist and multi-instrumentalist returns with his newest track  ‘Bangalore.’ Renowned for pushing boundaries and infusing global soundscapes, GNDHI delivers a club anthem that embodies the lively essence of his hometown. ‘Bangalore’ showcases GNDHI’s mastery in integrating cultural motifs with electronic music, combining South Indian Konnakol vocal rhythms to create a unique experience like no other. The track kicks off with intricate melodies and an energetic baile influence. GNDHI’s versatility is highlighted throughout, with his artistry taking center stage. As its name suggests, ‘Bangalore’ serves as a tribute to his roots, encapsulating the city’s pulse through pure experimentation. The track’s deep, hypnotic beat pulls listeners in, delivering a sense of euphoria immediately from the start which will keep fans on their feet all night long.

Daijo – ‘Echoes Creep’

Daijo is back with his latest masterpiece, ‘Echoes Creep.’  Known for his unique approach to electronic music, the Canadian/Persian artist delivers a track that immediately attracts listeners with hard-hitting basslines, dark, atmospheric vocals, and an immersive energy that pulls you deep into his world of pure sound design.

‘Echoes Creep’ offers more than just a dance floor anthem, it blends euphoric rhythms, fast-tempo sound, and emotive signatures all into one. With haunting melodies and pulsating sonic elements, the track resonates spiritually and is a clear reminder of Daijo’s skill set to bring out a club-ready single that incorporates modern narratives with a futuristic twist.

Matroda – ‘Late Night Talks’ EP

A house music pioneer who has the ability to control the crowd in any state. Matroda releases his ‘Late Night Talks’ EP for the masses. The EP kicks off with ‘Britney,’ a track that Matroda premiered at EDC Las Vegas, featuring electrifying vocals by Dances that guide listeners through each exhilarating drop. The energy continues with ‘Came To The Club’ and ‘Down’ (a collaboration with INDECK.), where minimalistic vocal use allows the groovy, funk-infused basslines to take center stage, delivering infectious rhythms that keep bodies moving. Another standout, ‘When The Bass Kicks In,’ sees Matroda teaming up with fellow Terminal Underground artist Teko to create a pulsating tech house anthem. With its irresistible beat and clean, minimalist vocals, the track encapsulates the high-energy vibe Matroda is celebrated for. Matroda’s EP definitely shows off his creativity and full-on technical precision like no other.

Fred Dope & Luke DB – ‘Alive’

Two artists from Milan bring us ‘Alive’ on none other than DBMAFIA Music Label, pushing a no-nonsense sound the mob could rave to. Sharp rhythms and clunky drops meet vocals from the dance floor police to allow us to shed our ambition and truly live in the moment. Fred Dope comes from the luxury poolside raves of the Italian shores and hosts the Rave Cast while Luke DB holds the reins at DBMAFIA Music Label, keeping the sound as fresh as can be with this tinge of honesty and finger on the pulse of dance music. Together Fred and Luke strike gold with ‘Alive’, that you can find as a free download along with Fred Dope’s recent remix of Juan Magan & Marcos Rodriguez ‘Bora Bora’ as well as another must-listen from Luke DB with Franky D.P., a remix that will get people praising on the dance floor, ‘Let Children Free.’

Stafford Brothers – ‘Bésame Mucho’

Latin tech is exactly what the world is asking for, uniting the dance floors across hemispheres. Hailing from Australia the Stafford Brothers have dove into the Latinx culture to bring up a crunchy Latin house record ‘Bésame Mucho’, and it is clicking with the crowd all around with creativity added by the renowned Latin producer, G4bba, and Mexico’s pop artist, Crash Yeye. The Stafford Brothers ran it back with G4bba for ‘Bésame Mucho’ following their previous collaboration with DERRO titled, ‘Cascabel’ a memorial single that aired at Ultra Miami’s mainstage in 2023. The Brothers have kept up an amazing tour since then, rocking the halftime show for the National Rugby League with Timmy Trumpet, Tomorrowland and you can find them at The Grand Boston in November next. It is time to build your collection of Latin tech selects, and who would have thought the big room legends would be the ones serving? Enjoy how the Stafford Brothers go house for ‘Turn Up the Volume with Taylr Renee’ as well.

sundaysunday – ‘Waiting For You’

‘Waiting For You’ by sundaysunday showcases a fresh, introspective side of the artists, diverging from the energetic house and dance sound of previous releases. Written and produced by sundaysunday, the track features warm guitar leads, nostalgic Korg pianos, and evocative vocals by Chase Ellestad. The downtempo, moodier tone of the song captures an emotional depth, marking a new exploration for Sunday-Sunday in the indie dance world. sundaysunday is Watson’s new project with his polished studio mate, Austin, out of Toronto, Canada. Watson is known for his prolific work on Armada Music, Dim Mak, Universal Music, Virgin EMI, FrtyFve, and Strange Fruits. His collaborations with industry giants and recent contributions to Netflix’s ‘Bad Blood’ soundtrack has built his reputation. Now he is out to steal the night with ‘Waiting For You’ alongside Austin, who completes sundaysunday with clean live instrumentation and plays a vital role in running their revered Dopamine Machine Records.

