We begin with these ghostly yet metallic ambient synths that slowly increase the dissonance in the record, almost to a point where your skin’s crawling. Out of nowhere, OAKK’s signature 808s slap you into next week along with some other powerful percussion elements that carry the energy throughout. As we ride through the record on the backs of these percussion elements, we can take a look around and find that those ambient layers originally introduced in the intro now take center stage yet again. In addition, the seasoned producer periodically throws in these piercing one-shots, along with some stank-face-inducing counter melodies. This is just one-third of this masterpiece of an EP, make sure to check out the rest of the tunes down below. 

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Kicking off the project comes Acrillics’ ‘What Do You Want.’ It’s no secret we’ve been longtime fans and supporters and it’s always great to see the duo making big moves. Serving as a perfect introduction, it starts as a slow burner with emotive undertones before unveiling a bass-leaning trap nature. Blending feels with aggressive and powerful energy makes this a can’t miss.

Chromonicci has become renowned for his diversity, from future beat finesse to lofi chill tunes and trap slaps, he can do it all. With ‘Singularity’ he finds a perfect fusion of off-kilter future beats and the chest-pounding energy of raw trap. It’s smooth yet, banging. Experimental but approachable and dare I say… smooth. In short, it’s spectacular.

The stash of unreleased heat that Dabow is sitting on right now is absolutely insane. Any time we get one of his highly sought-after IDs for release we relish it. ‘Poder’ has been a staple in Dabow sets and mixes so it’s great to finally get the proper release. From the bent vocal loops, to ice-cold keys and the blistering brass, this is trap music at its best. People really need to stop sleeping on Dabow’s greatness.

Possibly the biggest surprise on the tape is Giraffage’s’ ‘idgaf.’ Based around the vocal “I don’t give a fuck,” this is a blistering banger here to set speakers ablaze. Booming bass, precise vocals chops, and an almost absurd party vibe make it undeniably infectious. It’s the type of banger you could see getting spun out in trap or bass house sets or serving as the perfect bridge between the genres in a setlist. I didn’t know Giraffage went this hard.

Other mid-to-late tape standouts include Great Dane’s ‘aya hua’ which fuses tribal and spiritual energy with some serious bump, LYNY’s bossed-up anthem ‘Stumble,’ and RamonPang’s beastly ‘Santoor Unkown.’

Last but not least I have to highlight Rome In Silver’s ‘Little Demons.’ I’ve been waiting for this one to drop since I included it as an ID in my Electric Hawk Takover Mix in early 2020. Electric basslines, swooning vocals, crisp claps and a forward-thinking soundscape are expertly intertwined. The drops are funky and inviting while remaining mean. It exemplifies the exceptional balance that Rome In Silver has managed to master.

BOOST TAPE 02 is everything you wanted and more. Stream the full project below and be sure to grab it on Bandcamp.

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Never complacent, ‘Tunnel Vision’ is assured to capture your focus from beginning to end. Listen below.

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‘WAARP’ is quintessential OAKK; fusing mind-bending leads with pounding percussion and powerful bass. The opening sees evocative “woop!” vocal samples punctuating the luring soundscape to forewarn listeners of the madness that’s assured to ensue. The drops hit like Mike Tyson body blows with a constant sense of evolution. At face value ‘WAARP’ is yet another bass banger from the exceptionally talented producer but the progression throughout is what makes it special. Whether it’s adding pitched vocal tones, sprinkling in layers of filth, or stripping back elements to make the track even more impactful, this one never stagnates. OAKK is quickly becoming one of the most consistent and exciting producers in the trap and bass arena and ‘WAARP’ is another strong reminder of this fact.

We caught up with OAKK for a quick interview to learn more about what it’s like to move across the world in the midst of a pandemic, get some insight into the upcoming EP and his workflow. Stream ‘WAARP’ below and be sure to check out our conversation.

You moved to Spain this year amidst a pandemic. What was that experience like? Did you write this EP there? How has the change impacted your music and life?

Stressful… but really, I don’t recommend it, but I also kinda do! It was such a challenge, but just like any challenge it proved to be so rewarding in the end. Between the visa process, travel, finding an apartment all in a new language, it has been an experience I’ll remember forever, for good and bad reasons. Major props to my partner Carissa, I couldn’t have done it without her holding it down for us. We’d be living in a shoebox with rats, no running water and some random guy living there too for some reason if it were left to me.

I wrote half the tracks almost a year ago, and three of the tunes I wrote in my deconstructed studio in my living room in Madrid. It’s actually quite sad, but again, the challenge is welcome! 

