Shortly after the release, we had the extreme pleasure of catching up with Chee to chat about the project, his recent shows, his relationship with Jon Casey, and more. We have also been blessed with an enthralling mix of largely-Chee originals which, in his words, may never see the light of day. An exclusive mix and a detailed interview – there is no better pairing. Dive in below.

Welcome, Chee! Been wanting to connect with you for a long time and super stoked to finally make that happen. First, tell us about the mix. Is this mix a “typical Chee live set” (if that even exists) or is this more of a unique selection of tracks?

A bit of both. It’s a 50/50 split, released and unreleased music from myself & collaborations with friends. Most of which might never see the light of day so I figured I’d throw ’em on it so they exist on the internet.. oh and some cheeky It Hz material.

On the note of a Chee live set, you recently went b2b with the legend Coki. I can’t imagine that being like any show you’ve ever played. What was your relationship with Coki prior to that night and how has it changed since?

I’m still in awe that we did that… in a f$@! cave. We both did a co-headline show in downtown Los Angeles not long after I had moved and briefly kicked it. The idea for the b2b was brought to my attention by Jay Rogovin (co-founder of Kompass) at which I wasted no time saying “RUN IT” and the rest is history. Have so much love for Coki, hopefully we can run it up on a track soon.

I think this is one of the few bodies of work I’ve done that make sense together.

Selfish question, but what would it take to get you to play in Toronto? Still dying to see you live.

I would LOVE to play in Toronto. Hit up ya local promoters and let’s make it happen!

Congrats on your latest Polarities EP, every tune is incredible and really ties the project together. How did the project come to fruition? Was it a collection of individual tunes that were picked for the EP or was each track created to fit within the confines of the EP from the start?

These songs are all derived from an album I had written during lockdown in 2020 which was roughly 13 tracks that ended up getting scrapped as a whole project. I guess they work together because they were already part of something before so there is a theme with it all. Apart from Eddy Morphine, I think this is one of the few bodies of work I’ve done that… make sense together.

Is there a specific meaning behind the name of the project?

Yeah, partially personal but sonically I feel the EP visits both corners of the kind of music I write. Even though they are bangers, the melodic & atmospheric elements that creep in from time to time helps it not be one-sided. I would’ve liked to have some even chiller songs in here but as a body of work it wouldn’t have made sense. There’s definitely an inner conflict I’ve been dealing with creatively on whether I should punish the mix and destroy everything or let things breathe and have emotion. So it’s a creative compromise on both ends.

I really enjoy when artists incorporate/pay homage to their earlier work with a new twist.

I can’t help but notice some elements from Read Once Then Destroy throughout the project, and specifically in ‘Spangled.’ Did you purposefully include some of your earlier influences in Polarities?

Good ear! ROTD was personally my favourite body of work I made before this. I really enjoy when artists incorporate/pay homage to their earlier work with a new twist. A head nod of appreciation for how they got here. In some ways it’s a blend of ROTD and Paralysis Analysis but.. bedazzled with ear candy.

As a long-time supporter of your works, it has been a pleasure watching you evolve from an underground talent into a household favourite. What have been some key moments in your journey that you think are critical to where you are now?

The internet (lol). I’m not even trying to sound sarcastic but the thought of putting my beats out on SoundCloud for strangers to listen, enjoy and share enough that it has brought me the opportunities I have had the pleasure of experiencing (traveling the world, collaborating with my favorite artists and playing large scale events) baffles the hell out of me. On the creative side, not much has changed. I switch up my flow almost entirely nearly every year because I get bored really quickly. Hence why I also do art. I’ve now been getting into the modular world and building my own plugins which has been fun.. would love to learn 3D animation/sculpting and possibly TouchDesigner in the near future… idk. So many avenues :oooo

Absolutely adore everything you do with Jon Casey and the It Hz project as well. Can you talk a bit about your relationship with Jon and how you’ve supported each other since moving from South Africa?

