TESSERACTS

TESSERACTS first landed on my radar with ‘Way Back,’ a minimal yet grungy collaboration alongside Ankou released via Inspected last summer. As an avid follower of Ankou, I figured any fellow collaborator would be worth keeping an eye on, and since then the Polish duo have impressed with the quality and diversity of their releases. From foundation-shattering halftime, to electric complextro, to high-octane drum and bass, TESSERACTS continue to showcase agility in their productions and certainly deserve a broader audience. More recently, the duo unveiled yet another of their multiple facets with ‘Injure Them’ via Inspected. In the track, the duo tapped Gravity for a hip-hop/grime leaning cut that showcase their ability to highlight vocals over an exhilarating beat. The beat is riddled with bass and carries dynamic swagger throughout, but it’s the contrast with Gravity’s smooth vocals that really make this track a standout. With just over 2k followers on SoundCloud, it’s about time more people started watching out for TESSERACTS.
-SC

tchonga

Sometimes all it takes to stumble upon good music is seeing a goofy picture and clicking on it. As a guy who has a soft spot for raccoons, I had to satisfy my curiosity when I saw tchonga‘s profile appear in my sidebar. Boy, I didn’t know what I was in for. This Brazillian-based producer quickly found his way into a half dozen of my playlists immediately. Every track I’ve heard exudes an ambitious level of production. The coarse synths and crisp drums all throughout his discography make for some exceptionally clean production that makes me feel like I need a shower after listening.

My first introduction was the track ‘better place,’ a Billie Eilish edit with wildly experimental beat structures and exuberant bounce. I thought I was in for a future beats journey here as the tracks kept playing, and then ‘Disruptor’ hit me like a truck moving at 174 mph. This one is a pure drum and bass stinker and cemented this man’s place in my library. ‘Jinn’ comes out the gate sounding like an Arabian trap anthem with some of the most ear-tickling drum patterns I’ve heard in a while. Tracks like ‘invictus,’ meanwhile, would fit right in on an episode of The Future Beats Show or Soulection. The instrumentation really captures the essence of the old SoundCloud beat producer wave, a la Sam Gellaitry or Medasin in their early years.

The fact that this producer is sitting under one thousand followers on SoundCloud right now feels criminal. I’m no stranger to being stunned at the latent talent hiding out on the Internet, but holy hell tchonga, you’re built different. I can’t wait to hear whatever it is you’re cooking up next.
-BG

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Written by Alessio, Braden, Colin, John, and Steph.

The post Focus Five: Volume 72 appeared first on FUXWITHIT.

Alexis B

Alexis B is a Mexican producer who has been setting SoundCloud ablaze with a multitude of firey UKG and DnB cuts. My first exposure to the artist came when listening to borne’s exceptional Deep End EP. ‘Don’t Go’ sees Alexis B joining borne for an absolutely beautiful garage anthem. The combination of emotive vocals, masterful vocal chops, stirring keys, and booming bass with stripped-back drops is nothing short of exceptional. Proving his skills on the solo side, the artist has been unleashing a barrage of incredible bootlegs and flips including ‘ Don’t Phone Me,’ ‘Too Much Sauce,’ and ‘TODO.’ If you’re in the mood for dark and moody cuts that’ll get you moving Alexis B is an absolute must-listen.
-C

Baajewala

It’s been a little over five years since FUXWTHIT’s last mention of Baajewala, so I’d say now’s as good a time as ever to shine the spotlight back on this monster of a producer. Hailing from Betul, India, Baajewala’s tunes exude an eclectic mix of influences ranging from Bollywood bangers to American dubstep and everything in between. This is the kind of gritty, granulated bass that arrests your ears’ attention away before you even realize what’s happening. The rhythmically undulating basslines, combined with Bollywood vocal samples and traditional instrumentation like the sitar and tabla, make for some emphatically groovy beats that make it hard to sit still.

I recently stumbled upon his TOKEN EP and was positively blown away the second the first drop hit on ‘BOSSMODE.’ There’s something about the minimalism of a flute sample over 808s that drives me crazy in the best way. On the other end of the spectrum are more dub-heavy tracks with bouncier drum patterns like ‘AAO BABU,’ released only a few days ago as part of LoFreq Records Cypher Vol. 5. I sincerely hope the sound that Baajewala and others have been so carefully curating in India continues to make its way overseas. Presently, it feels like there is so much music out there in the world, that it’s become increasingly more difficult for anyone to create a standout, unique sound. Everything is derivative to some degree. Yet, here are these producers in India experimenting with sound design in a way that reminds me of the early days of trap music here in the States, and that’s really refreshing to hear. Big ups to Baajewala, can’t wait to see where the future takes you.
– BG

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canary yellow

Spring is going full speed in the northern hemisphere, preparing the ground for the advent of another summer. Nature has awakened, as have our biorhythms. Our bodies quiver and the ancestral rhythms that nestle within us have resumed their primordial dance. So what could be better than a good dose of groove to tune with this rite of passage? canary yellow‘s music is the perfect match. I got to know this producer duo thanks to the good people at Tabula Rasa and since then they soundtracked all my early morning walks. Their glossier and progressive-oriented interpretation of garage (which evolved from their initial deep house releases) is the ideal point of contact between the overdrive of the traditional UKG sound and the softness of many of the deep house producers I follow. Within their discography, you can find some bangers too, but canary yellow’s creativity shines bright when vocal chops and psychedelic arpeggios roam free over broken rhythms and crispy drum patterns. Close your eyes, press play, and get ready to fly high with canary yellow.
-AA

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JPKy

Shattering barriers of sound with swift and relentless powers of mass destruction, JPKy has been delivering some of the craziest electronic music. One after another, each of his tracks will make your mind explode while being transported into the earth’s core, exploring unexplained forces that will take over your soul with each second. Comprised of different unique qualities and impressing many to the highest degree. His sound design is unmatched, setting nothing but a beautiful example for many upcoming musicians. From remixes of nvadrz, Knock2, Tisoki, and more, to unleashing energetic singles to match the rest, you do not want to miss out on anything this artist is cooking. He’s even released two full mixes of unreleased music that completely show his diverse range! He’s next up.

His remix of Charli XCX is a deadly and uncontainable force of nature. From a fun and sporadic club environment to that heavy bass lead within the chorus, it’ll leave you with a pure smile on your face while desiring more and more. Not to mention those drums are truly well chosen and fit perfectly with the overall structure. His newest remix for KLAXX’s, ‘getup’ via MONTA highlights some of the best techniques and raw organic power JPKy has up his sleeve. He completely honored the original’s vision while making it his own. Adding a flare you’ll find only from the artist. The movement and pacing of this one really makes you want to hear this one live on large loud speakers. One thing is for certain, things have only just begun for the young artist. And we have the utmost confidence that he’ll be continuing to explore new realms while creating electronic music you won’t forget. Making the underground proud.
-JD

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