Rafasan –‘OMG’

Rafasan releases a taste of tech-house in the purest form with ‘OMG.’ This track grabs you, pulls you in, and demands you move, stripping away any fluff and leaving only the raw, simplistic essence. ‘OMG’ is relentless, unapologetic, and simple, with one goal: make people dance. It punches through with an intensity that takes control, continuing the path set by ‘Turn The Music Up’ as Rafasan makes his intention clear: dominate the dance floor.

Elohim – ‘Patience’

Elohim’s Power of Panic is set to usher in an impressive new chapter with the upcoming deluxe edition, led by the first single, ‘Patience.’ The release arrives at the perfect moment in the festive season, enveloping listeners in an atmosphere of eerie, spine-chilling vibes that seamlessly resonate with the spirit of this time of year. The album acts as a reflection of her resilience, shaped by personal battles that nearly derailed her momentum.

Within ‘Patience,’ Elohim conjures a chilling reflection of modern life’s frantic tempo, as if trapped in an endless pursuit of achievement. The dark cello and eerie bass drops drag listeners into a disquieting realm, where we become ‘manic robots,’ lost in the haunting grind of daily existence.

 Chris Diaz x Smith & Sorren –‘WGLC’

With a driven rhythm and crafty topline, Smith & Sorren team up with Chris Diaz to deliver ‘WGLC’ (White Girls Love Cocaine). The track effortlessly blends both artists’ distinct styles, creating an engaging mix that leaves a strong impression. Through skilled synth work and a driving, classic house beat, the single unveils a raw perspective on the darker undercurrents of club life. It’s unflinching, unapologetic, and true to the real atmosphere of the scene.

CURLYHEADS & VelcroCompanion – ‘Save Me’

CURLYHEADS & VelcroCompanion have released ‘SAVE ME,’ the sound of an entrancing exploration of electronic dance music. As the journey continues into deeper realms of beat-driven euphoria. A harder edge punctuates the semi-spiritual atmosphere, balancing darkness with allure. The intricate layering of techno influences over a solid tech house base adds a magnetic pull to the soundscape.

BOSA – ‘Towards the Sun’ (Remix)

BOSA returns with a euphoric remix of SIA’s powerful anthem ‘Towards the Sun.’ Known for blending deep, organic grooves with cinematic soundscapes, BOSA brings a fresh twist, reminiscent of feel-good global anthems . This remix delivers infectious, sunshine-soaked beats that channel the upbeat festival energy of daytime headliners. With an uplifting global groove and tribal percussion, BOSA’s signature sound seamlessly merges with SIA’s soulful vocals, creating an irresistible vibe.

 Cinnedi – ‘Rush’

After the incredible success of her ‘Seven Deadly Sins’ project, Cinnedi (formerly O Cinnedi) steps into a brand new era, embracing futuristic, dystopian beats that redefine her sonic identity. Known for her brooding yet high-energy take on bass music, Cinnedi is ready to expand her world. No longer confined to her past, this new phase is characterized by unapologetic techno sounds and an exhilarating exploration of 128 BPM. ‘Rush,’ her latest single, encapsulates all the dark techno energy you could hope for, brimming with deep, dystopian soundscapes and atmospheric synths. This track perfectly introduces Cinnedi’s new aesthetic—elevating her craft into a forward-thinking dimension of electronic music that resonates with a futuristic and edgy vibe.

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Hidden in plain sight in Toronto, Southern Ontario, and beyond, are a few locally owned sound systems, born out of the same spirit that first inspired the practice of throwing sound system-focused parties to begin. The current purveyors are an equalizing force for the commodified offerings of the EDM machine that most have come to associate with dance music. This culture is not perpetuated out of spite of the mainstream, but rather a desire to share a deeply held passion for music and shared experience on a more personal level than most clubs offer. The systems themselves offer not only a heavy, physical experience of sound, but also serve as a focal point for the community to gather around. The difference between this and most club experiences is palpable not just in sound, but also in the intention and energy exchanged between performers, organizers and attendees.

Sound system culture was born out of necessity. In 1950’s Jamaica, impoverished communities came together to dance and connect over something positive at block parties featuring local DJs (selectors) playing through powerful, custom sound systems. Its traditions evolved within Jamaica and eventually went on to globally influence countless artistic collectives and musical subgenres by sharing its practices, terminology and community focus with anyone who had something to gain from it.

