The Phosphorus Scene is a halftime experiment that I first started during quarantine and finally got around to finishing last year. Halftime has always been one of my favorite genres. Something about boom-bap drums with big bass lines feels right, whether it’s being done by Mefjus or Timbaland or whoever. The name is a homage to the movie Annihilation – the exploding synth stabs reminded me of a flash of light, and the whole thing feels a bit concussive. – Low Poly

This single is simply a chaotic masterpiece. It’s as if you were soaring through the eye of a massive storm and trying to intertwine with its earth-shattering energy. From gritty glitchy sound design to those unforgiving drums carrying the audience throughout, it’s a total immersion and escape through such powerful sonic frequencies . Every second contains jaw-dropping qualities. One after another, it hits your everlasting soul within and opens a door to a whole new world. Containing treasures beyond belief. Low Poly truly went all out on this one and proves yet again why he’s one of the best to do it in this industry. So make sure to show your support by streaming ‘The Phosphorus Scene’ below now, and everywhere tomorrow via DOMEOFDOOM!

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DMVU and Toadface can both claim “experimental sound design” as a forte on their résumé. It’s Dangerous to Go Alone is like a charcuterie board of instruments and samples, ranging from deep sub-bass thuds to treble-centric MIDI notes from video game soundtracks. At no time does the cacophony sound dissonant. Each sound is pinpointed, artfully placed in a complicated juxtaposition that makes every note shine through like it’s surfing a wave toward a beach full of unsuspecting listeners.

From the police siren in the intro to ‘Uncut Diamonds’ to the Deep, Dark, and Dangerous-like sub-bass of ‘Fabled,’ It’s Dangerous to Go Alone manages to make the listener feel like they’re in a constant state of danger. Lives may not be lost here, but your wits are a different story. The skull-wracking instrumentation in ‘Jungle Dub’ and ‘Morning Star” hits like waking up on the wrong side of the bed in the morning before being comforted with the first cup of coffee for the day. Not a beat is wasted, not a frequency left unturned. If speakers could talk, they’d be left aghast at the range they’re expected to put out for this EP. The arpeggiated synths of ‘Uncut Diamonds’ and ‘Jungle Dub’ aren’t all that far off from the Super Nintendo-era reward sounds of opening a treasure chest. RPG-lovers will find themselves in the familiar state of wondering, “What’s that? Oh, it’s treasure!” every time the measure switches up.

DMVU and Toadface command the utmost respect for their ability to do something different but consistent with their music time and time again. It’s Dangerous to Go Alone is by no means a deviation from what listeners have come to expect from either artist, but all the same, it will hit the ears like something listeners have never heard before. This is treasure chest gold. This is no game, this is art. Do yourself a favor now and listen to It’s Dangerous to Alone below.

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The original is quintessential minimal trap, with Dabow making use of a repeated vocal sample, crisp percussion, and squeaky clean synths to drive an arm-swinging intensity. LYNY keeps that intensity intact but revamps it completely with a bass house touch in his remix. While this is not a style we have heard a lot from LYNY, the level at which it is executed demonstrates his undeniable talent as an artist. The remix takes time to build, as LYNY lures listeners in with a looming soundscape for exactly sixty seconds before giving any indication as to where he’s bringing his tension-filled introduction. As the drop hits, one can instantly recognize that the intrigue was well worth the wait, with the Chicago-based producer unleashing a barrage of bass house insanity that is sure to get you out of your seat. The flip is electric in energy and filled to the brim with fun, as the second drop brings added freshness and zest to the already-lively remix.

“I wanted to get LYNY on the remix pack cuz he’s one of my fav producers and also a super homie. Right when he sent the remix, I knew it was a banger, and super happy to hear different vibes from him,” Dabow says about getting LYNY to remix ‘Mami Work.’

Regarding the genre experimentation, LYNY adds, “It’s weird, I got the stems, listened to them once or twice and thought: “Mami Work would be a fire house lyric.” So, I threw down some large chords, airy elements, and made a little flow with the vocal line. The idea was super clear after that I was able to wrap this one up fairly quickly. I never really think about the genre when making a track. I just kind of go for it.”

