Aboueb with his groovy drum design and spine-tingling sound choices has shaped his vision into quite the memorable one. Leaving his beautiful mark on the world with great honor. From hard-hitting 808’s, to heroic formations within the musical spectrum, he always knows how to bring the energy with great might and awe. He’s a true force to be reckoned with.

As for Klemsis, his unique range of melodic structures has touched the underground with integrity. From subtle and impactful drums, to sampling old school classics to use to his advantage, there’s something for everyone to relate to. He’s dabbled in the styles of trap and disco to cater to a broad variety of listeners. But once you put this dynamic duo together, you’ll be truly captivated by their crisp and organic teamwork.

HAGRABAD is a composition inspired by oriental, Indian and Hispanic ethnic sounds, mixed with our western hip-hop trap sauce as well as modern electro synthesizers.

The narration of this track is made to imagine a story, a journey through the heart of the bustling city of HAGRABAD with several adventures open to interpretation. We can find all types of ethnic instruments such as sitar and bansuri but also cinematic drums and violins that we chose to integrate in the bridges to bring an orchestral color to the whole. The hip-hop side is brought by hard-hitting trap drums and vocals. Finally, the electronic elements are essentially VSTs chosen to blend well in the mix such as Synplant, GMS, Kontakt banks, the Arturia suite or even Arcade. There are a total of 4 drops with several different parts and bridges that make a smooth transition from one universe to the other.

As an anecdote – Since FL Studio is limited to 125 tracks and we had a lot more material than that, we had to stack and layer different tracks that sounded good together in the same rack mixer, which took a lot of time. – Aboueb and Klemsis

‘HAGRABAD’ contains some of the most unique and addictive flows. Their synergy is like no other. Bringing in distinctive techniques and qualities to create a piece much greater than you think. From an epic toned beginning filled with beautiful instrumentation, to a passionate and eye-opening chorus which can create an instant party wherever you are, there’s tons of surprises lurking around every corner. Their attention to lifelike detail and atmosphere pushes the song forward in a fashionable and intoxicating stasis. Each section carries unique qualities but still holds the priceless heart of the track intact. Everything comes together smoothly. Forming an instant anthem overall.

We’re very excited to see where these heroes go next. So make sure to go support by streaming ‘HAGRABAD’ everywhere via BONSAI Collective!

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Check out the lineup below:

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While Bonsai Collective is known for spotlighting melodic production influenced by trap, jazz, hip-hop, and funk, Denali Records will be focusing on harder electronic music like bass, drum and bass, house, and more. The new label will be curated by capshun, Sasha Rome, and Afrosamuraiist, who’ll be receiving support from their other Bonsai labelmates.

Denali originates from the name of the tallest mountain in North America. This symbolizes the heavy, hard-hitting tracks we will release with the new label. We want Denali to be the home for hard electronic music including bass music, house, DnB and others. With Bonsai we focused on the melodic side of EDM and we’ve had to exclude some good music that didn’t fit the Bonsai sound. Now with Denali we can represent those harder-hitting tracks and between the two labels we can cover a lot of ground in the electronic scene. We will continue to support both established and up and coming artists, with the quality of the music always being #1 for us.

SASHA ROME

DENALI is not a label you’re going to want to ignore. With an upcoming release already lined up this Tuesday (we’ve heard it—and it’s fire), you can bet they’re cooking up much much more in 2021. Be sure to follow them on their socials below and check out the announcement video to get a taste of what they’ll be dropping.

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It seems as though every new track from LA-based L’homie only gets more intricate in what is proving to be a truly breakout year for talented producer. From ‘Sting Of A Scorpion’s Tail‘ to ‘3RROR,’ the sound design and intrigue built throughout the tracks is always wonky and mesmerizing, and today we are ecstatic to premiere L’homie;s latest titled ‘Wave Particle’ which only furthers this theme.

The influence of Flume is heard from the get-go, as an experimental future bass aura is created with granular synths and crisp percussion. Timely pauses in the drop add to this experimental feel without escaping L’homie’s bass-driven sound. Although the soothing introduction and interlude clash with the vibrance of the two drops, the flow from start to finish is a testament to L’homie’s constant evolution as a producer. Don’t miss ‘Wave Particle’ below, out now as a joint release through Bonsai Collective and Phuture Collective.

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Congruously so, the collective have provided a lavish foundation for the debut EP from United Kingdom’s BON-PSY, a maestro at crafting thought-provoking minimalist soundscapes wrought with captivating melodies and an insatiable tranquil temperament.

