Kicking off with the newest single by barnacle boi, ‘KNOW Ü’, our Wave Monthly playlist offers the usual dive into the best in wave, hardwave, phonk, and everything in between.  We have a gritty edit of ‘Baby again..’ by hyperforms and more flips and remixes from obey, haydys, deadcrow, and MYSTYK.  For the more soft-hearted, there are plenty of vocal and instrumental ballads such as niburu’s ‘TOGETHER’ , etsu’s ‘Continuum’ or TYLER BREAKS’ ‘angel’. For the lovers of hardwave or stumping phonk-inspired beats, KTrek, KYLLER, kim & limedisx, FATE, Bafu, SBU & MRKRYL and DRIVERAVE got you covered. There’s even space for a couple of liquid drum&bass and jungle crossovers to cap off the playlist.  For the first time since the beginning of the year there’s no Juche music, but only because his two new tracks weren’t uploaded on SoundCloud. You can check them on Spotify.

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Talking instead of releases, April will go down as the month that saw the release of one of the best compilation albums of the year. Curated and released by Interval Audio, hands down the best compilation-dealer in the game, Neo Subculture 3 is a 33-track masterclass in Wave, Hardwave, Trance, and Neo Trance. With 46 artists involved, it is a comprehensive testament to the power of this artistic community that never stops opening their hearts and minds to the unknown to redefine the boundaries of these genres. Due to the relevance of this album, I decided to reserve five spots on this month’s playlist for extracts from Neo Subculture 3. You’ll find them mixed among singles from familiar faces as tearsofmine, enjoii, KTrek (via vibe.digital), Klasey Jones, Pholo, SBU, but also newer names like nibiru’, FQYL, kub0, Michiya Mirai, anølemma and many more. In case you’re wondering, yes, there’s a Juche release this month as well.

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But this exclusive premiere is especially dedicated to you who still have no idea what you are messing with. You’re about to face a blizzard of angry and raucous synths, a storm of pounding low frequencies, an untamable tsunami of industrial vibes.  To give you something more practical than just flamboyant terms, think about an RL Grime’s trap classic but on steroids. And very, very angry.  It wasn’t a surprise by any means when I read that Remnant.exe and Deadcrow pulled influence from Mick Gordon’s Doom Eternal OST. ‘Reign’ is ostensibly permeated by the brutal and savage nature of the iconic game, magistrally reinterpreted in a rave aesthetic. Two producers have decided to go all out, cutting out everything that wasn’t functional for creating carnage on the dancefloor. As a matter of fact, the breakdown here fulfills a mere filler role, probably because someone pointed out to Deadcrow and Remnant.exe. that two consecutive minutes of drops (with even a change of tempo) would perhaps have been a bit too much.

‘Reign’ is out tomorrow on all streaming platforms via Dektora, but you can have an early listen exclusively here on FUXWITHIT. Don’t forget to support the release by pre-saving the track and by spreading the word.

[youtube https://www.youtube.com/watch?v=qn-qMLeJFus]

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In the tracklist, drum&bass is predominant, but among the 136 tracks there is a varied representation of the wide spectrum of bass music (there’s even a touch of wave courtesy of Deadcrow). There is no shortage of well-known FUXWITHIT favorites such as Noisia, Dj Ride, Rohaan, gyrofield, IMANU, yunis, and some personal favorites of the undersigned like Balatron, latesleeper, Monrroe, Bop, and basically all the Hospital Record affiliated artists.

Sadly, this time the music is not the focus of the discussion, but only a means to convey a much more important message in support of Ukraine. For this reason, we leave room for those who are experiencing the situation and experiencing its effects firsthand. Below you can find the official statement published by the organizers.

With every day that passes, the high-scale humanitarian crisis and assault on the people of Ukraine continues to worsen. Civilian deaths are increasing on a daily basis across the country with no sign of stopping, with millions of citizens already forced out of their homes in search of refuge. As we wake up to yet another day of war, hundreds more innocent lives have been lost and destroyed overnight. We cannot leave this unchecked, and we need to act on this now without hesitation. Now more than ever is a time for unity, solidarity and support of a nation under attack. It’s crucial for us to use our voice to create widespread and sustained awareness of the situation on the ground in Ukraine, and to give support in every way possible. Whether it’s signing petitions, attending demonstrations, sharing facts on social media, offering help for refugees, or more – this situation cannot be allowed to continue, and engaging in support of any kind for the people of Ukraine is our absolute priority.

You can listen and purchase Together With Ukrain on Bandcamp here (the donations received so far amount to over £54,000).  Alongside the exclusive tracks, there’re also over 30 pieces of bespoke visual art, with art direction by Uno.

