1. bitbird

Sultan of Swirl, San Holo brought bitbird to crackling to life three years ago. The “create forever” label has since authored over 100 releases, launching the careers of countless artist. Like many of the labels on this list, bitbird’s compilation albums (Gouldian Finch) showcase some of the strongest and most inventive electronic tracks like Taska Black’s ‘Leave Me’ or Ramzoid’s ‘Underwater.’ While many of the bitbird artists showcase much of the same sparkle and radiant chiptune vitality as boss bird San Holo, there’s no questioning the breadth of bitbird’s music electronic arc. Bringing us names like DROELOE, BeauDamian and Araatan is evidence enough that the future is in good hands with this flock.

2. Confession

Despite genre tagging their releases “Dance & EDM” we know Confession as proud purveyors potent bass and heavy house productions. Headlined by the unholy trinity of Tchami, Malaa and Mercer, this French led label brings an abundance of bangers from across the globe including the likes of ANGELZ, Brohug, and Wax Motif. Their Alchemy compilations are a truly masterful mix of all things badass bass. Just don’t take the confession bit too literally or else we might not get another Illegal Mixtape from Malaa. With game changers like ‘Notorious,’ ‘Adieu’ and ‘Bylina’ all coming in the first 2 years of the label’s existence, this star-studded set of savages are sure to continue to make their mark with their mixture of mayhem and madness.

3. Daruma

As a label and artists collective, Daruma bolsters one of the most impressive rosters in electronic music. Their team is littered with FUXWITHIT favourites including Andrew Luce, Electric Mantis, MYRNE, graves, baht, Luca Lush, QUIX, Breaux and many more. In the span of just over 2 years they’ve dropped 10 namesake compilations plus a massive collaborative EP with Mad Decent’s sub-label Good Enuff. Through all of this they’ve helped to break some of the best new electronic artists out and have some big things in the works. Look out for Daruma becoming a heavy-hitter into 2018.

4. Deadbeats

Our hometown heros Zeds Dead turned heads with their first release when they featured Freddie Gibbs on ‘Back Home.’ The big names kept coming as they brought on Diplo for ‘Blame,’ NGHTMRE for ‘Frontlines,’ and how about Rivers Cuomo and Pusha T for ‘Too Young.’ This range was only the beginning for Deadbeats as they brought in more hometown talent in Memorecks, Pusher and Rezz. Not only are they fantastic at fostering young artists, their veteran status has allowed them to bring in some of the biggest and baddest names for some fire remix packages (including the likes of Crankdat, Dirtyphonics and Gorgon City). Since March of last year they’ve had over 73 tracks released to their name and if you find that too much to handle, might we suggest their fantastic new radio show which airs Wednesday nights.

5. Jadū Dala

Philadelphia’s “Magical Music Outfit” is the definition of consistency. Their weekly releases have been blowing minds since May of 2016. Their founders, Nathaniel Kosko and Jesse Babini, started Jadu with the mission “to showcase innovative and experimental dance music,” and there’s no question they’ve accomplished this. With releases like Cozway’s ‘Windbreaker,’ Richfellow’s ‘Rouse’ and IBI.’s ‘Arrival’ it’s as though Jadū Dala opened a fissure in earth’s surface allowing all kind of unknown to escape. Their tracks will leave your head spinning, searching for the repeat button. And it’s not just us at FUX that can’t get enough Dala, their tracks can be found in mixes by Benzi, NGHTMRE, and even Madeon. There’s an undeniable alchemy from this Philly label.

6. Kannibalen

Headquartered in Montreal, Kannibalen Records has made it their mission to bring dark electro to the main stage of the EDM world. Founded by Patrick Barry, Marc-André, and Julien Maranda in 2011 the label has been collecting and unfurling deliciously filthy artists. The same trio comprise the label’s leading act, Black Tiger Sex Machine, which creates super-charged, aggressive bass beats grafted with operatic vocals, militant snares, stinging synths and performs them in signature, LED synced, tiger helmets. The others enlisted to spread the Kannibalen virus are Apashe, Kai Wachi, Dabin, Lektrique, Karluv Klub, Dead Battery, and Snails. Focused on reaching across genres, each artist on this label is known for their genre-bending and potent individuality, preserving the underground vibe, challenging the mainstream, and luring followers thirsty for a hardcore experience. If you need a dose and can not wait for one these artists to come to a festival or venue near you, check out their Kannibalen Radio show hosted by Lektrique, for plenty of their latest releases, and mixes. Infection is inevitable and incurable.

7. LA90

LA90 is the youngest label on this list with just a few months under their belt. What they lack in longevity is accounted for in promise. They’re at the forefront of the experimental bass scene and have released nothing but heat in their sort time. From Jon Casey’s maddening Geneva // Trigger Happy EP to Clockvice’s wild halftime project. Most impressive yet is the single ‘Four Season’ which brought together Holly, Chee, Crimes and Yunis. Add in the fact that they’re founded and backed by Bare Noize and you can bet they’re only going to keep rising. Get up on LA90 before they become a staple in the game.

