Highlights of this year’s lineup include the likes of Subtronics, who is returning for the first time since 2019. Zeds Dead is making their WAKAAN Festival debut this year for a solo set as well as the first-ever Zeds Dead b2b Liquid Stranger set. Freddy Todd and Of The Trees will be performing as their collaborative BLAAP project. An official 1985 Music takeover will feature label head Alix Perez, along with Torcha, Hyroglifics, and Monty. Barclay Crenshaw is returning after electrifying performances the last two years that helped cement his resurgence as a bass music icon. The duo of jordnmoody and Ujuu will be on stage together as FLORA. As founder of WAKAAN, Liquid Stranger himself is also performing three exclusive sets, including a throwback set with a list of not-yet-announced friends.

There is more to WAKAAN than just the music. The festival features a diverse array of workshops, ranging from such topics as health and wellness to music production. The grounds of Mulberry Mountain are scattered with art installations, merch vendors, games, and more. In particular, this year features the return of Soul Spin Art Gallery, where fans can create their very own custom vinyl records that will be kept on the mountain for years to come.

In the past years that I’ve attended WAKAAN, the crowd energy has been unreal. There is a real, concerted effort on the part of these festival-goers to make friends and inspire each other. I’ve told my life story to a stranger on the way to a Port-a-Potty. I’ve always left with more trinkets than I arrived with. I’ve been handed hors d’oeuvres from people passing by mid-headliner. I’ve played Super Smash Brothers and watched Adventure Time on a screen in the middle of the forest. The sense of community that this festival has is something to behold, and I hope everyone gets to at least once.

If you’d like to purchase a ticket to the festival, you can do so on WAKAAN’s website. Be sure to follow them on Twitter, Instagram, or Facebook for more information. In the meantime, you can peep the full festival lineup below!

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With all eyes squarely resting on this youthful speaker conductor going into 2020, what better way to help grow the scene and his own personal brand than starting recruitment into the ranks of his very own record label in the form of Cyclops Recordings, a welcoming home for a diverse array of heavy, experimental, and all-around spicy productions. Bringing fans three distinct slices of genre pie, listeners have been gifted their debut Boot Camp compilation album featuring 19 high-octane sonic thrill rides split into High Knees Headquarters, Psychedelic Division, and Heavy Artillery. From this, I’m extremely proud to announce that we’ve had the great pleasure of premiering ‘Point Breeze’, his collaboration with the South African bass alchemist Chee, and we had the great opportunity to chat with Chee about his time in the U.S., what it was like working and living with Subtronics, what he has coming up next, and much more. Check out the premiere and full interview for yourself below!

Named after the Philadelphia street that Subtronics and Chee used to live together on, ‘Point Breeze’ is an ode to these two mad audio scientists’ simultaneously collective and separate expeditions. Opening up a portal directly into an alternate universe centered around all-consuming confusion, ‘Point Breeze’ is a veritable hypnotist’s metronome for all who become ensnared in its clutches. With an initial drop featuring thick, full-bodied basslines and so much crunch potato chip companies could learn a thing or two, fans will be left devastated, neurotransmitters flooding their consciousnesses like a broken fire hydrant on a summer’s day. Delectable speaker purrs combine with rich melodies and supremely clean sound design to create an end product that’s a true treat on the ears and a showcase of just how far music itself has advanced in such a short time. A pristine blend of Chee’s overwhelming halftime grit and Subtronics’s grin-inducing wobbliness, this piece will surely be adored by a wide range of music fans, from the rabid headbangers to the crystal-wielding aficionados. Check out the progressive music masterclass that is ‘Point Breeze’ for yourself below, and check out our full interview with Chee as well!

You used to live in South Africa, but you moved to the United States a few years ago! What was the move like, and what’s the transition been like since?

At first, it was very overwhelming. However, it has brought many amazing people and experiences into my life. 

Your newest release ‘Point Breeze’ is the name of the neighborhood you used to live in with Subtronics in Philadelphia! Can you tell us what your time was like there, and how you represented that in the track?

Philadelphia has become my home. It is raw in and of itself. It has inspired me to be myself and reminds me of South Africa in many ways. This track highlights the life we lived together in Philly. Working with Jesse seems seamless as we both have very motivated personalities and grungy sounds. 

What went into making the track with Subtronics? And what’s the creative process like when you two work together?

Jesse and I didn’t usually plan on working together, it was way more natural. We would hop into each other’s rooms for inspiration and end up creating some insane music together. Collaborating requires a genuine vibe and our energy works very well. There isn’t much of a process, there is more of a flow that the collaborators fall into. 

You’re also part of It Hz with fellow South African Jon Casey! Can you tell us how you guys met, and if you have any upcoming plans for the project?

Jon Casey and I became friends in eighth grade at a dance and the minute we met we knew we would get along fantastically. We have music in the works but I really can’t say more than that right now ;)

You’ve said that you were really into hip-hop before you got into electronic music. Is that still what you listen to now in your free time?