Jon and I have known each other now for over 13 years and I would say he is my closest friend and now collaborator. I mean, we found electronic music together in high school (2010) after writing an exam and from that minute we were hooked. The It Hz project was birthed around late 2015 – early 2016 and we released our first EP for free during Christmas week. Our rollout was chaotic because we had announced a date… without any music. And so the days leading up to us putting up (on Dropbox for free) we started and finished each song the day before uploading on SoundCloud and somehow got 4 out of 6 tracks featured on Noisia radio?? Pretty nutty. Fast forward to 2022, we start getting offers for shows out of nowhere which prompted us to go “damn… I guess we running this up” hahaha. Also, I don’t know if people can see but we tag each other in a fair amount of unhinged memes.

You’ve played a few shows together in recent months. I know you’ve both just released individual projects, but any joint releases planned?

We are definitely sitting on a lot of new material that have been laced in our individual and joint sets. Things are coming, new music is definitely on the horizon ;)

Any last words for the audience?

Halloumi cheese has a high melting point of 140 degrees Fahrenheit… also go peep new EP titled Polarities on Deadbeats <3

Tracklist:

ID
Chee – The Wisp Song
Chee x Black Carl! – ID
Chee x Moore Kismet – ID
Chee – Spangled
Chee – Once
ID
Chee – Destroy
ID
Flowdan – Welcome To London (Chee Bootleg)
Chee x Fly – ID
ID
Beaver Fever x It Hz – ID
It Hz – ID
Chee – Vultures (It Hz edit)
ID
ID
It Hz – ID
Chee – Act Like You Know
Chee – Rusty Nickels
ID

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Following the release of ‘Spangled,’ ‘Act Like You Know’ and ‘Rusty Nickels,’ Chee returns to Deadbeats today to unveil his third full project on the imprint, namely the Polarities EP. Comprised of two new cuts, the Polarities EP continues to showcase the artist’s undeniable ability to break down barriers of expectations in bass music. ‘The Wisp Song’ opens the collection of tunes with an ominously futuristic introduction that spans well over a minute, changing directions midway through before a minimal bass drop riddled with hypnotizing frequencies hits hard. The three aforementioned tracks follow, where Chee showcases a mix of his mastery of halftime, future garage, dubstep and more. Finally, ‘Hold It’ closes the Polarities EP with a grit only Chee can concoct as he flawlessly adds his bass flair to a gnarly hip-hip-influenced beat.

It’s hard to pick a favourite from the project as each song offers a distinct listening experience. Dive into Chee’s Polarities EP below.

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Following the release of the hypnotizing concoction that is ‘Spangled‘ in early October, the artist returned to Deadbeats last week with ‘Act Like You Know.’ Unsurprisingly, the cut is a quintessential Chee brute that is relentlessly unapologetic in its approach. Accompanying the track is the news that a third Chee x Deadbeats project is due out in February 2023, and if the first two singles are any indication, we can be sure to witness continued inventiveness.

If you haven’t been following along, we’ve recently revived our Floor Fillers series to allow fans to get different insight into the artists they love. For those who can’t catch a live set, or those who have caught one and just want to relive those moments, we’ve asked some of our favourite artists for five tracks that they love to spin in their sets. For this edition, we’re stoked to have Chee, a FUXWITHIT and personal favourite, share a handful of tunes that he can not do without. Check them out below.

Shades – Exultia

Don’t even know where to start with this. First time I heard this track was Lightning In A Bottle 2019 and I vividly remember my jaw dropping at the weight of the bass and simplicity of the structure. Shades (and both Eprom & Alix Perez separately) have mastered the art form of “less is more.” You can hear everything and every sound counts.

Noisia – My World (Jon Casey Remix)

The wild part about this track is that I was with Jon when he was working on certain sections of this. The pocket and off-kilter groove of this entire song still has me speechless and has been stuck in my sets for a decent amount of time. Be on the lookout for Jon Casey, this man is up to something.

Mr. Carmack – Faults

This track is one of the reasons ‘Act Like You Know’ exists. It may have been my first introduction to the 120 BPM trap, and the melody has been an earworm for me for years. Carmack has marked his territory in the trap game since the early SoundCloud days and is the perfect example of “f* around and find out” in the studio.

Jimmy Edgar – BENT (feat. Hudson Mohawke)

This is another track that helped birth ‘Act Like You Know’. During the pandemic I discovered Jimmy Edgar and instantly questioned everything I knew about production. The OG project file was called (bent_type_beat) due to the fact that I used this as reference and no matter how many times I’ve heard it, it never gets old. Jimmy Edgar is light years ahead when it comes to physical modeling synthesis and I still have yet to wrap my head around how on earth he comes up with everything he makes.