[bandcamp width=700 height=472 album=1404310312 size=large bgcol=ffffff linkcol=0687f5 artwork=small]

The post Over 100 D&B And Bass Artists Have Joined Forces On ‘Together With Ukraine’ Compilation appeared first on FUXWITHIT.

Sable Valley Summer Vol. 2 is a highly impressive and sophisticated crafted body of work. Each track holding their own spirit and vision for this movement. And what better way to increase the journey than by gathering some of the most unique musicians within the scene to participate. Veterans such as RL Grime & Montell2099, Cozway, Rossy, capshun, and others have returned to leave yet another mark of madness on their diverse audience. But we also notice brand new faces! Heavy up and comers CAB, Rohaan, Lizdek and much more have also been chosen to take on the challenge and help build a better tomorrow for the label and their own visions! So strap in those seatbelts, because if you thought you weren’t ready for the first installment, you have another thing coming with this nuclear explosion for evolution.

Sable Valley Summer Vol. 2 contains some of the most forward-driven art you’ll ever experience within this industry. Bringing out every artist’s special and highly charismatic characteristics to the max and beyond. From futuristic atmospheres, mind-bending sound design, and more, each piece is an unforgettable journey. Purely crafted from angel tears and cybernetic upgrades. The artists put in their all to help create yet another perfect album of gems. You’ll have your heart dropped while still trying to take everything in. But that’s what the replay button is for!

After this, you’ll go back over and over again to catch every little detail missed because there is a ton and then some. Bravo to the artists and of course Sable Valley who made all of this possible. We’re stoked to hear what’s next in this never-ending journey. So make sure to go support everyone by streaming Sable Valley Summer Vol. 2  everywhere!

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Providing a tale of two very unique, distinct paths, ‘Arrival’ provides you with one hell of a journey from start to finish. Just as how in life we’re afforded many different options as to what we want to do and how we want to portray ourselves, this piece allows you to peer into a magnifying glass through time and space, seeing all your different realities play out in real-time. The healing, confidence-invigorating vibrations of the first whimsical wave drop imbue listeners with the power to become the hero they needed when they were a child, a champion they can truly be proud of. The latter hardstyle drop is much darker, flush with evil, chaos-centered undertones that create an impactful, multi-faceted listening experience. Many producers struggle to fully capture and flesh out even a single feeling in a piece, but Deadcrow has managed to perfectly exemplify two in a mere 3 minutes and 21 seconds. If this isn’t a sure sign of a true master at their craft, we’re not sure what is. Check out ‘Arrival’ for yourself below!

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His latest release came in the form of a 2-track EP out on RL Grime‘s Sable Valley imprint, received with raucous applause. Showing nothing but consistency throughout his career, his tracks like ‘M.I.N.D.‘, ‘program_Failure,’ and ‘Viper,’ along with his mix for Annie Nightingale on BBC Radio One from several years ago, still all gracefully stand the test of time with unshakeable durability. With his meteoric rise especially in the last 18 months, we felt it would be more than appropriate to tap him for the 150th installment of our guest mix + interview series. In true Deadcrow fashion, he came more than correct, bringing our listeners a monstrous 30-minute guest mix that starts off bassy and gets progressively heavier the further you go down the rabbit hole. Check out the guest mix and full interview for yourself below, we guarantee you won’t be disappointed.

You’re from Holland! Can you give us a little insight into the electronic music scene there and how it’s helped shape you into the person and producer you are today?

Well, the first thing that comes to mind is definitely how big hard dance is over here. Getting into that when I was like 10 ultimately lead me into finding out about other electronic music just through browsing YouTube, as well as wanting to write my own. And aside from that, we have a pretty big drum & bass scene, but house & techno sorta reign supreme when it comes to electronic dance music. We used to have kind of a trap/beats/bass music scene but that was before it all become really huge in the States, so around 2012, back then line ups with people like Eprom and Rustie were pretty common here and that was a really cool time. That period also inspired me to start the Deadcrow project.

Before you became Deadcrow, you produced under the moniker “Black Civic.” Can you tell us how you got started with that alias, and what made you make the transition into your current Deadcrow project?

Black Civic actually wasn’t before Deadcrow! It was kind of a one-off phonk side project I did while Deadcrow already existed. I’ve had a few other aliases before Deadcrow though, but I’m gonna leave it to the people reading to find out what those were. Those were mostly dubstep and drum & bass, and then when trap came around in 2012-ish is when I started Deadcrow, which was originally supposed to be a side project too but became my main project very quickly. I wanted it to be a trap/witch house type thing when I started it, but since I realized I wanted to keep this name I try to do everything as Deadcrow.

With so many different outlets to gain inspiration from nowadays, whether it be from sounds you hear throughout daily life, various media, or throughout the long expanse of music progression, where do you find yourself currently drawing inspiration from?

