SURGE is a love letter to its community’s beginnings while honoring the electronic trap genre to the highest degree. Artists such as 2Spade, AKIRA KHAN, BLVDE RUNNER, Hontis and many more have all created individual masterpieces to contribute. And it’s very safe to say each artist gave it their all. Not only did they deliver fresh new sounds and qualities, but they managed to showcase the true meaning of this journey as a whole. From nasty drum patterns to hypnotizing sound design, it’s an unpredictable adventure full of addictive qualities.

After the first track listeners will be automatically hooked and eager to hear what’s next. Experiencing a constant flow of energy and passion. It’s compilations like this that really make you feel proud you’re alive to witness the birth of a new chapter. We’re excited to hear what’s next for the group and we’ll be keeping a close eye on them! So make sure to show your support by streaming SURGE everywhere via OTHERWRLD!

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The project opens with Golden Child & Kazantzakis coming together for ‘Elevated.’ The swing, vocals, and synths pull you in while precise percussion and booming bass set the tone for what’s to come. It’s an addictive tune that you’ll have stuck on repeat. PRYZMS takes the energy to the next level with the heart-racing ‘Back2Tha’. The track practically defines what high-octane trap music sounds like in 2022. ‘Quartz’ slow things down with a spell-binding slapper that’s the pinnacle of less is more. OG trap fans are going to lose it for KUREI‘s latest.

Halifax duo dope come through with the aptly titled ‘Hypnotic’ which fuses entrancing vocals with brutish bass and a mean hip-hop swagger. Next up DROPWIZZ takes listeners to the battlefield with the fierce ‘Gulag,’ a bass-heavy heater inspired by your favourite first-person shooter. Take a break from battle and uncover Lenny and SL!DE‘S ‘Oasis,’ an exotic tribal trap smash. Looking for some bounce? You know BAGG and GALAZY have you covered with ‘Repeat.’ Building off this dynamic but with its own distinct flavour comes ‘Big Pizzo’ from Gurf. The track explores his recent future beat sound with a twist of the Partica “Trap2” swagger.

Providing the perfect shift into the more melodic back half of the compilation Haan808‘s ‘Main Phase’ brings the feels with laidback energy that still bumps. Norway’s Borny blesses us with a heavenly future beat banger that’s fittingly titled ‘Skywalker.’ The shimmering synths and uplifting bounce will have you moonwalking in the clouds. The project’s biggest surprise comes from none other than L*o*J. The duo has become renowned for their experimental and heavy approach to bass music. ‘Sunken’ is their softest and most stunning work to date. A beautiful bop that feels like summer love.

As the project nears its close we drift into more cinematic territory. sebjin‘s ‘Rights’ leverages his signature sound providing an immersive futuristic soundscape that’s yours to explore. Hontis & Zodiaque deliver a finale that is nothing short of epic. The slow-burning ‘Extinguish’ opens like a movie score, rich with emotion that deepens with each passing bar. With over two minutes of carefully crafted tension building, the release in the drop is monumental. The track packs a near-spiritual experience while maintaining a sense of ferocity.

Champions Of The Underground – Vol. 1 proves the underground is and always will be the most exciting space in music and art. The future is here. Stream Champions Of The Underground – Vol. 1 and be sure to grab the free download.

The post Champions Of The Underground – Vol. 1 appeared first on FUXWITHIT.

The mix spans nearly an hour and a half and is broken into two parts with two distinct vibes, plus a wealth of unreleased gems. Our interview explores the electronic music scene in Calgary, overrated and underrated Canadian staples, his drive to create, and much more. Catch both below.

Tell us about the mix. Where are you taking listeners on this one?

The first half of this mix is the most recent music I’ve made, combined with other songs that fit into the style that has inspired me most in the last 4 years. It’s a set I wish I could be booked to play. It’s music that I wish people were excited to come out and dance to in Calgary, but the scene here is so dubstep-driven.

The second half is a showcase of the underground stuff I’m inspired by, and closer to the older style of trap I used to make. Music I still love listening to but haven’t created myself in a while. An opportunity to put on some really dope artists that maybe people haven’t heard of (yet).

Toronto and Vancouver seem to dominate the conversation when it comes to Canadian electronic music. What’s the scene like in Calgary?