Photo by Kevin G.

Sound System Weekend

Bass enthusiasts were recently treated to back-to-back parties over Thanksgiving weekend, appropriately enough, when Last Planet, The Deep End and Master Lab enlisted two locally built and operated sound systems to power some big international bookings.

Shadow Play, an event curated by Last Planet, The Deep End and PixelCorn Productions, featured UK-born dubstep legend DJ Youngsta on the Iron Lung Soundsystem, supported by some of the most talented and fast rising producer/DJs in the area in Distinct Motive, Freeza Chin and Stranjah. The event came off as an excellent blend of old and new, holding onto much of the original aesthetic dubstep and half-tempo bass music is known for in its sweaty, dingy setting, while showcasing a promising future for the scene in Toronto.

The following night, Master Lab hired the near-legendary 40hz Soundsystem for their drum and bass focused affair. Local heavyweight Gremlinz set the stage for LSB, Skeptical and Jubei, a trio of UK-based producers all known for their dark and sub-heavy takes on the genre. The event featured an ominous, dark room, saturated with bass and fast paced percussion while minimalist visual projections and lights illuminated the high, cathedral-style ceilings of The Lithuanian House.

Photo by Kevin G.

Venues

Finding proper spaces to host these events can be a struggle. Both parties were met with venue issues related to excessive noise late into the night. Shadow Play was forced to move locations just days before the event due to sound restrictions being imposed on their originally planned space, forcing organizers to choose between their preferred space and sound system. The favourable choice was made to keep the sound and move the venue, though this undoubtedly threw the organizers for a loop. The Master Lab show was shut down early (though only by about 45 minutes), when a few police officers with bright flashlights entered the dark dance to investigate the source of a noise complaint. Thankfully organizers and police were able to compromise and give the show a suitable ending with a few more tracks, rather than cutting it off immediately.

In both cases, the experiences of attendees were saved from any critical blows, though the issue is an ongoing challenge for organizers: How do you throw a party with pristine and all-encompassing sound that showcases the music as it was intended to be heard, while keeping it in or near a densely populated area so as not to alienate or inconvenience your intended audience?

Photo by Kevin G.

This expectation of convenience presents the largest aspect of the issue. While there is a core following present at each show, many of which travel far from their homes to come into the city for each event, promoters need a reliable, high turnout in order to keep reinvesting and growing the scene. Toronto and the surrounding areas offer a wealth of unused, industrial-type buildings that would likely meet the needs of a party. Large indoor spaces for people to gather with no neighbours to bother are plentiful, however organizers understandably hesitate to commit their energy and focus to a space that some may not be willing to travel to. Likely a relic of North American club culture, this is somewhat ironic considering that the marriage of sound system culture and bass music was born out of the rejection of the associated musical styles by most mainstream venue spaces, with many raves happening far outside of city centres where it was unlikely anyone would be bothered.

Photo by Kevin G.

So, why bother?

The need for a strong underground scene is very important. In any artistic pursuit, creators need space to learn, experiment and grow. In the case of musicians, producers and DJs, they need a space to explore their art and present material; To feel its energy in its intended space before heading back to their laboratory to adjust and refine. The parties and sound these systems provide nurture creativity, providing access to a community that can help shed light on getting from A to B. Mainstream festivals and EDM shows can be alienating and unwelcoming, often keeping the hired talent segregated from the crowd. The people who get to be involved are on one side, and the people who get to watch on another. That is, until someone takes it upon themselves to create an inside of their own.

All of this is not to say that there is an “us vs. them” mentality on either of these two sides of dance music. While being somewhat opposed in the motivation to create them, it is important to note that what comes out of both is simply a product of the collective energy contributed – how people act, interact and share with each other, and the level of respect shown to the spaces and organizers that make it possible. There is good and bad on both sides, as with anything, but it is my belief that the growing sound system culture in Southern Ontario as it relates to bass music has something seriously positive to offer. The ideal result being that local creators are raised up to the point where they start to garner international intention. This is how some of the most impactful movements in dance music have been born.

I still regularly attend many large-scale events to see performers I am interested in, but find community and inspiration more easily in spaces like I have described. This, above all, is something to truly appreciate. A handful of individuals have taken it upon themselves to make something happen, and we all have the chance to benefit from it, and contribute if we desire. This community mentality and positive energy as a driving force is intoxicating in the best way, indirectly seeking to spread peace, love, unity and respect instead of trying to package and sell it as an experience.

Visit 40hzsoundsystem.ca for more info on this system, and for a list of shows it will be powering in the near future. This crew works tirelessly and always seems to have something new and exciting in store. Their Facebook page is also a great resource for shows and music.