Sleepnet – First Light

Sleepnet has easily become one of my most listened to artists this past year and it might be because it’s one of the members of Noisia. The title track has rewired the way I’ve approached sound design and I can’t recommend the entire EP enough because it may still be my favourite piece of music that has come out within the past year.

The post Floor Fillers: Five Picks From Chee appeared first on FUXWITHIT.

This week, we saw many tweets from people in the industry about how ‘Spangled’ is a new Chee favourite. It takes only one listen to be in general agreement with this. ‘Spangled’ is the amalgamation of quintessential Chee and tireless ingenuity. In a single track, you get hints of the Read Once Then Destroy EP, moody undertones of bass, mechanical attention to detail and so much more. The first half of the song is eerily sinister, with the artist slowly building towards a drop that isn’t overly aggressive, but that engulfs listeners into a bass hypnosis. We’re intentionally very selective about comparing artists, but the Protial-sounding addition after the 1:20 mark is an incredible switch that adds flair and energy to the piece.

Taking his time to switch the tone of the track, Chee uses an extended bridge to lure you into the second half of ‘Spangled,’ where his creativeness only continues to shine. Employing some of the garage influence found in his earlier works, Chee concocts a somber section sure to induce goosebumps down to your core. Meticulously put together, ‘Spangled’ is Chee at his finest. Don’t miss it below.

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Perhaps one of the only good things about the ongoing pandemic is the continuous delaying of the inevitable dismantling of Noisia. Meant to come to a close in 2020, Noisia have been keeping their last flame alive throughout the pandemic with releases such as ‘Supersonic (My Existence)‘ and through shows that have repeatedly been postponed. As the flame slowly starts to dwindle to mere nothingness, a new flicker of light has arrived in the form of unexpected remixes for a handful of Noisia tracks from a slew of incredible artists. Titled The Resonance I, the project sees nine talented artists offer their rendition of eight quintessential Noisia tracks from classic projects such as Split The Atom (Special Edition), Purpose, and more.

Honestly, Noisia could not have selected a better ensemble of artists to do their works justice. Malux kicks things off with a euphoric remix of ‘Could This Be,’ keeping this high-octane intensity of the original while adding his own distinct touch. IMANU comes next with a wicked take on ‘Incessant,’ demonstrating the artist’s keen attention to detail and mechanical precision with sound. Beefing up the middle of the remix pack are Levela with his take on ‘Stamp Out,’ The Caracal Project and Grey Code with their snappy flip of ‘Tommy’s Theme,’ Skylark with another heater sure to set dance floors ablaze, and Buunshin with an industrial-like manipulation of ‘Purpose.’ While the album leans heavily into drum and bass, Chee offers his unique halftime touch to ‘Reptilians’ with grueling sound design and pounding percussion. Finally, Posij lends an uplifting, club-ready hand to ‘Lekker,’ a piece released through one of Noisia’s aliases, Hustle Athletics.

And, if these remixes aren’t enough to brighten your week, the album title suggests there’s more to come. Don’t miss The Resonance I below.

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Aptly titled after the creative minds behind the beat, ‘Trailblazer’ is a flawless combination of both artists’ sounds, demonstrating their ceaseless forward-thinking beat-making abilities. Chee’s sinister soundscapes paired with Tsuruda’s crisp flow provide an eerie introduction to the piece, with effects and textures quintessential to both interwoven for the duration the track. Stabs of menacing bass contrast the meticulous vocal sampling, giving ‘Trailblazer’ an intriguing hip hop appeal without removing the undeniable banger energy sprinkled throughout. The chemistry between Chee and Tsuruda is truly unmatched.

Chee states that ‘Trailblazer’ is “the first track from Tsuruda & I as we head on the road for our Trailblazer tour,” and the fact that he explicitly states first has us antsy for the potential of more this madness. Don’t miss ‘Trailblazer’ below.

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Kicking off the project comes Acrillics’ ‘What Do You Want.’ It’s no secret we’ve been longtime fans and supporters and it’s always great to see the duo making big moves. Serving as a perfect introduction, it starts as a slow burner with emotive undertones before unveiling a bass-leaning trap nature. Blending feels with aggressive and powerful energy makes this a can’t miss.