Nowadays I often get inspired by all the old hardstyle I used to listen to, artists like DJ Zany, The Prophet and Technoboy. But I also just get inspired by all the new stuff that comes out weekly, as well as what my friends in the wave scene are making. And of course there’s also the occasional movie or video game that inspires me. It’s definitely hard for me to put a finger on what is a constant inspiration to me because it always changes. And I like it that way, cause it helps me evolve.

Just last week you put out an insane remix for PRXZM’s ‘Adrenaline’ on the NIGHTMODE remix album! How did you so successfully balance keeping the base song intact while adding heaps of originality and style to truly make the remix your own?

Thank you, I really appreciate that! I think I tried achieving that by making the drop completely my own thing, while using as much of the original stems as I could for the intro, so that it quite literally balances each other out. Being able to use the stems as intro elements was also pretty convenient because then I didn’t have to come up with my own hahaha. But yeah, it started with speeding up the vocal to 130 bpm, writing my own melody to it for the drop, and then using the stems as parts for the intro/breakdowns.

You just released a 2-track EP with Sable Valley last month! What went into crafting both ‘Fallout’ and ‘Thera’ individually, and what was it like releasing with such a top-tier label?

‘Fallout’ came about when I tried experimenting with a synthesizer called Razor in NI’s Reaktor plugin. I had read on Voltra’s Twitter that she uses it for a lot of her production, so I figured I’d like to try as well because her stuff is some of the sickest I’ve heard. That’s how I made the main bass sound in it. The track started out kind of as a dj tool, without a real intro, so to make it stand out as an actual song I made a more cinematic intro, and made a switch-up for the second drop. ‘THERA’ happened when I wanted to make something with a hardstyle screech as the main sound, but still keep it melodic. I had also been hearing a lot of music where the bass sound had an extra layer on top playing a 7th or a 5th, which also inspired part of the track. And releasing with them was great! It’s definitely been one of the proudest moments in my “career,” and it has already granted me a lot of cool opportunities. Also, the fact that I’ve been able to release on the label owned by one of the artists that got me into trap music originally is insane to me. And aside from that the people in the team are great and on top of their shit. Would like to also use this space for a special shout-out to Mace, as he has become a good friend throughout my involvement with Sable Valley.

Not too long ago you had the opportunity to perform for Brownies & Lemonade’s Open Aux digital showcase! What was it like working with B+L, and how was the experience overall?

It was sick! I still laugh about how it happened; I had tweeted out that I “wanted to play a BnL event, be it IR or a stream,” and within an hour of tweeting that, I got a DM from them saying they wanted to have me on a stream of theirs soon. That was another one of my proudest moments. The stream itself also was bonkers, the lineup was great and the number of viewers was insane. I’m still aching to perform a set like that for an actual crowd though.

Many people find it difficult to gain perspective throughout their individual journeys, forgetting to take the time to revel in their achievements and be proud of the progress they’ve made. What aids you in taking a step back and properly celebrating your milestones?

Well, whenever something really insanely cool happens, I just give myself the rest of the week off from making music, because I then feel like my work has been worth it, and I’m allowed to take it easy. All though I will also say, I can’t go through a week without making any music, so I often still end up writing a song or coming up with an idea. And sometimes there’s still stuff left I have to do, so I do try to do that as well. I feel like one of the reasons people can find it difficult to be aware of what they have achieved, is because they look at other people’s achievements and it makes them feel small. I used to deal with that a little as well, but I quickly learned that that kind of mindset is pretty counterproductive, and that’s also when I started trying to be more proactive about my music career. The most satisfying thing is putting in the work and reaching the goals you have set for yourself, even if they seem like minor achievements. I think that that way, you can basically have something to celebrate and feel good about every week, as long as you actually make things happen. It’s literally the corniest shit, but hard, unconditional work really does tend to pay off.

I can imagine you’re quite excited about Beatport adding wave as its own genre category on their website! What kind of impact do you think that will have on the genre as a whole?

I think and hope that it will result in other major platforms recognizing it as a genre. The coolest thing would be if we could have some kind of editorial playlist on Spotify and stuff like that. And I think we’re getting closer and closer to it!

In our last interview with you in our Wave in 2021 and Beyond feature, you really drove home the point that you wish people wouldn’t bicker over the minor semantics when it comes to fitting songs into specific genre labels (i.e. wave or hard-wave). Why do you believe it’s important to steer away from those aspects and focus more so on the music itself?

