‘Outsiders’ begins with ethereal plucks in a wide, spacious atmosphere with rich percussion that quickly builds up energy to bust down the door at the drop. Filled with bouncing plucks that pitch up and down, gritty basses and top-notch percussion, Runnit and Shanghai Doom twist the track and create a Trap 2 banger that has the energy of a house track to get you moving. The second drop is filled with elements from the first drop, reconstructed with a new beat that manages to have the laid-back coolness of a hip-hop track with the raw power of a trap track. Shanghai Doom and Runnit have brilliantly fused their own styles and inspirations into a very cohesive track that is sure to have the underground flying the same banner.

Be sure to check out Shanghai Doom and Runnit’s ‘Outsiders’ below.

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Flaunting some of the thicccest wubs in all the land, Smoakland’s trademarked style blends effortlessly with the foreboding soundscapes that Shanghai Doom are veritable mastercraftsmen of. Immediately greeting listeners with robust undulations that swiftly devolve into blissful speaker purrs, there’s really no time to strap-in and mentally prepare for the rich evil that one will endure. Dubious vocal chops that sound straight out of a horror movie invade your consciousness, bringing on all sorts of devilish thoughts that would seem extreme in any normal circumstance. Equal parts music, seance, and satanic ritual, hitting “skip” might be the best move around small children, unless, of course, you’re trying to indoctrinate them into the unholy church of malevolent wubs. Tight, immaculate mixing makes this track a true treat on the ears, while also straight diabolical energy for the soul. Man, does it feel good to be evil. Check out ‘Time Warp’ for yourself below!

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While Bassrush has consistently maintained a steady outpouring of audible content and a salient presence as a stage host for major events, such as Electric Forest, it wasn’t until the midway point this past summer that the brand further explored the concept of a roster compilation, as featured in the Ghost Town LA soundtrack, which features tracks from Bassrush dark dubstep front-runners Caspa, Ternion Sound, Coki, Eazybaked, and Bukez Finezt.

Now revealing the first chapter of a novel new compilation, The Prophecy: Vol. 1 works as a synopsis of Bassrush’s talent, composing 11-unique tracks including a long-anticipated collaborative gauntlet between sfam, G-Space, & Mystic Grizzly, as well as tunes from the likes of Esseks, Shanghai Doom, Abelation, FRQ NCY, and ECRAZE.

Encompassing the many eclectic sub-genres that bass has to offer, this new Bassrush Compilation is not one to miss. Be sure to check out The Prophecy: Vol. 1 out now below!

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Building upon this momentum the duo continued to soar throughout 2019, revealing a second entirely independent project in the Strange Weapons EP, followed closely in-suit with the collaborative gauntlet Biohazard, which included features from the likes of Big City, Space Wizard, Tsimba, and Toadface.

After entertaining a bounty of releases that have capitalized on the more aggressive, weaponized periphery of bass music, it only seems right for the duo to revisit the spooky, off-kilter guise that first sent Shanghai Doom spinning in motion.

“All of the tracks from the second chapter of Rituals include samples from various horror movies that we love. We were watching a film and heard this quote that immediately stood out as something that needed to be used for this project,” the duo imparts regarding the initial spark of inspiration that thoroughly ignited their latest EP.

‘Demons’ sits synonymously with the supplementary tracks released with Rituals II, utilizing a repetitive clanging like the ominous tolling of a church bell to create immediate suspense within the track. A distant whispering lingers from the backdrop, paired cohesively with a distinct clapping that heightens the tempo of the track before the duo unleashes a drop composed with surges of gyrating bass and contorted digital panning that can only be described as ‘the work of the devil’.

Be sure to check out the latest release from Shanghai Doom’s Rituals II EP below and grab the full EP here.

