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X&G

If you’re looking for music that pushes boundaries and challenges you as a listener, look no further than X&G. The Salt Lake City based duo pretty much define what innovation means in electronic music. Their style definitely isn’t for everyone, but those who can appreciate it are sure to be left astounded. Their latest release Persona is a ten track effort that showcases their diversity and originality. Whether it’s pitting josh pan’s vocals against drops that bend space time on ‘GRAVITY,’ exploring the dark depths of the subconscious on ‘BELONG,’ or transporting listeners around the world on the emotional roller-coaster that is ‘Montage.’

WHIPPED CREAM

Originally from Toronto, but currently holding it down on Canada’s West Coast, WHIPPED CREAM has been impressing us since she was making club bootlegs of Kanye West. Fast forward a few years and she’s become a true innovator in the electronic scene. Her collaborative EP with Hekler broke down the barriers of future and experimental bass music. Oh and if you’re looking to get your brain blown, go ahead and listen to ‘FTP’…if you dare.

Wevor Trill

Bay Area beatmaker, Wevor Trill has been heating up 2017. Kicking the year off with the Kanye sampling ‘yayzer beam,’ his music will “explode your fucking head.” The combination of clever samples, addictive loops, and snapping 808s will take you back to the days of trap’s birth (think Baauer), while his inventive progression and sound design will remind you that the future is now. His simply titled ‘drop’ just hit a million plays on Spotify, so his stock is quickly rising.

Vincent

Formerly XVII, Vincent has seen his greatest progression and releases in 2017. He capped off last year with the incredible single ‘Alpha’ and rode the intense energy throughout the year. ‘Alpha’ and ‘Jinx’ showcase his duality and keen ability to produce beautifully contrasting music. Stunning intros and breaks are juxtaposed against brutal drops with sinister sound design. But it’s not just carefully crafted bangers in his arsenal. This summer he delivered ‘Breathe,’ an emotional anthem that fuses together elements of pop, trap and future bass. With the standout remix for San Holo’s latest release and an afternoon headlining spot at HARD Summer, it won’t be long before Vincent blows up. Not bad for a kid from Winnipeg, Canada.

um..

Even their name is irregular, with lowercase styling and two dots. This off-kilter and IDGAF selection perfectly embodies their music. The experimental bass sounds are some of the wildest and weirdest your brain will ever have the chance to try to make sense off. They’ll sample anything from bird chirps to The Office and make it sound incredible. Their catalogue runs deep, but if you’re looking for a good introduction check out their latest collaborative EP a dogs tale.

thook

Coming from our hometown of Toronto, thook is a producer we hate to admit that we’ve been sleeping on until lately. His sound is as raw as DMX on dust but with an oddly cinematic aesthetic. His basslines are beyond thick and his samples and synths are Wu-Tang Clan (nothing to fuck with). His last three releases ‘8 Zone,’ ‘flight mode pt1’ and ‘Road BOI 7’ are sure to leave you an awe. If you’re tired of the same old trap shit, thook will open you up to a new world.

STFU

NYC duo STFU (Stand Tall Fists Up) first made major waves with their Slow Roast debut So Duh. The title track brought forth a sound that could only be described as space trap. A banging display of ray gun blasts, intergalactic synths, deep bass and pounding percussion. Since then they’ve become one of the most sought-after remixers with official reworks for heavy hitters like A-Trak, Anna Lunoe, Grandtheft, Keys N Krates, TWRK and more. Adding further fuel to the fire, the duo made their Diplo and Friends debut earlier this year, which is pretty much a right of passage for soon to be stars. Topping it all off they just competed in A-Trak’s brand new Beat Battle The Goldie Awards. Yeah, they’re killing it.

Ramzoid

This list is littered with Canadian kids churning out cool tracks on the regular. There may be no more cool or young than Prince Edward Island’s Ramzoid. It seems quite obvious that his upbringing in the “Garden Of The Gulf” has influenced his production style. There’s no shortage of nature-inspired sounds that add to the intensity and crisp, clean quality of his productions. After first making his mark with a “re-do” of What So Not 3 years ago, he’s since gone on to flip the likes of Jack U, Mura Masa, and most recently, Post Malone. He’s also co-founded Soda Island, so don’t be surprised when he bubbles his way to the top of lists like this.