I do think genre labels can be helpful. But in the wave scene, it’s just causing a bit of drama which is unnecessary in my opinion. In that sense, I think people should indeed just keep making music instead of complaining about genre names. But at the same time, it also irks me when people misuse the “hardwave” tag because of its popularity, or when people think hardwave is replacing wave, while they can perfectly coexist. The whole thing is just kind of a whirlwind right now because of the momentum the genre is having at the moment.

If you could curate a one-off show with 3 musical artists of any genre from any time in history, who would it be, what would be the order, and why?

Just 3? That’s tough. I think I’d do Rustie, into Space Laces, into Noisia. All three of those acts have been huge inspirations, maybe even my biggest inspirations. I think listening to Rustie taught me a lot about song structure and not blowing up a song with hundreds of different elements, but rather having fewer elements and having them all be essential to the song. Space Laces to me is kind of what EDM is in a perfect world, aside from just being sound design, mix and master God. Could say that about Noisia as well, but they also have a very intricate cinematic touch in almost anything they do. I also love their experimentation with time signatures. All three of those acts have done things that still ripple out in electronic music and will probably do forever.

You’ve posted quite a few clips from racing games on your Twitter lately! Is that your favorite type of videogame genre to play? And which console do you prefer?

Haha yeah! I’ve been playing racing games my whole life. They’re also a big inspiration to me sonically and visually, especially the older games like Need for Speed: Underground 2. I think PC has become my favorite platform to play on, especially since I just got a new beefy rig. On PC there are just so much more possibilities when it comes to which games to play, how you want to play them, and also modding them. At the moment I’ve been playing a lot of Assetto Corsa with my wheel in which I’ve been practicing drifting, and it’s a lot of fun.

With 2021 seeming to be picking up in a big way lately, do you have any major plans for the rest of the year in terms of releases/shows/or big personal events?

I’m planning some more self-releases with my own artwork and promo assets which is a lot of fun, as well as some cool label releases. There might be some other things in the works too, but I can’t really say much about those at the moment.

You put together the 150th edition of our guest mix series for us today! Can you clue our fans into what they should expect, and how you put it all together?

Oh, sick! Well, I guess something along the lines of expecting the unexpected and a cheeky ID would make sense. I went a bit more all out on the dubstep stuff in this mix which was fun! Huge thanks for having me for this.

Tracklist:
1. Silk Road Assassins – Shaded
2. Sim Fane – Bop Battle Six
3. Hudson Mohawke – Vitalize
4. Youngstar – Bongo (Kahn & Neek Remix)
5. Coki – Ransom
6. Chee – Lid On The Squid
7. Leotrix & Aweminus – Cheque This Out
8. Trampa – Generals (ft. Killa P & Vulgatron)
9. Faldren & Sierra Nova – Nuclear Fusion
10. MYSTXRIVL x SOKOS – HEPTAN
11. Klasey Jones & The Wildcatz – HIgh Octane
12. RamonPang – Santoor Unknown
13. IMANU – Whatever It Takes
14. Gentis – Dubplate
15. Hukae – Crummy
16. Spass – Tropical Bass
17. Leotrix – Endless Pain
18. Nitepunk – Absolute Zero
19. Deadcrow – ID
20. Deadcrow – Arrival
21. Myst – Monster
22. idle – two

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

The Year 1 remix compilation is a breath of fresh air within the spectrum of sound itself. Every piece has a distinct and memorable sense of tone and style. You’ll hear a bunch of brand new arrangements and sound design techniques deep within this musical jungle. From a groovy trap remix of ‘Pour All Night’ by Luca Lush, to a post apocalyptic rebirth of ‘Adrenaline’ by Deadcrow, you won’t even know what’s coming next due to the strength of unique characteristics during each track. You’ll be purely mesmerized by everyone’s take on the gorgeous originals. Creating a boost of inspiration to get you through any day of the week. We highly suggest checking out and supporting all of these incredible game-changers. The originality and atmospheres alone will have your souls re-filled to the top. You’ll be sure to have this package on repeat for a very long time.

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While reading the interview, I highly suggest you listen to Kareful’s History of Wave Mix.

In an interview on The Playground alongside Noah B, Just Connor stated that considering wave a “genre” is a misconception, and that (in his opinion) wave should be considered a mindset and a community. For this reason, I’d like to start with the mother of all questions: what exactly is WAVE? Is it indeed a music genre? A movement? A mindset?

Kareful: This is a very good question. I have thought a lot about this. I think that because in the early days the wave genre was so loose, I would have considered it to be more a name of a musical movement or collection of artists instead of a genre name. The problem we had was that some stuff sounded really ambient and dark and some other stuff sounded really hard and clubby. But now with the hardwave / wave “split” that’s less of a problem and It can be considered just a genre with two very specific camps for producers.