Chromonicci has become renowned for his diversity, from future beat finesse to lofi chill tunes and trap slaps, he can do it all. With ‘Singularity’ he finds a perfect fusion of off-kilter future beats and the chest-pounding energy of raw trap. It’s smooth yet, banging. Experimental but approachable and dare I say… smooth. In short, it’s spectacular.

The stash of unreleased heat that Dabow is sitting on right now is absolutely insane. Any time we get one of his highly sought-after IDs for release we relish it. ‘Poder’ has been a staple in Dabow sets and mixes so it’s great to finally get the proper release. From the bent vocal loops, to ice-cold keys and the blistering brass, this is trap music at its best. People really need to stop sleeping on Dabow’s greatness.

Possibly the biggest surprise on the tape is Giraffage’s’ ‘idgaf.’ Based around the vocal “I don’t give a fuck,” this is a blistering banger here to set speakers ablaze. Booming bass, precise vocals chops, and an almost absurd party vibe make it undeniably infectious. It’s the type of banger you could see getting spun out in trap or bass house sets or serving as the perfect bridge between the genres in a setlist. I didn’t know Giraffage went this hard.

Other mid-to-late tape standouts include Great Dane’s ‘aya hua’ which fuses tribal and spiritual energy with some serious bump, LYNY’s bossed-up anthem ‘Stumble,’ and RamonPang’s beastly ‘Santoor Unkown.’

Last but not least I have to highlight Rome In Silver’s ‘Little Demons.’ I’ve been waiting for this one to drop since I included it as an ID in my Electric Hawk Takover Mix in early 2020. Electric basslines, swooning vocals, crisp claps and a forward-thinking soundscape are expertly intertwined. The drops are funky and inviting while remaining mean. It exemplifies the exceptional balance that Rome In Silver has managed to master.

BOOST TAPE 02 is everything you wanted and more. Stream the full project below and be sure to grab it on Bandcamp.

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Slated to release his second project on Deadbeats on February 26th, Chee returns today with the third single from the upcoming Paralysis Analysis with a single titled ‘Turn Up’ that fits nicely within his niche catalog of slower jams, while still packing a mean punch. ‘Turn Up’ uses quirky effects to lure in listeners before a menacing sub bass and snappy percussion build the energy. Typical Chee vocal sampling and rugged synths pave the way to the second half of the piece, creating a haunting aura that instills fear and discomfort without ever losing your interest. Chee refuses to follow the typical bass tune structure in ‘Turn Up,’ meshing highs and lows of intensity at unusual yet strangely welcome moments throughout the track.

Who needs mainstage appeal when festivals are on hold, anyways? ‘Turn Up’ will hit your fix with mean, quintessential Chee sounds in a truly mesmerizing fashion. Don’t miss it below.

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With all eyes squarely resting on this youthful speaker conductor going into 2020, what better way to help grow the scene and his own personal brand than starting recruitment into the ranks of his very own record label in the form of Cyclops Recordings, a welcoming home for a diverse array of heavy, experimental, and all-around spicy productions. Bringing fans three distinct slices of genre pie, listeners have been gifted their debut Boot Camp compilation album featuring 19 high-octane sonic thrill rides split into High Knees Headquarters, Psychedelic Division, and Heavy Artillery. From this, I’m extremely proud to announce that we’ve had the great pleasure of premiering ‘Point Breeze’, his collaboration with the South African bass alchemist Chee, and we had the great opportunity to chat with Chee about his time in the U.S., what it was like working and living with Subtronics, what he has coming up next, and much more. Check out the premiere and full interview for yourself below!