PURGE

The faceless duo made their mark on the industry with their debut EP Feel Your Love. Their dark bass aesthetic mixes elements of future bass with raw trap. The sound is something between Flume meets Mr. Carmack with deep emotional overtones. Their sound continues to evolve and morph with each release; one may be an experimental bass effort, the next a rap influenced banger, and another a slow burning instrumental. What you can expect from everything with their name on it though is quality. With support from NEST HQ and Elysian, don’t be surprised if you see their name popping up on the regular.

Pham

Polish producer Pham’s first big splash came with an out-of-this-world remix of Flapo’s ‘Dear Neighbour,’ and we’ve been following him closely ever since. He’s become well known for crafting soundscapes like no other; carving out a cool, yet creepy space for himself. He’s dabbled in seemingly opposing genres of house and trap, producing potent remixes of Grandtheft’s ‘Easy Go’ and most recently Big Gigantic’s collab with Waka Flocka Flame. While his down-tempo chill vibes fill the room, it’s his drum design that really takes the cake. It’s the kind of clicks, clacks and thumps, that send the whole room into a tizzy. Get emotional and wild all at once with Pham’s unique brand of fire.

NOAHPLAUSE

Toronto’s own Noahplause has been killin’ it since 2015 with tracks like ‘Fire’ and ‘Runnin’. After a quiet 2016 he returned full force this year with a slew of massive tracks (‘Bus It,’ ‘Pull Up’ and ‘Throwing Money’. He can produce across genres from club, to trap and bass house, at times somehow meshing them together within the same tunes. If you’re looking for hard-hitting slappers Noahplause is your dude.

mossy.

Mossy. first graced our radar with an official remix of Lido’s ‘Dye’. The hazy and hypnotic flip wasn’t quite like anything we’ve ever heard. The balance of sheer beauty with just enough bump has come to be mossy.’s calling card. His most recent original ‘glass’ personifies this to perfection. Mesmerizing synths are layered with emotional plucks for a sound that breathes emotion and ozone. mossy.’s music will leave you with a feeling a wonderment that’s seldom experienced.

Masayoshi Iimori

Of all the names on this list, Masayoshi’s may be the most misspelled (it’s a double i), but we believe that’s soon to change. The Japanese master of mayhem continues to craft the most mind-boggling productions. Whether it be a remix of Anna Lunoe, a bootleg of King Kendrick or an original (on Trekkie Trax, or more recently TWONK and Good Enuff), this man is the future. His productions ooze with an inimitable energy a la nightcore or happy hardcore. That energy is only equalled by a bass design that can only be labeled as ballistic. If you’re in need of a new club weapon, look no further that Masayoshi Iimori’s ever growing arsenal.

Jon Casey

South Africa is becoming a hotbed for bass music and one of the country’s brightest stars is Jon Casey. He has made some serious waves with his collaborative project It Hz. and his solo work never disappoints. His Rockerfeller EP is a rugged bass heavy beast. His ability to blend worldly sounds with futuristic sound design is reminiscent of TroyBoi, but he does so all in his own way. Don’t let his straightforward name fool you, his music is anything but.

Holly

Portuguese production powerhouse, Holly just hit the 200 track mark on his SoundCloud, with the release of ‘Bruno Mars’ featuring Woolymammoth. Let that sink in for a second. That means in the 3+ year lifespan of his account, Holly has dropped more than a track a week. But we’re not just talking about pure quantity since there’s no shortage of quality in his, at times queasy, bass tunes. He’s worked with everyone from QUIX to Max Styler and even Masayoshi Iimori on ‘Pump It Up.’ And that’s not the only thing Holly and Masayoshi share. They’re both nearly impossible to categorize. While they are obviously not future bass, they are both future and bass personified. Holly has literally unleashed ‘Hellfire,’ while also showing a more subtle side with the likes of ‘I’m No Better.’ It’s safe to say Holly is one of the hottest commodities on the market, especially after winning The Beat Battle at The Goldies.

Dombresky

French fire-thrower Dombresky is taking things to the next level in 2017. After exploding onto the scene with a tempestuous 3 track EP on Fool’s Gold, he then smashed things up with a sublime remix of fellow Frenchman DJ Snake’s ‘Middle,’ adding an awe inspiring appearance on Record Record’s Filet Mignon 4. He’s upped the ante this year once again flipping DJ Snake, this time taking on ‘Ocho Cinco.’ He’s since found a home for his hard hitting and deliriously deep house track on Tchami’s CONFESSION. His latest output, ‘Hostyl’ with MALAA further showcases how dirty Dombresky can get. And if dirty is what you desire, best find yourself front and centre for the next Dombresky DJ set, as the man mixes it up with the best of em, see his set for The Cookout on SiriusXM.