Fyoomz: It’s all of those things and more. It began as a small but diverse community of producers and listeners around the world that has always been welcoming. The feeling of the music is what captivated me, but the inclusivity of the scene is the thing that’s kept me here. There’s a feeling of goodwill and supportiveness in wave which gives weight to the idea that it could be a mindset. This feeling is something I’ve always tried to amplify to the best of my ability, given that this is ultimately a wing of the music industry, and I am running a record label where I often have to make tough decisions about who to release or to book for shows. While major EDM artists giving us plays, bigger show bookings, and official genre recognition on Spotify is a major plus, it is not essential for us to keep moving forward. We don’t need industry recognition to support ourselves, as we’ve been happy to do our thing for the last 5-6 years now, but it is helpful. In that way, I see it as a movement.

Deadcrow: I think it’s both? A genre can’t exist without its own movement, in which a majority of the people have a similar mindset. Personally, I don’t like reading too far into it though, I think wave is definitely a genre, a genre that has become pretty recognizable through time if it wasn’t already.

IMMINENT COLLECTIVE: For us wave is the most significant and remarkable phenomenon in the current music landscape. We witnessed its birth and growth entirely. Right now we’re doing our best to help the genre grow further and become more popular. Yes, I agree that the genre doesn’t have an apparent structure that helps identify it. The gist of it is based on borrowing different elements from other genres. However, this genre is easily distinguishable, since it’s drastically different from those that it borrows features from. It sounds unique and fresh. I also want to say that, actually, wave has one distinct feature – a deep and inexplicable “wave atmosphere.” It’s tangible every track and it’s fantastic. Because of it, you really start to think that it’s a whole singular culture and community that feels the beauty and aesthetics of the genre.

Following the momentum started in 2019, I believe last year can be considered the biggest year for wave in terms of popularity. Would you agree? Have you seen a sensible growth of fans or a shift in the type of followers?

Kareful: I think wave has always been steadily growing. I think it was popular in a different way years ago. It was more popular in the UK and less popular elsewhere. And now we’re seeing wave basically be more popular also everywhere else but less relevant in the UK instead. So it’s a funny one. So I guess it’s sort of like, it’s already had several ups and downs in its history. In 2020 the hardwave stuff started to get a lot more attention on YouTube, which meant a lot more stats. We’ve seen people that really blow up on Spotify and start making an actual career out of this now. So yeah, I would say 2020 was probably one of the most successful year for a lot of the artists. I’ve seen a lot of my friends go from pretty much underground acts with a few thousand followers to make a decent living and that’s amazing!

Fyoomz: 2020 was on course to see exponential growth in wave across the board before COVID-19 hit. The fact that we haven’t been able to play in the clubs and at music festivals definitely stalled some of that momentum. That being said, we still are seeing larger labels and outlets like Trap Nation and Trap City embrace the harder side of the genre. Wave is starting to bleed into the mainstream and get popular. Certainly the growth in Spotify streams, follows, and likes is huge. I don’t know if there is massive growth across the board for everyone, but so far it is heartening.

Deadcrow: The growth this year has been insane. I personally felt like wave was a bit dead in 2018 and a little throughout 2019, which also caused me to go back to other genres that I like. But when I started hearing what guys like Skeler and Juche were making, to me it felt like there was new life being breathed into it. It sounded exciting again, and I think that reflects onto how big the genre has gotten this year. I don’t think there has been a “shift” in followers, there are just a lot of new followers that come from a different musical background. The genre isn’t just sad boy music on SoundCloud, it exists for the big stages now as well. That being said, I love seeing that people are still making the softer, “classic” sound as well as the new, harder stuff.

IMMINENT COLLECTIVE: I’d say that 2020 was more of a breakthrough for hardwave rather than wave itself. Of course, wave is growing each year too, but simply not as fast. The key factors that have contributed to this exponential growth are, in my opinion: the tremendous support of the hardwave audience, the influx of new fans from many different trap and EDM communities, and the participation of huge projects like Trap Nation, Trap City, and Tribal Trap.

A harder version of the genre was bound to happen, at least, I personally always wanted it to happen.
-Deadcrow

A theme that is closely connected with this vigorous growth is the critical debate between the wave and hardwave communities. Why do you think the two are perceived so differently despite having so much in common?