Check out the Iron Lung Soundsystem on their Facebook page. They are based out of London, ON and are quickly gaining a reputation synonymous with powerful sound and a wide range of explorative bass music.

I stopped myself from plugging upcoming shows (of which there are many!), and instead will point you to the Toronto Junglists Facebook page as a great resource for events, in addition to the individual promoters pages. They compile a list of shows on a weekly basis, and seem to have a knack for regularly finding those hard-to-reach parties.

Thanks to the promoters behind the aforementioned shows for the work they do and for supporting this piece, Master Lab, The Deep End and Last Planet. Two more promoters must also be mentioned; Rumpshakers and Spectrum, for regularly bringing a wide range of creative talent to the city while simultaneously showing support for local DJs and producers.

Finally, keep in mind this is just one persons view of the scene. There is so much more out there to be discovered. Some internet research and the courage to show up to a show on your own, if necessary, can take you a long way. Big respect to everyone else out there supporting, creating, and following their own path!

Edited by Kevin G.

The post This is a Signal: Sound System Awareness appeared first on FUXWITHIT.

Sampling, or the practice of re-purposing recorded audio began in early hiphop production. When samplers first came on to the market, they were standalone hardware units (as opposed to a piece of software, which you would be much more likely to find today). In theory, their operation was very simple; record any audio into the unit via a tape deck, record player or other source of audio, save it to the digital memory internal to the sampler, and then trigger the ‘sampled’ audio using buttons found on the sampler. As technology progressed, the memory capacity of samplers increased and features that allowed users to manipulate or edit the original audio were introduced. Now, over 30 years later, this same process is still in use, with the ability to layer, manipulate and modulate being constantly expanded upon. The possibilities of sampling are endless, and the practice itself has enabled a new generation of songwriters and producers by making the process of creating music much more accessible, especially to those with no formal musical training or knowledge.

The vast majority of drums (and many other sounds) on classic hiphop beats were created from producers sampling individual drum hits (kick, snare, hi hats, etc.) from old funk and soul recordings. This captured the organic sound of the drum and allowed producers to then tap out a new beat to a rhythm of their choosing. Drum samples were often captured during the ‘break’ part of the source song. A break is a small section of music, commonly found in 60’s & 70’s funk and soul songs, in which the entire bands stops playing for 4-16 bars while the drums play a solo, hence the term break-beat; a beat played by a drummer in the break section of a song. These sections were usually a spot to highlight the drummers skills and allow them some space for variation, often adding accents or additional rhythms to the foundation of their beat. These sections were chosen to sample from for the obvious reason that the drums were the only instrument playing and it was easy to capture a clean hit without any other instruments interfering.

Check out this list of the Top 10 Most Samples Drum Breaks Of All Time from whosampled.com

Currently, the practice of sampling, manipulating and re-purposing audio is at the heart of most digital music production. Not only for its ease and simplicity, but also for the creative freedom is allows for. In the past, musicians were limited, in a physical sense, as to what they could play on their instrument. A trumpet player can only sustain a note for as long as their lungs will allow them to exhale, and a drummer can only play as fast as their limbs are capable of moving. Sampling takes away many of these limitations, allowing for beautifully unnatural sounds and rhythms to be created through processes of manipulation and reprogramming, respectively.

A few classic jungle/breakbeat tracks:

At some point, producers started sampling and speeding up entire drum phrases (for example, 2 bars of drumming looped to play continuously, rather than just a single hit), bringing a hiphop swing to faster drum and bass style tracks. This was the first step towards creating the ‘breakbeat’ sound in modern dance music that is most synonymous with jungle, and is found in many other subgenres related to drum and bass music. Breakbeat music, which is not so much a genre as it is a classification of music that utilizes this particular sound or style (kind of like 808s with trap and rap), generally features fast paced beats, usually using a drum and bass rhythm pattern, with plenty of groove or slightly off-time hits to give the song a more lifelike feel than is found in other similar genres.

By utilizing samples taken from actual drummers instead of programming drum hits on a time-locked grid, the imperfect, ‘human’ element of performance is infused into the sound. Audio is considerably sped up or ‘timestretched’ (a process that allows for audio to be played at a higher speed without the pitch changing), and heavily edited and re-sequenced, creating a beautiful imperfection in the fast-paced rhythms that simply could not be programmed into a machine. Eventually, the sampling, looping and editing of drum phrases was replaced by sampling each individual beat within the phrase. This allows each sample to be reordered and triggered whenever the person programming the beat desires, lending itself to creating extremely dense, heavily engineered beats that would make any drummer blush. English writer Kodwo Eshun once described jungle and breakbeat music as “rhythmic psychedelia”.