There aren’t many places to hear underground music after covid shut so many down, but there are still some people making some really cool shit. Artists like Cerdin are really trying to push the trap wave. We’ve got Little Snake as well and he’s always pushing boundaries and experimenting. There are large dubstep shows that are very popular but don’t really showcase the underground.

What are the most overrated and underrated Canadian staples in your opinion?

Hot take, but Tim Horton’s is so average in my opinion. 15 years ago it was dope, the donuts were fresh, the food was better. Over the years by becoming a larger corporation that sold out in search of more profit and what’s left is this completely average product. I believe it only has success because of nostalgia and people too stubborn to realize how trash it’s become.

For underrated, I’ve heard all dressed chips don’t exist elsewhere? Not sure if this is true or not, but if it’s Canada specific that is a travesty. They are delicious. All dressed Crispers are my kryptonite.

What drives you to create music?

I don’t think there is really one ultimate thing, but more of a combination of a bunch of different smaller things that make it worth it. The top two are probably these though:

1. It’s cathartic. I am a pretty reserved person when it comes to spilling my emotions. Music is a way for me to express my emotions without outright speaking about them. Whether that is a good thing or a bad coping mechanism I’m not sure.

2. It’s rewarding. Creating something that takes so much time and effort to create and having even just 1 person express enjoyment from it is an incredibly rewarding feeling.

Your releases tend to balance between slow-burning cinematic energy and aggressive and hard-hitting drops. Can you speak to this dichotomy?

Things always have more impact with more contrast. Things can’t be loud without silence to compare it to. In some ways I like to try to see just how far that boundary can be pushed. How different can you make the energy of the intro vs the drop and still have it sound like it’s part of the same song? I’m still working on this.

Earlier this year, you were tweeting about your love for DnB. Will you be dropping some DnB releases yourself?

I really do love dnb. I have a couple of dnb edits and remixes that I may just put out for fun later this year.

What’s the most important thing that you learned recently?

The importance of Vitamin D. It has made a life-changing difference in my anxiety to a degree I wouldn’t have thought possible if I hadn’t experienced the change myself.

How do you enjoy spending your time outside of music?

I am a gym rat. It helps clear my head, I get to listen to music, and I get to better myself. It’s a no-brainer for me.

What are you most excited about in 2022?

All the good music that came out in May probably made my year. Flume, Noisia, Kendrick. All artists that I am deeply inspired by.

Any final words?
Thank you for the opportunity to showcase my music. I’ve always admired that FUXWITHIT tries to create a platform for those in the underground to thrive. If it weren’t for this mix it’s possible that some of these tracks would never have been heard. So again, thank you <3

TRACKLIST
HALF 1
Hontis x Zodiaque – ID [FUXWITHIT]
Zeds Dead – i think you’re cool (IMANU & Quiet Bison Remix)
Hontis – ID
Hontis ft. stephan Seuper – ID
Camoufly x Sober Rob – From The Start
Hontis – ID
Sola – Agave
Quiet Bison – The tower
Hontis – ID
Hontis – When the Luster Fades
Flume – High Beams ft. Slow Thai
Mirzha – Luv 3020
Sophie – Is it cold in the water? (Yash Bansal Remix)
Herisse – Aquifer x Family Ties (Hontis Edit)
Quiet Bison – Eos
Hontis – ID
Muira – Still Me
Pauline Herr- Selfish (Hontis Remix)
Big Mali – Hey Mali
sumthin sumthin – Aluminum
Hontis – ID
Imanu ft. Kucka – Destiny
Muira – Beta Tape
Hontis x Zodiaque – Stomach Knots ft. Emily Vay
Hontis x Zodiaque – ID
Quiet Bison x Zhu – I Still Sequence You (Hontis Edit)
What So Not – Lone (Hontis bootleg)

Interlude

HALF 2
Hontis x Cerdin – ID
Baaric x CAB – Watch Out
CAB x BLVDE – ID
DVNK – ID (All alone)
Niwo x RAW – ID
Lightyear – ID
Lukav – ID
Cerdin – Oldschool
Baaric – Blow (Hontis Remix)
Cerdin – ID
Simula – Angels
Diplo x Joji – Daylight (Hontis bootleg)
Hontis – ID
Integrate – Lidocaine
Annix x Skantia – Clapper
Document One – Uh huh
Kumarion – Aura

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

‘Recluse’ begins with an ethereal vibe as plucks are sprinkled into the track, when you are suddenly hit with strange, atonal wubs that strongly contrast the ethereal vibe that Hontis started on. When the track reaches the drop, it’s this atonal wub that snakes its way through ‘Recluse’, twisting and turning the entire time while hard drums knock against them, trying to steer them in the right direction. ‘Recluse’ feels like a game of tug of war, where you are the rope, being pulled against these contrasting forces. It’s a very unique and interesting take on experimental trap that Hontis has delivered quite masterfully. With plenty of 2021 left, we’re watching closely to see what both Pacific Empire and Hontis have up their sleeves for the rest of the year.