Kareful: I don’t think there’s much of a difference between the wave and the hardwave communities. After all, the two styles have always been tightly linked and many fans and producers live both without problems. One is a bit more likely to be played in the club, the other one is most suitable for a home listening. One is a lot darker and the other is a little bit more commercial, but the blend for me has been pretty smooth. A lot of us have been making the wavy stuff for like four or five years now. I think it’s natural that some of these artists are just evolving. A lot of them have been learning DJing and or have been DJing over the past few years as well. So it just makes sense that they are getting into tracks that can be played in the club, at festivals. I really think there isn’t much of a difference. I think the main beef a lot of producers and fans have with hardwave is just that in the early days of wave, producers sounded so different and people had more unique styles. People were getting popular by doing something different. Now, with the hardwave shift and the more EDM influence the demand has changed and seems like a lot of people are sticking to a certain style to appeal to mainstream curators, which I suppose probably diluted a lot the interesting new productions that would have been thriving if it wasn’t for this. That being said, a lot of the music is still really good. There are plenty of artists doing really cool hardwave stuff that is definitely unique. I guess it just depends how much time you actually put into digging deep into the sounds. As in every single other music genre, on the surface everything can sound a little bit watered down.

Fyoomz: To some degree this is the story of every bass music genre. Dubstep started as a minimal, meditative experience in the UK and migrated to the hardest festival music out there over the course of about a decade. Wave is absolutely in a similar stream of evolution. I don’t want the genre to stay stuck in 2016, but it’s important it not to lose sight of its roots either. Luckily, the biggest artists in wave all make a variety of stuff, and if they are leaning more into “hardwave” these days (to me it’s all wave) they still are putting out the more traditional type tunes as well. For me, variety and change is always something to strive for.

Deadcrow: I wish people didn’t create this divide. Most of us making either wave or hardwave (or both) are still the same people, we’re still from the same community. A harder version of the genre was bound to happen, at least, I personally always wanted it to happen. The discussion to me is pointless, it’s unnecessary and it creates a divide that doesn’t have to be there.

IMMINENT COLLECTIVE: There are many fundamental differences, that’s why it’s no surprise that they’re recognized differently. Hardwave came a long way from the core wave aesthetic. I’d say it’s a more commercial, aggressive, dance-oriented, and futuristic successor of wave. Most of these new fans don’t know the ideas and messages that were at the core of the wave community and then they created their own. I think it’s great! It happens to all the genres. At the beginning, they have a certain kind of community, but years pass and trends shift, communities change and the music changes as well. Once again, hardwave is not going to negatively impact the wave movement. On the contrary, I think it’ll introduce more and more listeners to the original wave sound.

I think it’s a misconception that hardwave is replacing wave.
-Kareful

Do you think that this division has the potential to negatively impact the development of the movement, especially when it will come to live events?

Kareful: No, I don’t think so at all. Actually, if you look at the Arcadia shows that happened in Russia, the lineup was a mix between dark chill and high energy producers. You had acts such as hyperforms, skeler and me who are a bit more hype and then, on the same line-ups, you had artists like vacant, brothel and barnacle boy, which are definitely more downtempo. So I think it’s a misconception that hardwave is replacing wave. When it comes to events, I think it’s good to have lots of different styles together so you can create a roller coaster in the curation of the night. You have those darker producers earlier or later on and you have the more hyper DJs in the middle. I mean, it just makes sense. I think there will always be a place for everyone, right now people are too defensive and just don’t realize this.

Fyoomz: Just the opposite. I predict wave will have a massive influx of fans in the coming years. The bandwagoners will jump on, enjoy their ride with our genre and our sound and then move onto the next thing, leaving just the true fans of wave behind, which is likely when we’ll see some of the most exciting developments of the genre.

Deadcrow: If we all work together it won’t.

IMMINENT COLLECTIVE: Without any doubt live events is where the two feel more distinct. Soon hardwave will be present on all the global music festivals and this will lead it to be more even popular. But again, I believe that wave will benefit greatly from this scenario as it will receive a lot of exposure too.

Talking about live shows, in the past years we’ve already seen highly successful examples of shows, tours and even festivals, but in a post-pandemic world, do you think local scenes will be strong enough to support a more consistent shift from digital to IRL?

Kareful: I’ve no idea, in London and in the UK it seems to be pretty fucked at the moment. To be honest with you, I have no idea when events are going to be running again. And when they are, probably these venues are going to not take any risks. They’re probably just going to play safe and push the genres that they know are going to sell tickets. That is definitely worrying. We had huge issues in London with lots of clubs closing down and stuff even before Covid. I think the pandemic is pretty much the final nail in the coffin for a lot of the clubs in the UK. Luckily we’ve all these new festivals and events all around Europe, Russia and America. Thanks to this worldwide presence, once we’ll be able to travel again I believe that we actually might see the wave live scene growing after all.

Fyoomz: Wave will suffer the same fate as any genre in the clubs and festivals. If society reopens, wave will continue to grow and we’ll start in where we left off.

Deadcrow: I don’t think it’ll just bounce back to normal right away. A lot of venues are closing, and people won’t have budgets to throw shows like they had before. Local/underground shows will happen again, but I wouldn’t count on it happening too soon.