All-day, every day! I also grew up listening to metal, disco, and movie soundtracks. I honestly gravitate towards music without lyrics.

What have been some of your favorite things about the country since you moved here?

The first thing that popped into my mind when reading this question was that people are very free to be expressive and creative. That is very inspiring to me. The opportunities presented to me have been the most fulfilling experiences. Also, fast internet and hamburgers. 

How was your 2020 personally? Were you able to capitalize on the extended free time due to a severe lack of events, or did you have trouble finding inspiration during a time where that was rare for so many artists?

2020 was not an easy trek. It is hard to find inspiration when you cannot leave your house, and there is only so much “frustrated” music one can make. We are social creatures, and being deprived of connection is not something to look past. However, not playing shows has opened up the idea of making music for its own sake and not for the dance floor. 

When you’ve hit a creative roadblock, what are some things you do to innovate once again?

Sketching has helped me through many experiences. It is something I started before I created music. Stepping out of the studio and onto the sketchbook helps me recalibrate my inspirations and motivations in that moment. 

Recently Tsuruda hinted at the existence of a collaboration between you two, and you played an unreleased collab with Gentlemen’s Club during the Shambhala Live stream, do you think that these might ever see the light of day?

I have no idea what you’re talking about! ;)

What are your biggest goals for 2021?

My biggest goals for the year ahead of me are to be more confident in myself and my work, to take more risks, and to not take any day for granted. I have a vision I cannot put into words, but hopefully I will be able to express that to you guys soon :)

What’s next on the horizon for you?

New music, a new EP coming out on Deadbeats in 2021, and the things that have been my saving graces are the music and art projects that I have in the works right now.

The post PREMIERE: Subtronics & Chee Co-Teach Masterclass In Bass With ‘Point Breeze’ [Interview] appeared first on FUXWITHIT.

On this EP, each track flows seamlessly into the next, making for a truly unique and cohesive listening experience. Out of the seven tracks, one in particular stood out to me being ‘Professor Chaos’. The reason this one grabbed my attention so hard is because it is the furthest away from sounding like Subtronics while still maintaining his sound, in an odd contrasting fashion. Kardon steps away from the heavy riddim infused dubstep to slow things down to a deep and dark pace. However, each track has blow me away and this entire EP is worthy of tossing on repeat. Listen below and get lost in the mind of Subtronics with String Theory out now via .Cyclops Recordings.

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Right off the bat, Boogie T steps onto the scene with his wavy reggae-influenced vocals that immediately capture the energy of this track. Around forty seconds, NGHTMRE & Subtronics make their presence known with a quick percussive build-up that turns this laid-back island tune into an aggressive in-your-face dubstep banger in no time. Soon after NGHTMRE & Subtronics flex their world-class sound design with these gritty lead synths in the drop, while also maintaining that original groove we were first introduced to.  After this we get yet another verse from Boogie T, followed by another aggressive switch up for the last drop. Check out the full track down below!

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Building from the anticipation that was created with the release of Now That’s What I Call Riddim Volume 5, Subtronics returns with his first project of the year to unleash a plethora of IDs that fans have been eagerly awaiting. The Scream Saver EP is arguably Subtronics at his best, staying true to his dubstep roots but pushing the inventiveness and liveliness of his sound to new heights. The collection’s title track has been teased for months, and upon pressing play listeners will quickly understand why ‘Scream Saver’ always sends any unsuspecting crowd into a frenzy. The high-pitched lead in the drops are euphoric and complimented with a perfect dosage of underlying heaviness. ‘Lullaby’ follows, with Virus Syndicate driving the introduction before the talented producer does what he does best with robotic sounds and mean basses.

The highly-anticipated ‘Discotek’ with Akeos, who is having an incredible month of their own, comes next, and highlights both artists’ skills in complimenting each other’s strengths. Subtronics’ quintessential samples add a comical touch to the track, while Akeos delivers on the menacing flow front. Finally, ‘Blow Stuff Up’ caps off the Scream Saver EP in full force, providing a strangely upbeat vibe that doesn’t lack bass, bounce and brutality. Check out Subtronics’ most impressive work to date.

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While all the songs on this collaboration are great in their own right, there are a few that stand out above the rest and demand multiple listens.

Bumpy Teeth

Those who have been in the electronic music scene for a while know Subtronics’ name and his impressive producing skills. With his uncanny ability to create catchy drops that have young teens going crazy on Tik Tok, he’s got the spotlight on him to see what he does next. In this collaborative banger ‘Bumpy Teeth,’ Subtronics and Zeds Dead get back to the good shit that we all know and love: fun ad libs and melodic switches that keep us hooked. Sometimes when it comes to collaborations, Subtronics style is only allowed to shine through every once and awhile, but the moment this song starts, you know it’s Subtronics unique flare. It’s trippy and zooms in and out, it has the uncanny ability to create a visual journey for the listeners just with the music. ‘Bumpy Teeth’ is heavy throughout and dripping with bass. The low ends and the high hats blend together perfectly and can truly only be appreciated blasting at full volume in your car or headphones. His collaboration solidifies his place on the Deadbeats roster as one of the greats. Put this song on at the end of a party and it’s about to be a bumpy ride.