I mean, it’s a huge culture shock coming from Canada to Spain, it’s way different than travelling to a foreign country because I’m not just here for a couple weeks and going home, I’m really here… for a while. So it’s been a big adjustment the first month or two, but I’m starting to get the hang of it and my Spanish is getting “ok.” Any time I feel homesick I just look at the weather in Canada, and I’m good. 

Musically speaking, I’ve been writing a lot more music that’s not necessarily geared towards the dance floor. I’ve started a new side project that I’ll hopefully start releasing music under soon, more pop/hip hop styles of production with me trying to sing. TRYING! When I was first planning to move here I was really looking forward to involving myself in the music scene here, and soaking up what the night-life has to offer all over Europe, which I think would really affect my music in a profound way. But right now that’s obviously not happening. Hopefully soon! 

What inspired the title of the track? Why two A’s? 

So the only piece of gear I was able to fit in my bag moving here was my Korg Minilogue xd, which I love, it’s such a beast for its size and price (shameless plug sponsor me Korg!!!). There was a synth patch that I was messing around with one day on it called “Waard” or something and I liked the way it read with the two A’s. I was also trying to come up with a name for the EP so I started calling it “Waarp” tentatively because Waarp is way cooler than Waard. The EP actually wasn’t going to include the title track because I hadn’t made it yet. 

The tracks also have that sense of really manipulating sound, lots of distortion, and very electric – so WAARP just stuck and started to make sense. It also gave me a lot of ideas when it came to the visual identity for the project and the more I started drawing sketches for the artwork and seeing the word everywhere I was like ok I like this. 

So I actually made a 16 bar loop that eventually became the full track after I made the artwork and basically tried making a soundtrack to what I thought “WAARP” had to sound like. It was interesting because I had a visual already and kind of a feeling I was basing my production off of, I was working backwards in a way. Anyways, I fleshed out the rest of the arrangement that day and then I added the middle section the next day and it was done. 

If ‘WAARP’ was a painting. What would it look like?

It would look like the cover art (*laughs cheekily**sips cognac*)

No, but I think if it was a painting it’d be just layers of colour poured on top of each other, you know like those paintings people who can’t really paint make, but they still really do look tight so I don’t blame them. But then cut it up with a circular saw into a thousand pieces and have a child try and put it back together and that’s what the painting would be.

The file you sent me is labelled ‘WAARP v13.’ What went into the previous versions? How did you know this one was the final? 

I just checked and the final before sending it for mastering was actually “v19”. Usually v10-20 is pretty normal for me, the versions before were just the initial 16-32 bar loop idea, and then slowly adding more and more to the arrangement. The higher numbers are usually when I’m mixing down because I’ll keep finding stuff I hate the closer I am to finishing the song. I like to export the tracks and listen so I’m not distracted by looking at the levels in the DAW or finding things to edit. I try and listen without looking at my computer too, so I don’t rely on looking at the levels and focus my attention to just listening. That being said I totally use Traktor’s spectrum view to check my mixes and masters, because I like how detailed it is visually and I can compare it to tracks I want the final mix and master waveform to “look like.” I don’t use Traktor to DJ, but I solely have it on my computer for that reason, I’ve used that trick for a long time. It works for me because when you listen to something over and over again you start to hear sounds differently, I’ll always find a hi hat or usually my snares are waaaay too loud and that visual lets me know to chill the fk out. 

What should fans expect from the rest of the EP? 

This EP is for all the half-time junkies, and wonky beat obsessives – to put it simply, I wanted to make an EP of bangers with a couple soft-bangers in the mix too. They can also expect to not hear it on a big sound system any time soon… but I’m really excited to get this project out, it’s been cathartic for me to put together the music and all of the creative along with it. So I hope people like it, it really would suck if they didn’t!

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“For the next seven days I will be donating 100% of my portion of sales to G.L.I.T.S (Gays and Lesbians Living in a Transgender Society) as well as the GoFundMe for Queer BIPOC Mental Health Counselling,” OAKK states about his intentions. With only one listen through of tape [one], you’ll immediately be convinced to donate to such a fantastic cause. The first three tracks are insatiably smooth beats that are minimal yet drive a natural flow that is truly irresistible. Get lost in the groove of these laidback beats before OAKK steps it up a notch in the latter half, flexing his production prowess with knocking trap and bass tunes that highlight the artist’s gleaming versatility.

Whether you’re looking for an easy-listening groove or a heavier vibe, OAKK has got you covered with tape [one]. Don’t miss it below.