IMMINENT COLLECTIVE: I think we’re going to be fine. People are waiting and eager for large live events after the lockdown, and event organizers know that. Besides, I think that everyone had a decent break during this time, and made enough money to come back. I’m already planning the upcoming ARCADIA II festival without any fears.

no outside outlet or big artist will determine the fate of our genre. We will do that ourselves.
-Fyoomz

As said before, in the past couple of years the awareness around Wave has grown exponentially and in 2020 we’ve seen some absolute giants in the bass music curation and publishing game, Trap Nation and Tribal Trap for example, jumping on the train and releasing full compilations other than just supporting tracks on their channels. How are you feeling about these mainstream players joining the party and especially about the way they did it?

Kareful: It’s just a natural progression. We always knew the YouTube channels would eventually start getting involved. They actually have already been supporting us for a while. In the beginning it was with random uploads here and there on Bass Nation or Trap Nations for example, but they wouldn’t really know what we were doing. Seeing them jumping in the scene today is totally fine. Some of them have been pretty respectful, others not so much, but I think it’s positive and I’ve not had any personal bad experiences with any of these. I won’t name anyone but, of course there’s going to be problems and there’s going to be people like spreading rumors or talking shit on Twitter about certain things. I saw that some producers were pretty upset and saying that when Trap Nation jumped in, the scene died. That’s not true. It’s probably the exact opposite. They definitely injected a whole load of new fans into the scene, which I think is super important. The main problem,I think, it’s that they are interested in just the hardwave sound and not as much on the wave style. A lot of people are probably upset because their preferred style of wave isn’t getting as much attention. Obviously, when style gets more attention, it’s gonna make producers that are making different ones want to start making that in order to not be left behind. So therefore you’re definitely going to have a shift in popularity in the scene. But as we’ve learned from history, popularity moves in cycles. Hyper sounds will reach a peak and then people will tend to “be bored” and will look for the softer and darker styles. It’s just natural. I think people probably just have to accept that and move on overall.

Fyoomz: I appreciate their interest… their input and promotion are welcome. They have largely been professional, and have conducted themselves cordially behind the scenes with me and everyone I know. As with any legitimate listener, artist, or organization who behaves themselves, I will welcome them with open arms in the spirit of wave. So far I’ve personally been happy to have them, but have not been majorly impressed with too many of their releases, although there are some exceptions. If they’re here to stay, great. But if they are just capitalizing on the next fad in EDM then fine, but no outside outlet or big artist will determine the fate of our genre. We will do that ourselves.

Deadcrow: I think it’s good that they’ve been able to give artists in the scene way more exposure.

IMMINENT COLLECTIVE: I’m glad that such projects acknowledged the genre and helped to spread awareness. However, the way they do it with their possibilities and reputation isn’t great, in my opinion. They could have surprised everyone, but there wasn’t enough enthusiasm in that area. For me, the most significant and interesting imprints in the genre are still wavemob, Liquid Ritual, vibe.digital, Yume. These guys who are lesser-known to the general public have it all: the aesthetics, conceptual music releases, and cult-favorite compilations that never cease to amaze me.

Wave won’t just be a popular genre, but it will rise among the most popular and loved ones.
-IMMINENT COLLECTIVE

Where do you see Wave in three years? Both globally and in your local scene.

Kareful: So, globally I see hardwave doing very well. I believe it’ll reach a lot of the festivals in America and Europe and of course there will be more and more tours in Russia and Poland where the scene is flourishing. A lot of EDM DJs are starting to jump on the sound now, so pretty soon we’re going to see a lot of people get invested in the sound also locally. I don’t think hardwave will do very well in the UK scene because it isn’t really much into that EDM sound. Trap never even really come over here so I can’t really see hardwave breaking through either. The UK is a really tough nut to crack. We’re quite a conservative country and we tend to stick with our English sounds. Obviously, we’ll still be doing our part in pushing our wave and hardwave nights in the UK. Booking international DJs and producers whenever we can as well as steadily support the local scene. Fingers crossed, these sounds will get big here and then we’ll be able to play a lot of shows around the country and make a nice career, but to be completely fair, I’m not that hopeful.

Fyoomz: Globally, I think we’ll see a number of artists start to make regular festival appearances and cement their status as a headliner. I think there will be regular wave nights in most of the major cities of the US and EU. I think Russia will continue to grow and likely dominate the live music scene for at least 2 of those 3 years. I’d also bet we’ll start to see major headliners, artists like RL Grime or Dillon Francis start to produce wave music. We’ll start to see the major music outlets like Beatport, Spotify, and Apple Music pay more attention as well, as our potential for profit grows. My local scene will continue to grind. It might be a little easier to get an audience, but it will likely be the same struggle for promoters as the model for live events continues to evolve.