A few modern examples of impressive breakbeat sequencing to follow…

One of the most popular and widely sampled drum breaks of all time is from a song called ‘Amen, Brother’ by The Winstons, with honourable mentions going to James Brown’s ‘Funky Drummer’ and The Honey Drippers ‘Impeach The President’. The drums and break in ‘Amen, Brother’ have been sampled almost 2000 times according to whosampled.com, making it the most widely sampled break ever, with no compensation having been offered to its creators until very recently. Due to a statute of limitations of only three years for copyright infringement in the US, The Winstons had no recourse when almost 30 years later, they found out their song had been repeatedly sampled. While I am usually one to side with technological progress and creative freedom when it comes to issues of sampling and copyright infringement, this is one case where I believe some recognition and compensation is rightfully deserved. The members of The Winstons are far from rich, having disbanded years ago, and their (albeit unintentional) contribution to music has helped spawn entire genres and subgenres of extremely progressive and creative music. Though they may not have a legal right to financially benefit from their music being used in this way, its widespread and repeated use has touched enough people that it inspired two British DJ’s to do something about it.

In November of 2015, The Winstons frontman Richard Spencer was awarded £24,000 thanks to a GoFundMe campaign started by Martyn Webster and Steve Theobald. The campaign, which relied solely on donations from individuals far exceeded its goal of just £1000, and was received with much gratitude by Spencer who has spent some of his years since The Winstons attending University and working in the Washington Transit System. Upon receiving the money he stated, “The young man who played that drumbeat, Gregory Coleman, died homeless and broke in Atlanta, Georgia,” highlighting the importance of this offering. The campaign to compensate the band has since been reopened after word spread and further interest was expressed in donating to this cause. You can find the campaign’s Facebook page HERE.

Like many other stories of creative contribution, the importance of the Amen Break took the passing of time and right perspective to show all that it had to offer to the art of music. Who could have known in 1969 that a 10 second drum loop would later inspire a new era of producers and creators to invent entirely new genres of music? No one. No one at the time could have known how music technology would develop, and how it would be utilized to further push creativity and enable the possibilities of performance past the limitations of a human player.

The marriage of technology and music is certainly a good thing, and like anything else that technology affects (which is essentially everything), there is no sense in fighting its progress. This unfortunately means that some will be left out while others reap the rewards of the communal artistic effort. Such is life. It is important to remember however that true creative contributions are not easily forgotten. Though The Winstons as a group never got to enjoy the success of their contribution in a traditional sense, they are now cemented in their rightful and unique place in the history of the development of music. They are honoured on a regular basis at drum and bass shows around the world, and any artist should be extremely proud to reach this level of artistic achievement. It is unfortunate that this achievement does not bring with it any financial benefit, however I believe it to be a sign of the strong importance of art in peoples lives that individuals would band together to raise awareness and money to prove to these creators, who have certainly suffered for their art, that their journey was important, impactful and amounted to be something far bigger than they could have ever imagined.

For more, check out this comprehensive video about the Amen Break.

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Without question, plenty of minimal, progressive music can be found in so-called ‘underground’ scenes around the world, but often overlooked are producers who touch on all the right elements, composing and producing music that is undeniably for dancing but reaches far past the usual confines of typical EDM crowds, appealing to lovers of music in general. Music that provides familiarity for fans of more typical dance music styles while achieving uniqueness in its explorative nature and composition, lifting it above similar styles that would otherwise be considered its peers and widening the breadth of our collective expectations when we consider what ‘good’ music should sounds like.

In any conversation about beautiful, explorative electronic music, Bonobo is a name that must be mentioned.

Simon Green, aka Bonobo is an English-born multi-instrumentalist, producer and performer. He has released 5 full-length studio albums on the well known UK label Ninja Tune (with a 6th album just announced to be released in 2016), and continues to develop his truly unique, lush sound with each new offering. While many producers find a specific niche or scene to create within, Bonobo is an artist that is constantly pushing boundaries and finding new and creative ways to keep evolving his unmistakeable sound. At his core, Bonobo is a talented composer with a great ear for unique tone and arrangement who utilizes digital production technology to take his music to the next level. While some producers rely on digital production to create any sound at all, Bonobo uses it to further push and develop music that often finds its beginning in the natural world.

Because the energy created on his five official releases ranges from chill, slow and sombre to upbeat and bass-weighty, there is surely something here that any music lover will enjoy; And this is not to mention his countless EP’s, remix albums (featuring a litany of talented producers from all corners of the dance music world, many of which are his Ninja Tune brethren) and live performance DVD’s, featuring his (extremely talented) live-band reproducing, and in some cases reinterpreting many of his compositions.