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The opening track in this radioactive body of work is ‘Agent Orange,’ a collaboration with east coast boys Tsimba and Deez. The track lures you in with its impeccably EQ’d vocals looped to get you fully entranced in the infectious rhythm, sprinkling more and more reckless bass lines that build upon each other. Equal parts gangster and improvised explosive device, this piece will make you feel like a kingpin in the trap and also blast you with a full frontal assault. Arguably my favorite track on the EP, this is one I’ll keep in my daily rotation for weeks if not months to come.

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Next on the roster is ‘Alchemy’, Big City’s collab with the purveyors of noxious materials. The pre-drop vocals state in a low tone “that is extraordinary,” which is spot on considering the first few notes simulate sound waves barking at you. The rest of the song is so alien even ET wouldn’t know what to do with it. Resulting in immediate quarantine, the 2nd drop is most assuredly a prime cause for a case of the aggressive wiggles.

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Space Wizard jumps in the ring for the next collab ‘Teleblock’, the embodiment of joyful confusion. Featuring swift switch-ups, exceptional layering, and a wonky melody, this song is a grade A contender for a wook anthem.

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Rounding out the EP is ‘Dangerous Impulses,’ a wild collaboration with the youthful wub dealer Toadface. Cleverly incorporating a phone dialing sample throughout, this could be a voicemail to Marvin the Martian. From an audiophile standpoint this song is exceedingly impressive, masterfully creating cohesion and veritable oodles of flow amongst many different samples.

Despite all these tracks being collaborations with different artists, consistent themes are present throughout each piece. Immaculate attention to detail, pupil-dilating sound design, and an innate push to be as unique and fun as possible. Make sure to check out the Biohazard EP in its entire glory for yourself below!

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Making right on their promise, the duo pieced together a 30-minute gauntlet that is packed to the brim with unreleased tunes with TYNAN and TVBOO as well as a dirty dozen solo IDs from Shanghai Doom.

While Rituals provided an opportunity for Shanghai Doom to initially make a name for themselves, a tireless work ethic and dynamic vision, as demonstrated in the guest mix and interview below reveal the true differentiator that will catapult the duo into the upper echelon of producers before 2019 is through.

Brace yourself for 30-minutes of pure sonic mayhem as you get to know the boys a little better below!

Tell us a little bit about the backstory with Shanghai Doom.

Mike: I actually met Andrew through some mutual friends at our school (Rutgers), he was playing a lot of shows under Aylen and I ended up connecting with him on Facebook. We got together a lot and wrote random stuff; he actually taught me a shit ton about Ableton because I was using Logic at the time.

Andrew: The vision for the project has gone through a couple different phases. We started out with a more aggressive dubstep sound, but after being inspired by sets from the likes of G Jones, Yheti, & Toadface we started to shift towards a more experimental approach. I think we really began to find our sound as we started to mess with different tempos (specifically the slower ones i.e. 120bpm).

Mike: Moving forward we’re kind of blending everything and continuing to expand upon what we’ve been doing.

This is a question we tend to favor with duos as its interesting to hear the variety in responses. What are some of the biggest benefits and hindrances in both producing and performing as a duo?

Mike: The coolest part of being a duo for me is that when one person starts an idea and sends it over the other person is listening completely with fresh/objective ears; that’s something you don’t get very often working solo.

Andrew: I think the main downside would be when we have creative differences – they are not game breaking for sure but sometimes one of us will really feel the direction of certain track while the other wants to take it a completely different way.

I think any type of art growing in popularity is a good thing.

As a whole it feels like the trap genre received a lot of love and saw a tremendous amount of growth, do you view the rising popularity of the genre as a benefit — meaning a wider audience and more potential listeners for your music, or moreso a downside because with it comes an influx of new talented producers?

Mike: I think any type of art growing in popularity is a good thing. More producers = more fun, but as long as everyone is staying true to themselves and not trying to copy other people, that way things don’t become super saturated or hinder creativity. I think no matter the popularity of the genre there will still be producers pushing boundaries :-)

We both love movies and get a ton of inspiration from composers and movie scores (and video game scores).

With Rituals marking your first major collective release, what were some of the biggest improvements from your perspective that you had the chance to showcase in the EP?