Bishu

There must be something in the water in eastern Canada, either that or it’s just the Screech. Like Ramzoid, Bishu comes from the coast and brings big time tunes to the mainland. After unleashing his early work on Unborn Records, he’s since made his mark on Mad Decent, culminating in an epic episode of Diplo & Friends. His wild, “wavey” style welcomes twerking, but he’s not just about the booty, he’s got a lot of love in his productions: see his collaborative remix of ‘Alaska’ with Luca Lush or his latest ‘Skin To Skin’ with QUIX. Don’t sleep, grab your surfboard and ride the swell of songs Bishu is bringing.

Word by Colin & Oggie James.

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We caught up with STFU and asked them what they wanted people to get out of the rework, “Just enjoy the fucked up, fun aesthetic of it, and play it at parties, or whatever. We want it to be a crazy song. And you’ll probably see us performing something like it with keyboards and guitars in the future. It’s always an experiment for us. So thanks Grandtheft & Mad Decent for having us check it out! Oh and watch the voice-leading on the drop.” Stream below.

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First up, Sam Armstrong’s rendition is comprised of both the softer ethereal side of the single, but also the juicy bass. As it is throbbing, deeper trap elements are lobbed around with a rambunctious rhythm section. The tight snare keeps the things twitchy, and lively. This all makes for the cheekiest of this collection.

This is followed by Gerry Gonza’s take on ‘Radioactive’ which is a fresh, funky tribute that is guaranteed to excite with its ballooning bass line. So groovy, its bouncy synths are irresistible as they contrast with sections of Lunoe’s angelic vocals. The deep house sounds of the track gives it a party vibe, and its thick milkshake bass is sure to be most delicious to devour on a dance floor.

Before pumping up the beat to a vibrant, dreamy state, Chace’s intro is the most lyrically focused sample in the playlist. It was really refreshing to hear how the beat and the vocals where paired in a cha-cha smooth rhythm creating a curious get-down. The ferocity of this version of ‘Radioactive’ is quirky-weird, and over too soon; like a burst of light through dark clouds.

The most dramatic and genre bending of the mixes in STFU’s track. In this production rock, electronic, and classic string sounds are manipulated into a hybridized thrasher. What is really impressive is the way this track comes across as ultra modern with its morphing synthesized flutes, and expansive, continental bass sounds into a harmonious couple. Towards the end of the track listen for the flute synths that are grafted onto the vocals as the bass purrs. Its inventive and thrilling.

The Jaded remix is both soft and hardcore. This polar production offers attention to the delicacy of each sound, and then all into a blender and drop-kicks the bass, heating up the track into an aggressive pace. The intro is like a lullaby version of ‘Radioactive’, and draws out each clear cutting sound until the percussion spins things fast and furious reaching the ledge and brings things down into a tail spin. Enjoy the drop.

To wrap things up MCLS’s remix supercharges the track’s club components and extorts them. By balancing Lunoe’s vocals slow and steady against a more active percussion line MCLS creates a simmering single. Swells of emotion keep the energy going from being to end, and delivers a refreshing jam to get lost in the potent bass, and funky effects.

Check them all out down below.

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Tell us a little bit about yourselves. What is your musical background? How did you get into producing?

A: My parents had me playing music when I was really young. I was playing violin when I was 3 years old at the conservatory in Toronto. I come from a family of several musicians, so I was listening to a lot of different music growing up. I started playing the guitar when I was 13, and then interning at recording studios and studying jazz when I was 16 or 17. There were amazing, talented bands and artists hanging out there, like MSTRKRFT and the Weeknd. I didn’t know much about production when I started, but I would hang out and help with different sessions. I picked up what I could along the way.

Z: My parents started me on instruments when I was young, drums and piano mainly. By the time I was 14, I was addicted to computers and producing beats in my garage for my friends. I played in jazz bands in high school and studied piano all through my childhood, falling in love with jazz, hip hop, sampling, and synthesizers. I produced a ton of shit. I threw parties for my friends, always creating music, melodies, and beats.

How did STFU come together?