Music like this is a shining example of the possibilities created by electronic music production, and can serve as a welcomed reminder that ‘dance’ music isn’t all womp’s and wub’s and endless 4-to-the-floor beats. In all music, creating, building and controlling intensity and energy is the key to captivating an audience. Bonobo’s music serves as proof that there is no single way to accomplish this, and that much of the beauty created is found in the pursuit itself.

Check out a few of Bonobo’s legendary Boiler Room Sets HERE and HERE.

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Within that he has fostered a sound that is uniquely his own- an accomplishment for any producer, let alone one that contributes to a style that adheres so closely to fairly strict genre rules. In addition to the skittering snares and fat 808 kicks one would expect, HK blends in deep atmospheric sounds, warm textures, and interesting melodies played out in creative ways (for example – creating melodic lines with hi-hat rhythms by pitching them up and down). His first EP Palindroma, released in 2014, was reviewed by Vice and said to “…sound like anime looks.” – an observation so on point, I am mad at myself for not having thought of it first. Described by some as ‘cloud trap’, HK’s style has a chill, laid back vibe. Softly-swelling synth lines washed heavily in atmospheric reverb drone on while hard hitting rhythms push forward like a trap-style beat should.

Currently signed to fellow Montreal-native A-Trak’s Fools Gold Records, HK continues to produce for various MCs and has also contributed to Low Pros, an all-star collaboration project led by A-Track and Lex Luger. Just having released his second EP Kronostasis, High Klassified is ascending the ranks of producer-stardom and is certainly a part of the conversation when speaking about other successful Montreal-based producers such as Tommy Kruise, Lunice and Kaytranada.

Read HK’s interview with Noisey about his latest EP HERE.

Watch HK’s Montreal Boiler Room Set below, and check out the rest of the show with sets from Kaytranada & Tommy Kruise, among others.

The post Bass Boost v.5 – High Klassified appeared first on FUXWITHIT.

The term ‘soundsystem’ dates back to 1940s/50s Jamaica, when people in poor areas of Kingston would gather in large public spaces for an outdoor party as a way to celebrate and connect with the local community. Whoever had the best speakers in the neighbourhood would bring them out and play music for everyone, sometimes selling drinks or charging a small fee for entrance. These kind of ‘pop-up’ parties became very popular and by the mid-late 60s a number of different large soundsystems (which refers to the party itself, not just the speaker system) existed, competing with each other for the fame of having the biggest and loudest system in town. Parties were often a combination of two or more ‘rival’ soundsystems. Referred to as a soundclash, DJs from each system would take turns playing music to see who could hype the crowd up the most – an obvious precursor to modern DJ battles.

As technology improved and the (usually custom-built) speaker systems themselves became bigger and more powerful, DJs began to focus on production, creating music engineered for and exclusive to their soundsystem to give a creative edge over the competition. Referred to as ‘exclusives’ or dubplates, these productions, always limited to just a single copy to be played by the DJ, was the key to exciting crowds and boasting the best soundsystem in town. Soundsystem parties were known not only for the giant stacks of powerful speakers and bass-heavy reggae, ska and dancehall music they featured, but also served as a cultural epicentre for the local community, bringing people together and providing a shared-positive experience for all in attendance.

With a massive migration of Jamaican immigrants into the UK in the early 70’s, soundsystem culture and the influence of Jamaican music followed, and over the next 40 or so years injected many of its traditions and sounds into various genres of electronic music.

Because this music and culture are so focused on the live experience, videos and audio recordings cannot begin to do justice to the energy and heavy sound created. To give some idea, the legendary Channel One Soundsystem at their annual Notting Hill Carnival party in London;

Today many of these soundsystem-inspired traditions have found their way into various dance music genres, the most obvious of which are dubstep and jungle. Though these genre labels are broad, many parallels can be drawn from each to practices that began in Jamaican dub and soundsystem culture; Often minimal productions with heavy bass, driving rhythms, and a continued practice of using dubplates and playing exclusive music never to be released for public consumption. It is common in many bass music circles in the UK for producers to release a version of their track, and have a remix dubplate that they only play live. This can drive fans mad, especially in a time where we can easily listen to a song that is stuck in our head on repeat until we are tired of it, but makes for explosive energy at live shows, often hearing slews of unreleased material the way it was meant to be heard; on a giant, custom-built soundsystem.

Dubplate version – sorry for the poor quality – as I’ve explained – this records exists only in Kahn’s record bag.

Bonus; An Om Unit dubplate of the same song, and a video of Diplo showing off a Major Lazer/Madonna dubplate.