It’s almost as if this Dabow track was meant to be remixed by LYNY. Don’t miss it below.

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‘Compass’ was the track that Started this EP. I wrote it entitled it with the thought of songs kind of being like tools, and then thought to myself “ Well people don’t just have a single tool, you have a whole box of them.” And that point it seemed kind of obvious that I needed to make this a whole project. I was also really happy with the kind of dissonant and pretty melody that track had. Which led to me incorporating that same key to other tracks on the project.DMVU

Recently releasing ‘Lantern Bearer’ off the EP, fans were ecstatic and wanted another peek into his newest group of gems. And ‘Compass’ will fulfill that curiosity and mystery right away. Known for his heavy-hitting bass tunes, this specific single takes his style to a whole new level. Changing up the flow in an everlasting form of sound due to its slower-paced adventure and taking over your minds one by one, ‘Compass’ transports you back in time and injects the same nostalgic feel when listening to this style of art for the first time. Every element within works in harmony with one another. It’s songs like this that really make the artist so versatile. We’re stoked to hear what comes next for this musician, but for now, make sure to go support by streaming ‘Compass’ via Dome Of Doom!

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The concept of this album feels a little larger than life to me and difficult to describe and that is exactly what I was trying to encompass sonically. I arranged the track order in a way that felt like the act of spiraling internally (mentally and emotionally). It starts off bright and playful and becomes more frenzied until suddenly you’ve reached “the point” – which is ever moving and evolving and thus unreachable.”

QRTR

infina ad nausea investigates different parts of QRTR. It starts with ‘The Outer Edge,’ an otherworldly melodic foreshadowing of what’s to come in the album, that even features her viral producer cat, ambientkitty. Rodriguez then explores her romantic side in the next two songs, ‘With You’ and ‘Want Me 2.’ While the rest of the album is void of too many lyrics, emotion seeps through each track while still managing to stay completely dancefloor-ready.

‘Like That’ is a standout, showing QRTR’s New York City roots in the form of east coast club melodies that blend beautifully with techno rhythms. The album is mostly on the darker side, but it gets a dreamy break in deep house tune, ‘Blame Me.’ The energy picks back up with ‘Ritual’, a dynamic DnB collaboration with another NYC beatsmith, CSLTY, before ending with IDM-influenced ‘Lucid.’

QRTR may be young, but the depth and range she exhibits in infina ad nausea is breathtaking. Not only does the record showcase who she is as a person, but it also shows who she is as a producer, a tastemaker, and a well-rounded artist. With this album, she proves again she’s a force to be reckoned with. Her ability to command a room with her music is inspiring, and I’m so glad she gives more women in music somebody to look up to.

Listen to QRTR’s infina ad nausea below or stream it on your platform of choice here.

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The incredible collab pairs classic trap sensibilities with an underlying forward-thinking bass approach to create an absolute banger. The energy from the outset is menacing. As Jon adds in an alluring melody and bent vocals it begins to truly take shape. The first drop is a mean-mug-inducing dose of bass and trap that’ll have hitting replay. Militant snare work in the break builds the excitement before they smooth things out. Just when you’re comfortable, things ratchet up before bottoming out with an absolutely cavernous drop that’ll rattle your sense of existence. Jon Casey and AVANCE don’t miss and ‘POUNDS’ is another impeccable attestation to the fact.

‘POUNDS’ started with me messing with one of my own vocal chops. Something I hadn’t really done often up until that point. I heard a rhythm and just ran with it. I posted a clip on my insta stories and AVANCE loved it and asked if he could throw some of his spice in there and so I sent it to him and he created a perfect second drop. This track is, as Chee put it so eloquently, “super buttery” and I loved that description and wanted to keep it like that. – Jon Casey

Stream ‘POUNDS’ below and look out for Harsh Reality this Friday on DOMEOFDOOM.

