Best known for his heavy and dark style of electro, with tracks like ‘Demons,’ Kai Wachi reveals the many layers of his artistry on Demigod. There is a misconception that dubstep is all about the dub, and yes it is about that big bass sound, but Wachi shows a range of emotion and mixing styles through out the collection of twelve tracks.

‘Strangers’ is the second track off of Demigod, and is a composite of spiraling bass and eerie synths. There is a lot of emotion on this track and Grabbitz vocals emote feelings of loss, grief, and melancholy. Wachi’s production shows how sharp and powerful sounds can come together over lilting piano chords and gentle pulsations. This track is reminiscent of the extended outros in his previous tracks. Definitely worth a close listen.

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‘Break’ was the first release of this collection and can be found on the other end of the spectrum of Kai Wachi’s repertoire. Its a hard-hitting, thrashing banger. It grips tight at first grasp and takes you on a wild ride through crushing bass, swelling build-ups, and industrialize drops. The especially delectable drops include a little tempo slow down, allowing the listener to truly relish each wub and boom of the bass.

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The final track of the LP, ‘Lost’, is an interesting listen. Its has thickly layered build up that creates an interesting soundscape; one of plucky melodies and rapid fire beat. The tempo quickens and then the bass comes cascading down like an avalanche of powdery snow off a rocky mountain peak- thundering and sublime. Wachi pauses the drama with and draws out the contrast with a dreamy piano outro.

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Check out this epic LP and all the other genre bending, artistically-crafted tracks down below.

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This is a powerful track created through the marriage of dubstep and heavy metal. Kai Wachi and Sullivan King in their own right are known to dabble across different genres under the harness of electronic music. Casting off the label of genres has allowed both to experiment and bring the darker corners of modern electronic sounds into the light and to fans hungry for it.

‘Between the Lines’ mashes up the best of both worlds and rips into reality with heavy metal guitar rifts, followed by a thrashing tumble into deep cascading wubs. Waves of bass and bursts of electric guitar make this not quite a banger, but a rager that is going to test the strength of any rail this festival season. Kai Wachi and Sullivan King created a bass beast that does not let up and have set a new level for ferocious genre-bending hits.

Give this killer track a listen below but also be sure to look out for Kai Wachi’s upcoming EP, DEMIGOD, out May 31st.

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Riding the wave from there latest album release, New Worlds, the trio have been rampaging through North America on their Ceremony tour. Various artists have been joining them for performances here and there, but this Friday the 13th in Fort Collins, Colorado they will be playing alongside label mates Kai Wachi, Sullivan King, and Lektrique.

If you were lucky enough to get tickets before this show was sold out at the Aggie Theater, you’ll your delight darker senses with BTSM’s signature heavy, hardcore electro style and post apocalyptic aesthetics. Putting on a truly unique set, Black Tiger’s performances are immersive and in your face, but also evolving. With every tour they attempt to make their sets darker, deeper with themes of monstrous futurisms and flourishing anarchy- testing the bottom of bass music, wading through murky waves of electronic music’s danker roots. It is this focus on delivery at every level- from their interactions with fans, to the collaborating and signing artists to their Kannibalen record label, and the way they create new music that captures their commitment to staying the saviors of dark electro.

To get hyped for the show check out their latest LP below, and to see their tour dates for a show near you click here.

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After the doors opened Sloane set the scene with smooth trip-hop, and early R&B sounds. He smashed it together with sudden jolts into deep-bass, jamtronic tracks. There were some weird spoken word samples but overall this artist’s style was traditional to electronic musics’ 90’s beginnings. It felt very Euro but sexy at the same time with all his female vocals.Up next was Kai Wachi who entered with presence unfurling bass left and right. His fans clearly were present in the crowd, clamoring at the steep drops, and relishing the new mixes that he shared with them. His rowdy-raucous hype was thrilling and marinated the audience for the next layer.

Dabin stepped up to the plate and delivered yet another crystalline performance. Dabin demonstrated his craft by making his electric guitar sing over “I’m Sorry Miss Jackson” and mixing video-game sound effects with lots of trills and bursts of energy. This chaotic set was topped off with a remix of Queen’s ‘We Will Rock You.’ (Dude, please make me a playlist; I think we are music-ADD twins).

As the clock struck midnight, and the truest darkness fell over the city, Black Tiger Sex Machine transformed the decks into an altar of bass. Hearing taunts rile the crowd reminded me of why this trio is so phenomenal: their stylized presence and unadulterated love of all the deepest, darkest parts of electronic music are a life-blood in this clustered scene. The taunts are encouragement actually, and the waiting becomes immediate gratification, savory satisfaction. Black Tiger Sex Machine delivers a performance that is not just music, but an episode of raw, juicy intensity.

Music on the radio too often is about romantic relationships, and a lot of electronic music is about having a good time and getting down to, and it sure is easy to be angry to heavy metal. What is missing, and what BTSM provides, is a type of musical style that incorporates intensity in a less emotional form and brings it to this elevated level of sheer ferocity. At this height the aggression is less rage and more unclouded declarations of ardor.A lot of the aesthetics that this group utilizes to signify their followers or incorporate into their label art is primal, post apocalyptic, decrepit industrialism which are all thoughts of marginalized progressive thinkers. It’s not overly complicated: the bass, the rhythm, is their religion.  The motto “Music is our religion”, and that every show is a mass at their Church may sound gimmicky, and it could be, but their style of delivering a musical experience is so unique it seems sacred. It also satisfies this deep need to enjoy some fire and brimstone. Their new stage is synced in with their set up and their helmets which are trademarked. The light show is just as aggressive as the beats, and never fail to be intricate and poetic.

They opened with a refreshed ‘DEMONS’ originally created by Kai Wachi. Right away they spread out their new single ‘Hell Motel.’ Without warning, they whipped up an extra creepy version of Mr. Oizo’s ‘End of the World.’ After they gave the Funeral March a make over, the tigers reanimated ‘Bass Cannon’ by Flux Pavilion, and ‘Breathe’ by Prodigy.

During their finale, after removing their helmets, Julien Maranda shouted ‘OPEN THE PIT’ furiously and continuously until the command was obeyed. Then he let all the true believers mosh to a tantalizing clip of a new single never before heard. Hopefully we do not have to wait too long to find out if this means a new album is on the horizon.

Don’t live with your demons. Find a BTSM show and let them loose. Who knows, they might come home with some cool merch.

Photo credit to Jennifer Dref

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