The origins of both jungle and dubstep specifically trace back to the melding together of Jamaican and UK dance music; Taking production techniques and signature traits from dub and combining them with the gritty, aggressive rhythms and bass-weighty sounds prevalent in the UK. Though dubstep in particular has taken on a more mainstream sound of its own in North America, its deep, dark and dubby roots are still being explored by producers such as J:Kenzo, Kahn and Mala, to name a few, as well as on labels such as DEEP MEDi Musik, Tempa and DMZ. With a minimalistic mix leaving the majority of the room for big bass wobbles, original (now often referred to as ‘deep’) dubstep features many traits of dub and reggae music; simple bass melodies, slow, shuffled rhythms, and a litany of percussion sounds to help progress the song as their structures are often simple and based around one idea.

Currently standing in direct opposition to the bright and shiny production of popular big-room EDM styles, soundsystem culture has spread throughout the world. Anyone who feels they need a break from the LED-screens, bright lights and sounds featured in most large dance music shows these days would do well to find a proper soundsystem near them (or if you can’t find one, build your own!). My introduction to this culture in Toronto was with the 40hz Soundsystem; A locally owned, completely custom-built collection of some of the biggest subwoofers I’ve ever had the pleasure to dance in front of. After attending my first Harvest Festival (thrown by Toronto’s own Promise events – well known for their Cherry Beach Sunday parties every summer), I started to follow the 40hz system around. At first, I thought it funny (though logical, given my taste for bass) to be following a set of speakers to find good events instead of a proven promoter or nightclub, but soon found that I was being exposed to a plethora of new music, and meeting much more interesting and open people at every event I went to (when compared to the usual King & Queen West club crowd especially), and breaking my routine of always going to the same few venues to dance.

Soundsystem parties often pop up in locations that aren’t proper venues, feature a broader range of music than found in downtown clubs, and attract people who are looking for a change from the usual stand-in-line for too long and overpay-for-drinks experience that most equate with a night of dancing. Though every party, system and individual experience are different, I find there to be much more substance in following around a soundsystem in both the vibe of the party as well as the type of people that attend. This is likely due to the fact that the organizers care about keeping a good reputation of providing a unique experience and quality sound to their attendees, which then contributes towards a feeling of community that is very welcoming and not easily replicated.

Click HERE for a short Vice documentary on PK Sound, a Vancouver-based company building soundsystems that grew out of Shambhala Music Festival.

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Boasting 25 000 square ft. across three rooms, one of which is equipped with ‘bodysonic’ technology (sections of the floors attached to bass transducers  – essentially extra subwoofers built into the floor), the space quickly gained a reputation for throwing forward thinking events with up and coming artists, many of which were (and still are) at the forefront of their genre. In November of 2001 the club began operating as a label of the same name, releasing monthly compilation albums, each of which was assembled by a different DJ. The series’, entitled fabric and FabricLive respectively, are well known for unearthing new trends as well as showcasing some of the biggest names currently contributing to the progress of various dance music genres. The two series, which trade off releases each month, differ by the genres they associate with. The fabric series focuses on more established styles under the umbrella of dance music such as techno & house, while the FabricLive series showcases movements such as dubstep, grime, breaks, drum and bass, and various other sounds that make up the ‘underground’ side of dance music. The success of both compilation series’ also prompted the label to start a regular mix series, further strengthening their ability to bring new sounds to the masses with more freedom than official releases can offer.

Below are a few of my personal favourites.

In 2007, two up and coming UK producers named Caspa and Rusko teamed up for FabricLive.37. Bringing even more attention to the quickly expanding blend of UK-garage, two-step and dub music, this album introduced a lot of listeners outside of the UK to dubstep. Furthermore, this release was surely instrumental in vaulting both Caspa and Rusko to international success and making both of their names synonymous with the genre. With pulsing basslines and hard-hitting shuffle beats, this mix is a great representation of the original intention of dubstep; Reggae-inspired, percussion heavy music with enough bass weight to change your life.

FabricLive.40 features Dutch drum & bass trio Noisia. The trio are basically gods of the drum and bass world, and also host a weekly podcast where they feature a wide variety of interesting and lesser-known bass music (not limited to drum and bass). With incredibly crisp and powerful productions on top of pounding, aggressive rhythms, this edition of FabricLive pushes forward with intensity from start to finish and is surely worth a listen, especially for curious-types who may not have much experience with drum & bass.

Though not all of the releases are recorded live-off-the-floor from Fabric nightclub as some might assume, both the fabric and FabricLive series’ continue to indiscriminately showcase new sounds and movements in the world of dance music. In focusing on releasing mixes that present music in the same way an attendee would experience it in a nightclub (‘licensed rave tapes,’ as Fabric founder Keith Reilly puts it), the series stays relevant and gives a ‘live’ experience to those that are not able to attend events in person. By handing over complete creative control to the artists they feature, the label is easily able to keep up with trends and new sounds. These releases (which are going into their 15th year) have not only become a go-to series for fans worldwide, but have also helped to solidify the name Fabric as being synonymous with progressive and innovative dance music.