Named after the Philadelphia street that Subtronics and Chee used to live together on, ‘Point Breeze’ is an ode to these two mad audio scientists’ simultaneously collective and separate expeditions. Opening up a portal directly into an alternate universe centered around all-consuming confusion, ‘Point Breeze’ is a veritable hypnotist’s metronome for all who become ensnared in its clutches. With an initial drop featuring thick, full-bodied basslines and so much crunch potato chip companies could learn a thing or two, fans will be left devastated, neurotransmitters flooding their consciousnesses like a broken fire hydrant on a summer’s day. Delectable speaker purrs combine with rich melodies and supremely clean sound design to create an end product that’s a true treat on the ears and a showcase of just how far music itself has advanced in such a short time. A pristine blend of Chee’s overwhelming halftime grit and Subtronics’s grin-inducing wobbliness, this piece will surely be adored by a wide range of music fans, from the rabid headbangers to the crystal-wielding aficionados. Check out the progressive music masterclass that is ‘Point Breeze’ for yourself below, and check out our full interview with Chee as well!

You used to live in South Africa, but you moved to the United States a few years ago! What was the move like, and what’s the transition been like since?

At first, it was very overwhelming. However, it has brought many amazing people and experiences into my life. 

Your newest release ‘Point Breeze’ is the name of the neighborhood you used to live in with Subtronics in Philadelphia! Can you tell us what your time was like there, and how you represented that in the track?

Philadelphia has become my home. It is raw in and of itself. It has inspired me to be myself and reminds me of South Africa in many ways. This track highlights the life we lived together in Philly. Working with Jesse seems seamless as we both have very motivated personalities and grungy sounds. 

What went into making the track with Subtronics? And what’s the creative process like when you two work together?

Jesse and I didn’t usually plan on working together, it was way more natural. We would hop into each other’s rooms for inspiration and end up creating some insane music together. Collaborating requires a genuine vibe and our energy works very well. There isn’t much of a process, there is more of a flow that the collaborators fall into. 

You’re also part of It Hz with fellow South African Jon Casey! Can you tell us how you guys met, and if you have any upcoming plans for the project?

Jon Casey and I became friends in eighth grade at a dance and the minute we met we knew we would get along fantastically. We have music in the works but I really can’t say more than that right now ;)

You’ve said that you were really into hip-hop before you got into electronic music. Is that still what you listen to now in your free time?

All-day, every day! I also grew up listening to metal, disco, and movie soundtracks. I honestly gravitate towards music without lyrics.

What have been some of your favorite things about the country since you moved here?

The first thing that popped into my mind when reading this question was that people are very free to be expressive and creative. That is very inspiring to me. The opportunities presented to me have been the most fulfilling experiences. Also, fast internet and hamburgers. 

How was your 2020 personally? Were you able to capitalize on the extended free time due to a severe lack of events, or did you have trouble finding inspiration during a time where that was rare for so many artists?

2020 was not an easy trek. It is hard to find inspiration when you cannot leave your house, and there is only so much “frustrated” music one can make. We are social creatures, and being deprived of connection is not something to look past. However, not playing shows has opened up the idea of making music for its own sake and not for the dance floor. 

When you’ve hit a creative roadblock, what are some things you do to innovate once again?

Sketching has helped me through many experiences. It is something I started before I created music. Stepping out of the studio and onto the sketchbook helps me recalibrate my inspirations and motivations in that moment. 

Recently Tsuruda hinted at the existence of a collaboration between you two, and you played an unreleased collab with Gentlemen’s Club during the Shambhala Live stream, do you think that these might ever see the light of day?

I have no idea what you’re talking about! ;)

What are your biggest goals for 2021?

My biggest goals for the year ahead of me are to be more confident in myself and my work, to take more risks, and to not take any day for granted. I have a vision I cannot put into words, but hopefully I will be able to express that to you guys soon :)

What’s next on the horizon for you?

New music, a new EP coming out on Deadbeats in 2021, and the things that have been my saving graces are the music and art projects that I have in the works right now.

The post PREMIERE: Subtronics & Chee Co-Teach Masterclass In Bass With ‘Point Breeze’ [Interview] appeared first on FUXWITHIT.

A true catch for all that click play, ‘Pikachu’ has as much swing as a revolving door, endlessly continuing the cycle. Mashing together Chee’s dark soundscapes with Jon Casey’s arrangements creates this saucy sonic delicacy that is surely palatable for even the most picky of eaters. For lovers of only the most high-fidelity drums, this is an all-you-can-eat buffet, the beat keeping your hips shifting delightfully from side to side. If you weren’t aware of the mastery of these two artists beforehand, this would assuredly be one hell of an eye-opener. Check out ‘Pikachu’ for yourself below!

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