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Opening with ‘Mami Work’ the track packs a cinematic opening which is replaced by some snappy percussion and banging low end. The simple and addictive vocals are a signature that’s sown throughout the album. Look no further than ‘Trap On My Mind,’ ‘Ya Booty,’ ‘Cesus Jhrist’ and ‘Hot Dog’ for masterful examples. Looking to get dark and dirty? ‘Limit’ with godspeed and ‘G-Round’ with Midnght are downright murderous. Seasoning tracks like ‘Rapido’ with Good Times Ahead, ‘Rumba,’ and ‘Bailando’ with some South American spice makes them each delectable in their own way. The latter is an inviting party-starter that will have your hips swaying beyond your control.

From beginning to end Weird Music Of All Kinds is a masterclass in production proficiency. You may think 14 bangers back to back might be exhausting, but you’d be wrong if you’re talking about Dabow. Originality and the utmost quality make the project an energizing affair that’ll have you hitting repeat. Expect these tracks popping up in every DJ set for the foreseeable future. 2021 is Dabow’s year.

Stream Weird Music Of All Kinds below and grab it on Bandcamp.

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With his debut album Weird Music of All Kinds slated for release June 25th, the world is finally about to get a hold of some of Dabow’s most wanted bangers. Just last week we were blessed with the colossal collaboration ‘Rapido’ with industry legends Good Times Ahead. Enhancing the hype even harder, we have the pleasure of premiering ‘Ya Booty’ today on FUXWITHIT.

‘Ya Booty’ is an absolute anthem. Combining a massive festival energy, a hard-hitting trap aesthetic, and addictive vocals, this one feels like a 2021 ‘Olé’. The intro posses the energy of an engine revving. When the first drop hits, Dabow puts the pedal to the metal leaving listeners absolutely floored. Trap arms hit full extension as the lyrics bounce over the beat. A quick break and build leads to Dabow flipping the script and upping the insanity… and we’re only halfway through. Dabow has become a master of unique drops and switch-ups and ‘Ya Booty’ puts these skills on a silver platter. If this track isn’t devastating every festival this summer and fall DJs really aren’t doing their jobs.

‘Ya Booty’ is the song that I would be waiting for at a trap festival. It’s the kind of banger that tries to make you lose your mind with the vocal chops and the bass+drums hitting heavy. Is talking good shit on your music valid? haha. – Dabow

Stream ‘Ya Booty’ below and look out for Weird Music of All Kinds coming soon on Dome Of Doom and an accompanying tour later this year.

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Interestingly, Saka presents his vocals on record for the first time in ‘Prescient.’ About his experience with singing and including his voice on the track, Saka had the following to say, “I used to sing a lot in high school and even joined an acapella group in college for some time. After that stint I started getting really into electronic music, and for the longest time I thought vocals just sounded so corny and on-the-nose. One of the reasons why I like more niche electronic music is because I feel like the narrative is a little more abstract – it’s about the listener. So for the longest time I just totally avoided ever singing on my music. Anyone who’s been a vocalist or an instrumentalist prior to being a producer can probably empathize – you get nervous about connecting the different realms. However, this record is totally about my own experience and my self-expression. I’m directly trying to just write from the heart on this record.”

So, ‘Prescient’ is a vocal-driven record, with a totally new sound palette compared to Saka’s previous works. Expect the unexpected. Heavily influenced by Burial over the last few months, Saka dives into the formerly unexplored territory of garage in his latest, without escaping some of those key signature sounds that all have come to love from the artist. “This was prompted because I was starting to feel really deeply unhappy with the quality of my music. I just didn’t think it was good enough, and I just felt like my riffs and motifs sucked. I even stopped making music for a while. But slowly, as I continued to listen to more stuff outside of my lane, the inspiration began to come back,” Saka adds.

‘Prescient’ is not bound to be a mainstage favourite, but that won’t prevent it from being an important addition to the catalogue of many fans. It’s all about the context in which you listen, and ‘Prescient’ is sure to evoke emotions that you probably haven’t felt in the past listening to Saka’s music. The piece is riddled with lush textures and serene soundscapes while simultaneously boasting a meticulous attention to sonic details. Oh, and the outro is truly fantastic. Don’t miss it below.