I would strongly encourage everyone to take a look at this list of fabric and FabricLive releases, as this post can hardly hope to scratch the surface. Whatever your dance music tastes are, these series’ include something for everyone, and are also a great tool to experiment with new genres, or to get to know an artist. The editions featured in this post are largely dependant on my own tastes and are really just a small window into the wide variety of material that this prolific club and label offer.

That being said, here are a few more recommendations;

Foamo Fabriclive Mix, July 2012 (bass, house)

Jimmy Edgar FabricLive.79 (techno)

Skream Fabric Promo Mix June 2015 (techno)

Four Tet FabricLive.59 (future house)

The post Bass Boost v.3 – Fabric appeared first on FUXWITHIT.

I found out about Machinedrum around 2012 when I came across DDD (better known to some as the beat behind Azealia Banks’ 1991), a funky throwback to Detroit-style house music. I love this track for how catchy it is, and how fat the sub drop is around the 2:20 mark. After hearing this, I got my hands on Machinedrum’s SXLND EP and quickly realized that I had found something unique; creative, dark and funky music that uses aspects of any genre that has something to contribute while at the same time refusing to fully submit to the rules or practices of those same genres. The deeper I dug, the more material I found; at times wondering if it was actually one person making all this music.

In the last few years, Stewart has truly found his sound. Releasing a series of EPs leading up to a full album entitled Vapor City in 2014, Machinedrum used the diverse Ninja Tune label to showcase his varied taste and forward-thinking approach to music. This series also led to a trio of Vapor City Boiler Room Sessions in New York, London and Berlin, all featuring Machinedrum, as well as a collection of friends and collaborators including side projects such as JETS with Jimmy Edgar, Dream Continuum with Om Unit, and Sepalcure with Braille (aka Praveen Sharma). Vapor City is a great place to start for anyone looking to see what Machinedrum has to offer, but all of the aforementioned collaborations and Boiler Room sessions are essential listening. Each project has its own extremely unique voice and cretive direction while Stewarts influence is constantly heard. Machinedrum is an extremely talented musician whose big-picture influence on dance music, electronic music, and music in general still remains to be seen as many more years of exploration and high-bpm releases are surely to come.

BONUS

For some deep dub, check out AMIT’s remix of ‘Gunshotta’

For some drum&bass education, check out Machinedrum’s Resident Advisor Podcast

The post Bass Boost v.2 – Machinedrum appeared first on FUXWITHIT.

For the first installment of this series, I want to talk about a genre that has been steadily growing in popularity since the early 2000s in Europe and the UK especially, but remains mostly under-the-radar in North America; Grime. I will admit that when I first encountered this music years ago, I was off-put by the the rapping style; my sensitive North American ears being accustomed to hearing only a small variety of American dialects in rap music. After giving it some time and digging to find a few tracks that really did it for me, my opinion has completely changed. In the same way that American rappers use their local vernacular to stylize their own flow, grime music takes this practice to an international level. Paired with the permeation of dub music and Jamaican culture into British arts, I now see that there is a huge sub-genre of rap music that many in North America are missing out on. If you are a fan of rap and bass music as separate entities, grime may have something to offer you. Blending bass music production with a wide variety of rap styles, grime is an often overlooked genre that deserves more attention. With current artists like Skepta and Stormzy‘s names ringing out across Europe, I would think it’s just a matter of time before this truly grimy blend of bass and UK and European-style rap starts to gain momentum on the other side of the Atlantic.

To highlight the weight grime has to throw around, I turn to two big influences on the genre; a collaboration between well-known English producer The Bug and legendary grime MCs, Flowdan and Killa P. I first heard this track in a Zeds Dead mix years ago and looking back now, realize it was the primer I needed to be more open to exploring this genre in the future. With a MASSIVE beat courtesy of The Bug, proving that the influence of Jamaican culture on English music is still as prevalent as ever, Flowdan and Killa P utilize much Jamaican patois to flow their way through the song. ‘Skeng’ (meaning a knife or blade) is a heavy track with both a beat and vocals that individually could make a song complete. Released on The Bug’s album London Zoo in 2008 under Bonobo’s Ninja Tune label, this track has some serious power. Both The Bug and Flowdan are legends of the genre in their own right, and this track remains in my opinion, one of the best grime tracks out there.

For more check out THIS VIDEO of Flowdan tearing it up on RINSE FM‘s THE GRIME SHOW

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