Niya demonstrates the prodigious UK-native firing on all creative cylinders, unleashing an ambient four-track narrative, which further enumerates his creative composure. The EP composes riveting spatial appeal, utilizing effervescent synths, heavenly chords, and gripping percussion for a seamless listening experience from start to finish.

It was an immense pleasure to catch up with BON-PSY to learn more about the importance of constructive criticism, the role mixing and mastering plays within his creative process, and to learn what Niya might look like as the plot for a modern film feature.

Check out the interview and full EP below!

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In what ways has living in the United Kingdom left an impact on your style as a producer or your path as a musician?

I don’t think it’s influenced me that much honestly, we live in a world of streaming where we have access to tracks from all corners of the globe and I think I take influence from a lot more music outside of the UK. However I do live in the countryside, and I’ve definitely found myself outside with a mic recording sheep and bird sounds on multiple occasions, haha. ;)

How does your creative approach differ when putting together a full EP as opposed to a single track?

When I’m working on an EP I usually try and find a certain sound or vibe that I can build off of and take in multiple directions with different songs. After I’ve got a solid group of tracks I’ll then be focusing on how they transition between each other. I always prefer to create EP’s that flow nicely, I think they are much more interesting to listen to when they’re a coherent package as opposed to a few random tunes chucked together. When I’m working on single tracks I tend to experiment more with different styles and see how I can incorporate them into my own. Generally when I’m making singles as well, I’m trying to make something that’s going to grab people’s attention.

What did the process of selecting the album art for the project look like?

Before this EP I used to create all my own artwork, but I wanted to get something unique for this project so I reached out to Sean Sinclair for some help (@seanwsinclair). He produced some amazing art for the project but in the end we went with the cover provided by BONSAI, to keep within the style of the label.

How do you feel about the importance of having a second opinion or another pair of ears to put the finishing touches on a track?

If you’re mixing and mastering your own tunes like I am then it’s really a necessity, it’s difficult to correctly judge a piece of music when you’ve been working on it consistently for a long time, and having someone else listen to a track can bring up some things you may have not considered or even noticed. In terms of musical ideas though I think critique in this area is a little bit more subjective, not everyone is going to enjoy your track, that doesn’t mean it’s bad by any means, it just might not be to their taste. In this case I would always recommend getting advice from someone who has an interest in the styles you produce in, that way whatever you’re trying to convey in your song is more likely to come across and be appreciated. I think it’s also important to trust your judgement and skills as a producer, taking others words as gospel can sometimes lead you down an endless path of changes.

What role does mixing or mastering play in your creative process?

For me, both are super important, mixing was something that I was always trying to develop further since I started producing. But a few years ago I made the decision that I wanted to be able to produce music completely independently, leading me down the path of mastering. At first it felt like more of a chore, but as time went on I’ve become more and more interested in the topic and now both mixing and mastering are enjoyable and integral parts of how I create a finished track. I still find it really interesting how different these two portions of the production process are despite their similarities, and both can be explored much further into detail if you wanted to. Both are as technical as they are artistic which I thoroughly enjoy.

If you had to compare the thematic approach and overall plot of Niya to a modern film, which might you select and why?

I’ve been thinking about this question for a while haha, I think Interstellar would be a good pick. Though definitely not as long, Niya has a dark, ominous vibe that I think is applicable to the thoughts and feelings of the main characters as they venture off into the unknown territories of space (and possibly their demise). There are moments of excitement, tension and surprise that are littered throughout both the film and the EP, but also brief portions of clarity and beauty that can be seen in some of the shots in the fifth dimension, as well as in the changing relationship between Cooper and his daughter Murph. The film concludes emotionally, but on a positive note, and I think Niya does so in a similar way.

What other things do you have in store to round off the remainder of 2019?

I’ve got another single coming out at the end of June with Kumo Collective, and I’m working on a few collaborations and remixes that will be released shortly after. I’m trying to balance music with work and a master’s degree at the moment so it’s all a bit hectic, but I’m looking to get a consistent release schedule going as soon as the masters work starts to die down which I’m super excited for. I’m also putting together a live show so ideally by the end of the year I will have a few gigs under my belt. I’m glad to finally get some releases out this year, and want to say thank you to everyone at BONSAI and anyone who has supported my music so far, looking forward to the future! :D

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