Deadcrow: We currently don’t really have a local scene in Holland, it would be cool if we have one in 3 years though, which I think could definitely happen. Globally I think the genre will be way more established, and a whole bunch of us will have a large presence in electronic dance music. The future seems pretty bright in my opinion.

IMMINENT COLLECTIVE: My prediction is this: in 3 years the wave community will be able to attract the attention of every fan of electronic music. Wave won’t just be a popular genre, but it will rise among the most popular and loved ones. If you think about it, it’s clear that wave is a universal genre that can be enjoyed by anyone. It has all the best bits of EDM. It’s also important to add that the genre represents a futuristic aesthetic that’s gaining popularity really fast. That’s why I believe that the real breakthrough moment for wave is coming soon.

Although it’s now more difficult than ever to predict the future, all the answers seem to agree that the future of this movement is bright and its rise is only just at the beginning. As for me and FUXWITHIT, we will continue to follow and document the evolution of this genre and its culture, to promote and support its protagonists and their creations.

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The post Wave In 2021 And Beyond: The Present And Future Of The Movement appeared first on FUXWITHIT.

Gently welcoming you into the calming embrace of this sonic voyage, Redrum kicks things off with a full-bodied, elongated hug with ‘Fluid.’ Featuring airy, thought-provoking melodies and a warm glow, this piece is the equivalent of watching the sunrise as you sip your morning coffee in solitude, keeping you firmly grounded in that moment. A wonderful kick-off to In Unity, listeners will be left locked-in as the tracklist moves ever deeper through the compilation.

Feeling like a jolt of electricity that courses through your bones, Nik P’s ‘Crescent’ is a tremendous concoction of delectable drum and bass that makes it nearly impossible to not start wildly wiggling no matter the setting. Deep basslines, swagged-out fills, and sensational grooves combine to create a sound that is truly irresistible. An audible stimulant of only the highest caliber, Nik P has truly outdone himself, and offered up one of the most energetic pieces on the entire compilation.

Settling into the middle of In Unity, the tremendous twosome of NotLö and Sky Suite offer up a sizzling bass-heavy affair in the form of ‘Dismantle’, a piece that successfully rearranges your being at a subatomic level. With nothing dainty about this piece in sight, listeners should expect hearty cascades of thunderous low-end and immense amounts of crunchy delight. It’s not often that two swiftly rising titans of the underground scene put their heads together, but fans will be guaranteed to be more than satisfied from this delightful combination.

For fans of gritty heavy goodness, Deadcrow’s ‘Predator’ is an absolute weapon of a track, capable of leveling entire city blocks with its vicious sound design. Without a doubt the heaviest piece on In Unity, this is one track that’s surely going to be a favorite among the basshead crowd and would be a sure-fire gamechanger on a standard festival rig. For hard wave aficionados, and even fans of genre-bending underground heat, Deadcrow successfully serves up only the spiciest of heat.

Sydney, Australia’s Tek Genesis continues his sonic expansion from his original project William., trading more traditional trap stylings for left-field-centric flavors. His latest track ‘Holographix’ is no exception, sporting an underlying hip-hop aesthetic while pounding your eardrums with heavy, full-bodied bass that gets one’s head nodding ever-so-satisfyingly. A little bit dubby, a little bit wubby, but all around a fantastic time.

One of the most refreshing pieces on In Unity, ‘Epiphany’ brings unmatched energy to the table filled with unbridled and unrelenting positivity. A track that truly makes it difficult not to smile and get up and groove, this equates to a tremendous treat on the ears and a pleasant jolt to the bones. FRQ NCY has truly upped his sound design to immaculate levels, and his artistic prowess will surely carry him to major career milestones in the coming years.

The last piece I’m going to cover from In Unity is the massive three-way collab between Capshun, Eyezic, and Spüke. A gyration-inducing amalgamation of distinct styles that come together to create an atmosphere of inquisitive joy. Peace sitting calmly at the forefront of your mind while your body relishes in the current moment, it ends by drifting off to quietly to nothing, going out just as soothingly as it began.

Wow. 14 tracks. 18 artists. 1 massive success. In Unity perfectly encompasses the boundary-defying attitude that is so prevalent from the fine folks at Electric Hawk, and is a sure sign that they’re here for good. A shining light in the music community, and a welcome home for the best and brightest, their sophomore compilation album is a smash hit. Want to keep the party rolling? Check out their In Unity Virtual Music Festival this Saturday and Sunday (January 23-24) featuring almost every artist included on In Unity, along with the saxxiest man in bass music Griz. If Electric Hawk’s past streams are any indication of what’s to come, this will surely be a can’t miss event. Hope to see you all in the chat!

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