8. Quality Goods Records

Founded by Trap legend, UZ, Quality Goods Records has been living up to their name since their inception in 2016. Their commitment to finding and breaking new talent in the trap scene is matched by very few (if any). Their roster boasts an impressive list that features Oski, sumthin sumthin, Ian Munro, Tascione, Sfam, UNKWN and more. Standout releases include sumthin sumthin’s brain-bending Afterglow EP and Oski’s massive Kid Chrome and Kid Calamity projects. Most notable of course is UZ’s debut Layers a 12 track trap epic. If you’re looking for forward thinking trap sounds, chances are they’re on Quality Goods Records.

9. Record Record

The double talk name of the label follows the Contrastive Focus Reduplication name of founders Point Point. The four man group of Aazar, LH4L, Devoted To God and Nömak literally and figuratively have their ‘Hands’ all over the delightfully diverse label. Their fantastic Filet Mignon compilation series has hosted their solo efforts as well as the likes of San Holo, Dombresky, Masayoshi Iimori and more. And this is really the key to the success and unquestionable quality of Record Record, the diversity and range not only in artists but in soundscope. They’ve touched on everything from acid and jersey club to garage and bass house. While you never know just what they’re cooking up, you can count on it being of the highest calibre.

10. TWONK

Brillz has been championing the TWONK movement for years but in 2017 he decided to formalize it into an actual label. They came out of the gate swinging with an absolutely insane compilation Twonkilation that featured everyone from Brillz himself to Bro Safari x ETC!ETC! x UFO!, YOOKiE x Holly, Wuki, Lil Texas, Willy Joy, Masayoshi Iimori and more. Keeping the momentum up, Hydraulix’s TWONK debut Madness proved a fitting title. If you like to get weird, be sure to check out the ₩ØƦŁÐ ₩łÐE ₩EłƦÐØS at TWONK.

Words by Colin, Mekabeth & Oggie James.

The post 10 Labels You Need To Know appeared first on FUXWITHIT.

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The post Hydraulix’s New Single Is Just What The Title Suggests: ‘Madness’ appeared first on FUXWITHIT.

It was a bit of a disappointment to find out with three days’ notice that the venue had been moved to Sound Academy, and I wasn’t the only one who felt that way: a lot of chatter on the Facebook event page indicated people were confused or unsure about coming. I’ve always regarded Sound Academy as a necessary evil for big parties… with a shudder I recalled feeling like a cheap hooker trying to convince cabs to take a $20 fare on harsh winter nights in years past. Plus, cuts and changes to the lineups remained to be seen… that being said, it was a small miracle that an event of this size could shift venues so late. Props to the rave gods (and Destiny).

Inside, the space was one long huge-ceilinged rectangle, stage at the front and a curtained merch wall at the back, and parallel bars as sides. Frantic Drum and Bass played to the spattering of early arrivals, all making good use of the wide-open floor space. After an initial walkaround and fruitless internet information scramble, I was surprised that they hadn’t set up a two-stage area… until I heard a faint whisper of snare rolls that I followed like a sleuth into an obscure and unlabeled side room where, once you walked in, you were surrounded by fat bass. Classic life lesson: Leave your expectations out at the door (you know, the place where security grabs your dick).

Local producer and DJ, Bassik, was on the decks in this side room, throwing down some pretty heavy shit – which the dozen and a half hardcore bass heads in attendance were into (it was goddamn early to be shirtless in my opinion). There was a bar here and I had my first and only visit to it; $6.75 a Rolling Rock makes you want to leave your drink and hope it gets spiked with something good.

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From the depths of the side room you could see out into the first couple rows of the main stage, all flashing lights and flailing limbs and general wildness; the soundproofing in here was incredible. Bassik was making good use of the more-than-adequate sound system in here, casually cranking out overlooked dubstep cuts like Zomboy’s ‘Ragga Bomb’ remix, and doling out quality party advice over the mic like “do your drugs responsibly!” It was a safe space. Dancing makes you forget what it’s like not to feel.

Bassik popped off some trappy Drake remixes and a couple waves of techno, house, and footwork, then some breakbeat stuff along with a shoutout to the junglists in the room. My mind wandered to the portrait of wilderness that was the main room, so there I went.

I’d not previously partied to Drum and Bass for longer than 15 minutes before becoming gassed and bored. A pet peeve of mine has always been the MC – what in the hell, I wonder, is he doing? Are he and the DJ even friends? Is one a fly in the other’s ear, or are they collaborators – sidekicks? Does anybody actually understand the guy – including himself? Or is it the sound of his voice that’s supposed to be the instrument? While these questions probed and racked my brain, pockets of dance continued to metastasize on the floor.

Shot by Hector Vasquez for FUXWITHIT

In the bathroom, the attendant is rousing up chants of “Heyyyyy we want some pussay!” to which an unnerving amount of guys chime into. One guy chortles on his way out, “This guy knows!”