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PENNYWILD is signed to Dome of Doom for the release of her debut EP, MIDI in Motion. ICYMI, this follows the release of her breakout single on Dim Mak records, ‘Footsteps,’ which showcased for the first time her fresh take on electronic music production. Her approach in music is calculated through the discipline of professional dance and choreography; a translation of that artform into electronic music. Essentially, she has created electronic dance music through the actual act of dancing by dancing on unique technology to create the samples for her latest single and EP.

MIDI in Motion builds off of the fresh flavors that burst from ‘Footsteps’; flirty big bass, emotional rifts, and thought- provoking vocal samples come together in different shapes and sizes through out the short but sweet EP, teasing and tasting a new future for dance music. While listening through, PENNYWILD makes sure that dance is at the center of this music project, deepening the connection between the two at the roots, and challenging the audience’s associations between their ear and the reactions in their body and mind.

Based in Los Angeles, transplanted there from NYC, and originating in New Jersey, this dancer come producer has amassed critical experience in the domains of visual, auditory, and experiential art and glommed them together to create a truly new form. This vital step into the unknown is both daring and welcomed, and FUXWITHIT was granted the opportunity to ask PENNYWILD about her wild new ideas and her groundbreaking project, MIDI in Motion. 

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How old were you when music first moved you and do you have a specific memory of this happening?

Music has been a constant source of joy for me for as long as I can remember, but I think it’s only fair to accredit my first significant experience with music to the art of musical theatre. Growing up in New Jersey, it was almost more common to see a Broadway show than attend a concert. I remember sitting in the audience for The Lion King as a kid and being absolutely enamored by the alchemy of music, character, narrative, design, costuming, dancing, etc. I didn’t stand a chance.

What would I be if I couldn’t dance along to a song I created? It just wouldn’t feel right.

Which are you first and why: musician or dancer?

I think I’ll be asking myself this question for the rest of my life. My “musician” sensibilities greatly inform my work as a dancer/choreographer, but it also works the other way around. I’ve struggled a bit in the past reckoning maintaining a career that isn’t centered on merely one facet of art. I had received feedback that if I wanted to be “successful,” I’d better focus on one or the other. Unfortunately, I don’t see a world in which I’m not so painstakingly inspired to create within both realms. What would I be if I couldn’t dance along to a song I created? It just wouldn’t feel right.

What did you learn as a dancer that you apply to being a musician that has nothing to do with music?

Because I learned “the creative process” via dance and choreography first, I find myself applying the same checkpoints to music creation. I’m often comforted by the fact that I have found myself in similar ruts (or manic highs) whilst creating dance pieces. I think to myself, “Oh, this also happens when you’re working on choreography sometimes, but it only lasts a few moments. Soon an idea will come to you, and you won’t feel like such a piece of shit.” Having logged those 10,000 or so hours of trying/failing in one medium has seemingly greatly prepared me to do the same in the other.

There are a lot of different genres bleeding and careening together in this project. I hear the flirty House bass; there’s also a lot of funk and throwback hip hop feels too. What city had the biggest influence on you as a dancer and musician, and was it the same city for both?

The coastal cities have both had severe impacts on how I approach art in general, but I don’t think I’ll ever be able to shake the impact NYC has left on me as both a dancer, and a musician. I have memories of being 13 or so travelling into NYC for dance class on the NJ Transit bus. My dad would secretly follow the bus in his car, ensuring I was safe to commute on my own. To this day, nothing sparks more inspiration than simply existing as a part of that Manhattan grid. Whether it be an underground Subway performance (shout out “showtime”), a walk through Washington Square Park (undoubtedly accompanied by some sort of brilliant jazz band), glimpses of artists loading in their instruments/gear to a bar on the LES, or a Broadway company relentlessly rehearsing in the middle of Times Square, you simply cannot escape the musical underscoring of the city. Of course I’ve garnered immense respect for artists from/of Los Angeles and beyond, too, and I look forward to discovering that more as I continue my journey as a producer/writer.