Sound of the Underground

On first listen of the album, this song stuck out to me the most. I know there has been a recent appreciation for Drum and Bass in the electronic world (finally!) but to hear it on a Deadbeats album was pleasantly surprising. The track, which is aptly titled ‘Sound of the Underground,’ was the lead single for the album and was produced with none other than DnB legend, Urbandawn. The unique style of Urbandawn when it comes to Drum and Bass exemplifies his Brazilian roots and is known to switch up styles halfway through.  For these very reasons, it’s no surprise that this song caught my attention.

‘Sound Of The Underground’ starts out gloomy and spooky before breaking into the classic DnB breakbeat that we’ve all come to love, but it’s when the song hits the halfway mark that it truly blooms. In ‘Sound of the Underground’ Urbandawn throws all genres to the wind and switches styles, allowing for Zeds Dead to fold in bass and interweaving a myriad of different sounds that blend together in the most perfectly disjointed way. ‘Sound of the Underground’ is an unadulterated showcase of the musicality that Zeds Dead and Urbandawn possess and one of my favorites.

Just Wanna

If you aren’t sure you like electronic music or if you are hesitant about trying big scary Dubstep, then this song is just for you. Loge21 are the kings at blending house with hip-hop breakdowns, inviting people in that are on the fence about house music (which, come on guys, it’s 2020, get with the program). They entice outsiders to a genre that they never even thought about it. I guarantee if you put on a house song, everyone will end up bopping their head at some point. With ‘Just Wanna,’ Loge21 and Zeds Dead create the perfect gateway song. It’s a little bit more on the bass side than Loge21 usual put out, but it still has that house base line that we know and love. It also helps that Polina’s vocals sit so effortlessly breathy on top of the production, giving you those 1990’s underground Chicago rave vibes. It’s simple, but fun and doesn’t command the listener to think too much. It’s here to make you groove on a Friday night or power walk to work on Monday morning, nursing a major hangover, and sometimes that’s all you can ask for from a song.

Stream We Are Deadbeats Vol. 4 in full below.

Words by Elise Smith.

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Through chaos and harmony this collaboration is a great way to end the year and prepare for We Are Deadbeats Volume 4. Volume 4 of We Are Deadbeats will see 14 total tracks featuring artists such as Holly, Ganja White Night, Champagne Drip and many more. With ‘Bumpy Teeth’ being their last release of the year, we can expect the full release on January 14th via Deadbeats.

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Showing no signs of slowing down, Subtronics and Chee return once more to finally unleash their remix of ‘Headband‘ to close out the year with a bang. Flipping the original wonky dubstep banger into a halftime belter of bass, one immediately understands why this has been such a sought-after ID. Keeping the aura of the original alive with the orchestral melody, Subtronics and Chee add some punch to the introduction to really drive the energy. At the sixty-five-second mark, Chee’s influence becomes apparent, as his gruelling sound design and mean synths are prominent throughout the drop. A relentless offering of menacing bass, ‘Headband (Flip)’ is the two artists at their finest. Don’t miss it below.

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Challenging all sonic boundaries, emotion-filled vocals chime into the picture blended flawlessly with a full on guitar solo to provide their listeners a taste of what Kayzo does best. With unexpected drops in sight, a series of hypnotizing psytrance loops and assaulting drum claps takes over the track. Satisfying all those dubstep enthusiasts, Subtronics’ signature sound becomes apparent with an explosion of bass and razor-sharp percussion to annihilate anything in the way. With vocal sound bites and a dubstep influenced spin, these producers are clearly ending 2019 with a bang.

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Continuing to ride the wave of his recent triumphs, the Philadelphia-based artist is back with Wooked On Tronics, a five-track offering furthering the depths of his ceaselessly expanding sound. With most of the tracks having been heard in his Now That’s What I Call Riddim Vol. 4 mix or in clips of live sets, fans are ecstatic to finally get their hands on some of Subtronics’ most highly-anticipated unreleased material.

Kick-starting the EP is ‘Death Wish,’ which creeps from the silence with slow-burning beats in quintessential Subtronics fashion before the tempo gets raised, vocal chops get added into the mix and sound design hell breaks loose. ‘Gyroscope’ comes in next with wonky melodies, crunchy cuts and trippy samples, before ‘Face Off’ lives up to its name, melting your face through a hypnotic arrangement of heavy bass stabs. ‘Failure Rate’ follows, lulling one into a false sense of security with a twinkling introduction, setting the scene for the cinematic builds and stuttering drops to come. Legendary producer Moody Good joins Subtronics for the closing track titled ‘MAD,’ where both producers display their peak sound design in a relentlessly explosive end to the varied collection of tracks.

Wooked On Tronics is Subtronics at his best. Don’t miss it below.

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