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What was it like growing up in Calgary? Are you still based there? If so, what’s the bass scene like?

Cold… But from an arts/culture standpoint during my younger years it was pretty stale, the city seems to ebb and flow through high points and low points. It’s hard when the majority of young people in the city don’t seem to go out to shows/parties, and prefer hockey games and bar-cades… but that’s the game with throwing parties, especially in an extremely conservative oil and gas city. The benefit of it being so fucking cold in Calgary to go outside for most of the year is that you have a lot of time to spend inside practicing and learning new skills. I think that’s why Calgary has pumped out some amazing musicians over the years. I am still based here, however I plan to be moving my life to Madrid in the Fall unless this pandemic says otherwise. The bass scene in Calgary is small, but extremely loyal and committed to building itself up.

You said you regret naming yourself after a tree. Have you thought about changing your name/rebranding? Where would you take it?

I’m the kind of person that will always second guess my creative choices, and the name choice is one of those choices that I’m hot and cold with. That being said if I were to change it, I know I’d have the same feelings towards the new name. I’ve always wanted to start a clothing line through my music project, less “merch” focused and more properly designed clothes. In my mind I actually like the name “OAKK” for something like that.

I truly think I’m a better person from my experiences within the festival communities.

How important has Shambhala been to your music career?

Last year was my first year playing at Shambhala, which was a monumental moment for me and I was really looking forward to playing at The Grove this year… But Shambhala was also the first outdoor electronic music festival I went to about 7 or 8 years ago, and it flipped a switch in me where I was like “yes… this is what I want to do,” and I never looked back. It opened me up to the world of festivals, and I truly think I’m a better person from my experiences within the festival communities.

I know you used to rap early on in your career, are there any plans to include your own vocals on tracks in the future?

It would be insulting to the world to say I used to rap. The main reason I started making beats is because I couldn’t rap haha. But I’ve always used my vocals in my tracks, for little snippets/one shots, most recently in my track ‘Git Lo.’ I usually lower the pitch and add effects so no one can tell and so it actually sounds “decent.” I’ve started recording more substantial verses and fills with my voice in some recent projects, so we’ll see where those end up. I’m also working with more MCs, rappers and singers as it’s always been my goal to produce records for people as opposed to just creating work for the OAKK project.

You mentioned that you have a few projects coming out this year. ONE is incredible. Will the rest of your releases be a similar sound?

Thanks! As far as my music goes, I always aim to have a unifying sound throughout projects,
while also trying to keep them unique in their own way. ONE was a straight up ode to big 808s, hip hop, trap, southern rap which is what I listened to growing up, and a departure from the reliance on sound design which I found myself doing. A less is more approach in a sense. The goal is to drop releases similar to ONE as a series, so the next will be entitled TWO and so on. I’m just finishing up the next release, but it’s a full on beats EP with some wonky, some vibey and some hyphy stuff that I’m very excited about. Everything else is still up in the air at the moment, but expect some rap collaborations and a downtempo/headphone focused release from me at some point this year. Then some remixes and maybe another edit pack at some point too… Sounds like a lot when I say it out loud haha.

If you’re curating a lineup you’re doing yourself and the attendees a disservice by booking the same acts twice. You’re also not digging for lesser known artists who need representation in these markets to grow their careers.

You’ve been pretty vocal about your gripes with festivals, from booking the same acts to play multiple sets, to their lack of graphic design expertise. If you curated your own festival what would it look like?

Oh shit… I wouldn’t say it’s a gripe per-say, it’s an observation, I’m calling it like I see it. If you’re curating a lineup you’re doing yourself and the attendees a disservice by booking the same acts twice. You’re also not digging for lesser known artists who need representation in these markets to grow their careers. To me a festival is somewhere to experience a diverse selection of arts/culture in a condensed space, where you wouldn’t be able to experience normally where you live. Basically it’s lazy. I’m not saying you shouldn’t book an artist for two sets either. There were just some lineups I saw that made me laugh when the top tiers on the lineup were the same people playing solo, b2b or as their other project.

If I curated my own festival it would be a diverse melting pot of people that I respect and admire, and just like my DJ sets it’d be about presenting familiar artists and sounds to bring people in, make them comfortable, and then showcase something new and different to them. It’d also be really really fucking fun!

Creating a full A/V experience has always been my end goal for the project, but I’m just waiting for the right time. I want it to be an experience and I just don’t think I’m quite there yet, I’ll know when it feels right.