‘Recluse’ is out now, check it out below.

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The project draws inspiration from preeminent mavens of trap such as What So Not, SLUMBERJACK, and Ekali adopting an eastern scale, which Gillanders exploits as the catalyst for captivating chord progressions, entrancing melodies, and engagingly diverse drops.

It was a pleasure to catch up with Hontis to discuss some of the untold challenges of finishing an EP, comparing and contrasting different creative disciplines, and the influence he draws from living in Canada.

Be sure to check out the full interview below, and don’t forget to grab a free copy of Until Your Idols Become Rivals here!

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In what ways has growing up in Calgary, or Canada in general, influenced your style as a producer?

The bass scene in Calgary is really dominant in terms of electronic music. In that sense, I feel it has pushed me to develop tracks that are full of energy that can fit into sets I hear played out here. I’m also surrounded by artists that are influenced heavily by the west coast festival scene and the acts that frequent those festivals. Artists like G Jones or Shades. I end up picking up techniques from those I collaborate with. That being said my biggest influences are definitely from the trap music realm.

What were some of the more challenging aspects of putting the final touches on your debut EP?

The biggest challenge was for sure the mixdowns. I’m still not 100% happy with them but at a certain point, you have to step away from the project and call it finished. I could probably tweak them for another year and still not be fully happy with them. I also often struggle with creating an intro that can captivate and keep people interested, but I’m happy with how cohesive the sound of the EP is overall.

How would you compare and contrast the creative discipline of working on the flips or remixes within your catalog as opposed to working on UYIBR?

I find it much easier to create flips or remixes for a couple of reasons. Number one, you can choose which elements you want to create yourself, and which you are happy with using from the original. If I make a dope drop I can fit it into the song and not have to worry about creating an interesting intro/build. The second thing that makes it easier is that I find it easier to mixdown a flip because you’re essentially matching the tonal balance of elements you’ve added to the original track. I find that easier than trying to find the right balance and levels of a standalone track.

Despite having worked with a handful of talented producers throughout your career, your EP is positioned as a solo expedition — is there a reason for this?

I just wanted to have full control over the decision making and creative process. While I really enjoy collaboration, I find it difficult to let go of an idea I might have had in my head in order to make a compromise with whoever I might be collaborating with.

Playing inside these more exotic scales helped me feel refreshed and excited about the melodies and harmonies I was working with.

The entire project has an uncanny middle eastern flare, what did the process of selecting the stylistic components for the project look like?

I was heavily influenced by artists such as Ekali, KRANE, SLUMBERJACK, and What So Not. I found that using an eastern scale as opposed to the more popular major/minor scales really helped me achieve the sound I was looking for. Creating a melody/chord progression in more popular scales has been a struggle for me lately because everything feels too familiar. Playing inside these more exotic scales helped me feel refreshed and excited about the melodies and harmonies I was working with.

If tasked with vividly describing the project to someone without the ability to play any songs directly, where might you begin?

Driven by trap percussion and ethnic scales, this EP is full of energetic drops with sound design slightly outside of the norm. Majority of the sounds (apart from the drums) were crafted from scratch to emphasize my own style.

What other accolades have you set out to accomplish in the remainder of 2019?

Other than extremely general goals of improving on my mixdowns and musical ability, I am going to try to finish/continue working on all the collaborations I have in the works right now. They took a back seat while I worked on this EP.

The post PREMIERE: Hontis Sharpens Creative Acuity in New EP appeared first on FUXWITHIT.

Hontis

Rhys Gillander, more affectionately known by his musical persona Hontis, possesses a remarkable talent despite his humble following of just over 600 on SoundCloud. What the Calgary native lacks in his fan base, he more than counterbalances with the depth of his sound, which carefully borders the line between trap and future bass. A deliberate emphasis on production assures that each track packs a punch, while the sheer range within his style brings something new to the table with each release.