Andrew: We both love movies and get a ton of inspiration from composers and movie scores (and video game scores). I think we both love darker vibes and this EP was a chance for us to have fun with some of our favorite horror movies and showcase some of our weird sound design alongside it.

I’m really curious about the backstory with ‘High Noon’ and the more recently released VIP of the track. Did you initially make the track with some unspent creative juices still in the tank, with the intention of revisiting it at a later date, or was it advancements in your own capabilities that revealed a new direction that called for the revision?

Mike: Shanghai Doom honestly started out more on that type of sound. We made more distorted sounding stuff with dubstep drums. We still love/play stuff like that but the whole project shifted. Although the sound and direction of Shanghai changed, we both just loved that track so we decided to revisit it with a more refurbished sound.

What have you got in store for us with this guest mix?

Mike & Andrew: Lot’s of unreleased shit from us (alot of heavier stuff than your probably used to from us!), some new collabs with homies, and some good old fashion Shanghai billboard top 100 hits.

Anything exciting you care to tease fans with for the upcoming year?

Andrew: Planning on putting out a bunch more music this year including a couple dope collabs which will be on some labels (can’t say where yet) but both are included in the mix!

Tracklist

Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom – ID
Peekaboo & G-REX – Babatunde (TYNAN Remix)
Shanghai Doom – ID
FLY – Bengali
Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom – High Noon VIP
Shanghai Doom – Contact
TYNAN & Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom – Raptors
Shanghai Doom – Interdimentional Funk
Shanghai Doom – ID
Shanghai Doom – ID
Shanghai Doom x TVBOO – ID

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We were fortunate enough to have the chance to catch up with the pair to discuss their most recent release, the logistics of collaborating as a duo and to get a taste of what’s in store for the duo in the coming year.

Have a listen to ‘Hierarchy’ while you get to know the two better below!

Your most recent release ‘Colors’ and now the latest collaboration with Tre Justice shows massive improvements in production as well as signifies one of the first chances to demonstrate your sound alongside another artist. Is the reason for this due to personal preference of working alone as a duo, or were you just waiting for the right opportunity to present itself?

Thanks :-) We also think our skills are constantly improving as we try out new stuff and have some fun in Ableton. Technically, every track we create is a collaboration between Andrew and I, and believe it or not we both have pretty different tastes in sound. We know a Shanghai Doom track when we hear one because it’s essentially a smooth mix of both of our styles and preferences.

Did you two know Tre Justice prior to working on this piece together, or what were some of the behind-the-scenes logistics that led to the release of this piece?

As for collaborating with other artists, it’s not something we TRY to make happen. It usually ends up being with a close producer friend or homie we know. We had the pleasure of meeting Tre Justice through our management and after sending stuff back and forth for a while we landed on WIP that fit us all. We are both very picky with how a track comes out and sometimes it makes us nervous to have a third hand in the pot, but hey, if it works it works!

Tre is awesome and he really loves Five Guys. The man can eat burgers like it’s nobody’s fucking business. We played a show in Richmond a while back and met up with him and all the other lovely people down there. This sparked a great friendship and eventually led up to working together.

While some of your earlier tracks have a more crisp, clean trap appeal, this latest one has a bit of a wonkier feel. Are you testing the waters with a new style that we can expect to hear more of in the coming year?

I think our style and sound is both targeted and unique at the same time. Sitting down to write music it’s often hard to prevent influences from subconsciously entering your artwork. We listen to/play out all of the Wakaan stuff and love it, sometimes it’s hard to not let that influence our sound. All in all we try to remain true to ourselves and we only decide to put out tracks we feel are a great representation of what we like. Andrew and I have a ton, shall I say shit ton, of new stuff set for 2019. This for sure will include that downtempo Shanghai stuff we both have a blast making but it will also begin to breach some heavier and wonkier areas too. There’s also some stuff we have ready that feels so fresh and new we don’t really know what to call it, and believe me we are really fucking excited for everyone to hear it.

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