In addition to producing music you also work as a graphic designer and motion graphics designer. How would you compare and contrast creating visual art vs. musical art?

I think if you work in any creative medium the worlds will start to merge and influence each other. You start to find similarities with each medium and your work starts to utilize tools you’ve learned from both practices. It even affects the way that I cook and make meals. Although my process is completely different for visual art and music, my workflow is generally the same. I start my music with a short sketch to flesh out an idea sometimes something as simple as beatboxing into my phone or scratch recording quickly in Ableton, which is the same for my visual art I always start in my sketchbook until I get an idea, and then I keep sketching because never go with your first idea until you’ve tried other options! Creating a full A/V experience has always been my end goal for the project, but I’m just waiting for the right time. I want it to be an experience and I just don’t think I’m quite there yet, I’ll know when it feels right.

Have you had the chance to do your first stand-up set yet? If, so how did it go? If not, is it still a goal of yours?

I haven’t… But It’s always been a goal of mine. I’ve always wanted to try it because it terrifies me, but I think it would also be extremely liberating if it went well. One day.

You recently tweeted “it’s the shitty/mindless reality tv stage of my quarantine.” What are you watching?

Haha… Yeah, so I watched this show called Instant Hotel where a bunch of Aussies stay in each other’s Airbnb’s and then rate their stay and basically just roast each other. My partner was watching Love is Blind which is the worst/best show because it’s absolutely insane, totally scripted but I don’t care. All of the intense psychological and anxiety ridden shows and movies I normally watch just aren’t hitting right when I’m quarantined, and especially the dystopic inspired ones, because that feels a little too real or foreshadowing during this time…

I can’t wait to be able to hug and make out with all of my friends, everything else is secondary at this point…

What are you most excited about for the remainder of the year?

To be perfectly honest I can’t wait to be able to hug and make out with all of my friends, everything else is secondary at this point…

Tell us a little bit about the mix. If it was a dessert what would it be?

I made this mix with tracks that I was collecting for some late night festival slots this year (cry face). I included lots of IDs from myself and friends as well as tracks that have influenced my sound over the years. I think we as DJs always get stuck on playing the newest/freshest dubs and forget about some of the timeless tracks that will always hit. If it was a dessert it’d be the sexiest dessert there is, creamed corn!

Tracklist

Flying Lotus – 1983
Tsuruda – spicy bois rained out w/ Mike Parvizi
Ivy Lab & Two Fingers – Talk To Me
OAKK – ID
Halogenix – Wolf
Denzel Curry & Kenny Beats – Take_it_back_v2
OAKK – IMSOSORRY
Nire – Hopscotch (ft. Nani Castle & Nini Rey) (Tony Quattro Remix)
Rico Nasty & Kenny Beats – Big Titties (ft. Baauer & EARTHGANG)
OAKK – HELLO404
Tsuruda – q-edits #2
JuLo – Temp
Natureboy Flako – Besito
Tierra Whack – Unemployed
OAKK – Twenty Twelve
Ivy Lab – Wideboi
Mr. Carmack – nell
OAKK – Talk To Me x Ticklish – Trophies Edit (DJ Edit)
Smalltown DJs – What’s Your Poison (OAKK Remix)
OAKK – ID
Alix Perez – U
OAKK – In Control
OAKK – Eclipse Flow
Deft – ID
OAKK – ID
Djemba Djemba – Macking in the Car (I Don’t Drive)
Sam Binga x Fracture x Rider Shafique – Back It Up (OAKK Late Night Edit)
A.Fruit – Gonman (ft. D.E.)
Machinedrum – Back Seat Ho (Rustie Remix)
OAKK – ID
Deft – For Sudden
Halogenix – Her Waves VIP
OAKK – Tricks
Rhi – Swagger (OAKK Remix)
Mk.gee – cz

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Opening with chopped and pitched Clipse vocals and hypnotic synths, ‘Eclipse Flow’ sets the tone perfectly. Once the drums and bass start hitting, it’s a wrap… and that’s just track one. ‘Twenty Twelve’ and ‘eww’ are assured to have you all the way fucked up in the right way. The tracks are the equivalent of hitting a heavy blunt in a Chevy Suburban with two pounding 12 inch subs rattling your whole existence. ‘Git Lo’ keeps the intensity riding high with a trapped out feel. Capping things off comes ‘ISO’ a downtempo beat that packs the same level of bump as the rest of the project with a more subdued approach.

Hip-hop roots, trap tendencies and a plethora off bass, OAKK’s ONE EP is must listen for FUXWITHIT fans.

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