Strap in for remixes of LUUDE’s ‘Don’t Leave Me’ and ‘Bottom End’ by What So Not & Dyro, which adopt a heavier, production-heavy guise, while a collab remix of Billie Eilish’s ‘Lovely’ with Yancey demonstrates a more sentimental side to Hontis. Don’t let the astounding collection of remixes fool you, Rhys is on the verge of discovering the true direction for his own sound, which he illustrates in his latest solo releases ‘Stims’ and ‘Pesanta’.
-SL

memphis

I’ve been hosting my own blog and radio show for more than three years and I can honestly say I’ve never come across anyone with the prolific output that Toronto’s own memphis can boast. A quick scan through my library shows at least 32 tracks released this year alone. So it while it’s safe to say he’s been making massive waves with this kind of turnaround, you can also say he’s been making wave singular, as in the genre. Often working with fellow Canadian and wave-maker MRKRYL (a pairing I deemed the magnificent M’s), their tracks have an indescribable allure. And that seems to be the thing about wave: there’s just something inexpressible, almost spiritual or transcendent at its core. While of course the choice of his more wave-centric tunes is large, my favourite comes in the beautifully haunting ‘Beyond The Waves’ with Codxinx and Djedi. All that said, lately memphis has been moving more towards trap and to great avail I might add. One of the most recent and momentous examples coming in ‘Zeus’ with Keiden. You never know what he’s going to drop or when, so keep a close eye on what this prolific producer will do next!
– OJ

Protial

Despite a solid SoundCloud following of over 3000 and support from bass music’s hottest names such as TYNAN, WHIPPED CREAM and PEEKABOO, Protial‘s name is not widely known due to his minimal social media presence. Nonetheless, he’s definitely an artist that should be on your radar, as his unique approach to bass music is truly unparalleled. First catching my attention almost two years ago with his heavy track ‘Below’ before truly amazing me with ‘No Signal’, Protial has continued to release astonishing tracks over the years, and is showing no sign of slowing down. His style is consistent, often using repetitive vocal samples layered over heavily distorted bass to create eerie, bass-face inducing soundscapes. A recent favourite is ‘Asterisk’, as it showcases this distinct technique to a tee. Keep an eye on Protial as he’s bound to make waves in the bass world sooner rather than later.
-SC

skeler.

Originals, remakes, collaborations, flips, there are no limits that can contain skeler.‘s genius. In case you missed it, during the past couple of years he has pushed some extra fine bass music from down under. Whether it’s trap, eurobass or wave, this young Aussie producer crafts only quality products. In this last act of 2018 he hasn’t slowed down in the slightest, ending up under my radar with two lush pieces: a remake of Hardwell’s dance hit ‘Arcadia’ and a brand new (long awaited) original titled ‘We’re Burning’. Both the tracks got put out under the ‘hardwave’ tag, etiquette that reflects the high tension of which the songs are pervaded. They are electrifying, uplifting, galvanizing, proper musical chimeras that embody bass music and trance in single, manifold bodies. If you’re looking for a rip-roaring adventure for your ears, skeler. is your new trusted dealer.
-AA

yojas.

If you’re wondering who to look out for in 2019, look no further than yojas. He first caught my ear with one of the standout tracks on Below The Surface’s SFBV4 in ‘Charisma’. A release that possesses the heat and intensity of a volcanic eruption and he hasn’t slowed up since. In the past month alone he unleashed two of the wildest rap flips to grace my ears in ‘ybn.’ and ‘x’. Both take familiar rap vocals, from YBN Namir and 21 Savage respectively, and drag them into a bass-laden dungeon. Standing above all of his releases is his latest ‘Apathetic’. Released on Quality Goods Records’ latest compilation, the track is the perfect display of his signature sound. The balance of brutal bass with punchy samples makes for something special. yojas.’s music packs the simplicity of early trap with the gritty sound design and wild bass we’ve fallen in love in 2018. yojas. is a must for any trap lover.
-CV

Get familiar with them all through our Focus Five Volume Eleven playlist below.

Words by Alessio Anessi, Colin, Oggie James, Steph Contant & Sam Lewis

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