Z: Derek, our manager, found me on YouTube imitating sounds and uploading synthesis tutorials online when I was 14. I would do wobble bass sounds, Dutch house saw leads, and weird EDM things like that. Anyway, Derek emailed me and essentially said, “Hey man, I think you’re really talented. I have an opportunity for a Chris Willis remix coming up and need someone to help me produce it.” That was it. I got to work. Everyone in my high school knew what was going on, and there was a lot of local support. I came up with the alias for STFU with a best friend after DJ’ing a party. That was the first release. Several years later, I met Alex at Berklee. I needed help on a production. Then many productions. Then the whole thing.

Sometimes I want to blow someone’s mind, other times I just want to make their day a little better.

What is your goal when creating music?

Z: For me, it’s obvious because it’s the same reason STFU came together. I’m constantly making music that excites me, and that I think will excite other people. Sometimes I want to blow someone’s mind, other times I just want to make their day a little better.

A: I agree with Zak. We want to play our music for people, inspire and give people a new experience, get away from all the bullshit. I want to contribute to the world of great music, and in the end, make music I love listening to.

Every one of your releases is unique. How do you ensure your sound stays innovative and different?

A: That’s not really something I actively focus on. We both tend to get excited about what we feel are new and interesting sounds. I might be inspired by a tune I’m studying or an artist I’m digging on. In the end, I look to create something that is a representation of where I am and what I’m interested in.

Z: It’s the only thing I can’t control. It’s different every time. It’s one of the things that makes me an ADHD kid.

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Your music often doesn’t quite fit into predetermined genres. Is this done purposely? Do you think genre segmentation is still relevant in today’s musical landscape?

Z: I guess it’s not by accident. Genre segmentation is fine, and we like to be the ones to go against the grain. I love making music that surprises people. So yeah, it’s still relevant, and we’re aware of it. We try to experiment with everyone’s perception of where one genre ends and another begins.

You’ve released music on Dim Mak, Fool’s Gold, Mad Decent and Slow Roast Records. Is there a benefit to working with so many different labels?

Z: Definitely. We just want to work with as many people as we can, because we love this music. These are our heroes, role models, mentors, and peers. So in a way, we’re just trying to make a worthy contribution.

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Last year you landed official remixes for Keys N Krates, TWRK & A-Trak. How did these opportunities come about? What was your favorite to work on?

A: They’ve been supporting our music for a while. A-Trak and Fool’s Gold, the guys at Mad Decent, TWRK, eSentrik and Benzi, and K&K. We got the Keys N Krates remix through Derek and our communication with the band on Twitter. They’ve been supporting us for a long time now, and we were really happy to be able to work with them on their latest project. We love Greg and the guys, kick it at their shows, and have a great fucking time. The A-Trak remix came about when were talking with him about some of our music he was playing at New York Fashion Week back in September. He happened to mention that he was doing remixes for his new single, ‘We All Fall Down’, and said if we put together something dope, he’d love to throw it on the EP.

Z: Benzi and eSentrik have been supporting our tracks for a while of radio shows and mixes. Derek asked for the stems, and I put that together in a couple days during the summer in California. TWRK loved it, and it became a new sound for STFU to fuck with.

The majority of your releases to date have been remixes. What are the benefits of working on remixes vs. originals? How have remixes contributed to your evolution as producers?

Z: Remixes are actually how STFU got started, because that’s where the opportunities were. Plus, it’s a way to put our stamp on things and get people recognizing our sound. We’re always inspired by what everyone else is doing, and we think it’s dope to be able to contribute to that.

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You posted a few previews in January. When will be hearing new music from you?

A: We’re working on a ton of music right now with the labels and artists that have been supporting us. There’s so much that’s about to take off, so all we can really tell you is that you’ll be hearing a lot of new STFU this year.

Our eventual goal is to tour a massive live set with all of our instruments on stage: guitar, keyboards, turntables and microphones.

Are there any plans for a tour or live sets in the near future?

Z: Our eventual goal is to tour a massive live set with all of our instruments on stage: guitar, keyboards, turntables and microphones. But everyone wants us to stay inside and produce while we’re in school. We’ll be jumping on a few setlists this year, and you might catch us in some underground parties in Boston while were finishing exams.

What else is on the horizon for STFU in 2016?

Z: Multimedia stuff, collaborations, traveling, releases, more remixes, a move to NY, parties, and a backpacking trip in Vermont.

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