‘Do it to Music’ has a driving, big house bass sound that balloons through the richly texturized verses and is sprinkled with basic footwork instructions. What emotions were you trying to capture with this soundscape?

There’s always a moment of euphoria that accompanies “mastering” a new dance step; the moment it all clicks and you can finally perform it by yourself, free from the confines of watching your instructor (or in current cases, the YouTube tutorial screen). Every dancer can relate to that moment of well-earned independence. To me, that should sound like a celebration. Aside from it being a feel-good dancefloor record, I wanted to capture that sweeping element of “accomplishment,” which I transcribed via the sporadic bass line/ horn section call and response you hear in the final mix. ‘Do It To Music’ is the fastest track on the EP at 126BPM, and it felt appropriate for it to also be the culmination of the project.

As corny as this sounds, 2020 has taught me that life is far too short (and precious) to delay your dreams.

How do you stay inspired and have you ever struggled with producing creatively?

It would perhaps be difficult for me to remain inspired if I weren’t constantly surrounded by creatives that are pushing boundaries in an abundance of artistic mediums. I know everybody brags about their friends and claims that they are “the best,” but I am constantly in awe of not only my friends, but creative peers in general that are striving to do the same things I am. I look to those friends/ peers for inspiration. If they are doing it, so can I. If I’m having a hard time, I’ll keep striving until I take steps forward. As corny as this sounds, 2020 has taught me that life is far too short (and precious) to delay your dreams.

With the success of the unique project that MIDI in Motion is, are you going to create more music inspired by dance or has this ignited another pivotal interest?

I certainly don’t think my time creating music inspired by dance is through. However, this approach has opened the door for me to create music for music’s sake – even if separate from dance. Through creating this project, I’ve definitely developed some pivotal tools that are allowing me to produce more efficiently, and with more confidence.

In these social distancing times, do you have plans to perform MIDI in Motion for your fans?

I was given the opportunity to play out songs from the EP on a few livestreams: Beatport’s new initiative with Twitch (shoutout DOD!), LP Giobbi’s Femme Fridays, and a few virtual festivals. Additionally, last night I hosted a livestream with EDM Identity featuring some of my favorite DJs (and people!) in celebration of the release. Although the streams aren’t quite the same level of intimacy as performing live, I recognize that that’s where we’re at right now – and it’s the safest, most responsible way to connect with listeners. I’m very much looking forward to the day where we can unite under the same roof IRL and listen to/ perform our music, but only when we’re not putting each other’s health at risk.

You talked about Traktor showing you waveforms in RGB- would you describe your perceptions of the world around you as synesthetic? Can you give examples of how you experience this if you do? 

I do believe I have experienced synesthesia, but only in an acute way. From what I understand – if I was a proper synesthete, I would know it. I have specific accounts of experiencing a certain “blending” of the senses, but not consistently. I will say that more often than not, I will hear a piece of music and see some sort of choreography (even if extremely abstract) in my head, in real time. It’s not pre-conceived/ organized — it just occurs there as I listen. This must be a product of choreographing a multitude of pieces with fast turnarounds back when I was a dance major at a performing arts high school. There was such a demand to present new work, that it almost started creating itself. Exploring that further could be really interesting, and I wish I had access to that a bit more immediately. I have a few friends that identify as such, and am definitely intrigued to further inquire with them! I’d love to taste purple; smell reverb.

What does the future of your craft look like? 

I think I’ll continue to follow my artistic impulses as I go. If you asked me what I would’ve expected for this specific EP rollout, for example, I would’ve visualized some sort of release event, perhaps some touring; a bunch of DJ sets in different places. Obviously, life had a different plan. I’m trying really hard to not hold myself to any specific career criteria or “five/ten year plan.” Some of the most fruitful moments of my life/career have happened spontaneously – as a product of living in the moment, and I’m really enjoying that. You can certainly expect more PENNYWILD music/choreography projects, and hopefully more hybrids of the two in the future!

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