11:30 pm and the main room is a Drum and Bass clusterfuck. People are wired up, synced, having fun. I think about how songs only have meaning in context: Who are you with? Are you dancing? Are you smiling? What’s happened in your life recently? I’m also seeing some interesting things around here – strange messages that may or may not be real. For one thing, I think someone’s wearing a t-shirt that says “Party like a Lobster”. And then there’s Squid Guy, wearing glow glasses and a squid headpiece and is so nerdy he looks like he could program your computer and give your mother a scientifically exact orgasm at the same time.

On stage, the VIP beer bucket tips over and sends a single unopened can of Corona tumbling at my feet. My new friend Juan the Photographer says that the beer was “meant to be” and I graciously agree, sharing the spoils with he and FUXWITHIT photographer Hector.

Brillz shot by Hector Vasquez for FUXWITHIT

The last thing anyone said to Brillz before he stepped up to play his set shortly after 12am was “Hey man, I love your message!”;  I know this because I was the one who said it (although I had no idea he was about to play his set). His “Twonk” philosophy has inspired creations from clothing lines to curated festival stages, and his music reflects this attitude:

“Twonk is a human weirdo, and Twonk Team is the movement of the weirdos. Twonk is about creativity, it’s about individuality, it’s about being weird… Our philosophy is all about embracing your inner weirdo, having high vibrations, and being swaggy as fuck.”

To be sure, Brillz is known for trap – a quick scroll through his SoundCloud will turn up a lot of classics that’ll make you say “THAT’S who made that track?!”. ‘Roots’ (with Kill the Noise), ‘Dirt Off Your Shoulders’, ‘Clarity’, ‘New Jack Swoop’ – Tell me about the last time you heard this and went wild?

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It felt disrespectful to be on stage sweat-free, so I scurried down to the floor for a hoedown as soon as the trap got running. There seemed to be a pit of the moshy-sort so I slipped right in there, but it turns out there was just one guy who’d shove someone, and someone else would shove him…then when he got his balance again the cycle would restart. Many people were jangled and women were yapping like Pomeranians… I mean, here was this misguided chap in the frenzied throes of bass hysteria, and nobody knew what to do – myself included. I saw the guy, and accepted him, and knew he simply didn’t know how not to mosh. Can you blame a guy for not knowing? But the crazy fucker’s run amok…at least he cleared space for the get-down.

Post-rage, covered in an appropriate amount of sweat, I headed for the stage to see how the crowd was digging it. I’d say it was a 6.5/10 on the wild-out scale, but these were sentient beings and I know they were feeling the Twonk inside. It occurred to me that some – if not most – of these people had no idea who Brillz was. He was the ‘trap interlude’; they came for the extended Andy C set, and were saving energy. Brillz rinsed out his repertoire and took a humble exit.

Inside the bathroom the attendant is now calling out, “juicy poosy, juicy poosy”. I consider this false advertising.

In the side room. T.O. local Bensley, mainly a Drum and Bass artist signed to Andy C’s Ram Records, happens to be playing some house – Disclosure, maybe – and I’m suddenly struck by the notion that the side room has felt like the kiddie table at Thanksgiving. Not that the kiddie table isn’t important (we’ve all seen Rugrats) just that there’s a distinctly “adult” flavor to what’s about to happen in the main room.

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At 1:15 an announcement is made that Andy C’s flight got sidelined to Montreal earlier tonight (Boo! goes the crowd)… but that he drove himself to Kingston (Yay! goes the crowd)… and then got a private jet here (Yay! goes the crowd)… but needs a smoke break (Boo! and Yay! goes the crowd)… so go on everybody and have a smoke break and come back and we’ll have ourselves a time. And thus, mass smoke break was initiated and for those who stayed, Hydee – who was on the original bill and survived the lineup cuts – pumped out some tunes for a quarter hour.

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Before Andy C came on, I had him contemptuously pegged as a marathoner of an annoying art, and I had all sorts of clever things to say about the MC being part Zumba instructor, part helicopter mom. But the thing I learned about Andy C is that a critical mass of people – the same critical mass that was absent in the aforementioned mosh pit – have agreed ahead of time that Andy C is a minor God. There’s no question about it. There are only two kinds of people in the room: Those who’ve seen Andy C live and those who haven’t. Both are equally excited and inundated with myth about it. This helped me open my mind for what was to come.

Andy C shot by Hector Vasquez for FUXWITHIT

The Man Himself came on stage and the place lit up like a penguin’s beak. Pure heart and madness. A thousand pairs of hands straight up in the air, like a sea of wheat. I joined in to humor my curiosity, and couldn’t stop dancing once the onslaught began – relentless otherworldly music that sounds like it’s blowing speakers and coming up through the floor at the same time. Music that shakes you like one would shake awake a daydreamer. From the outside, Drum & Bass seems to sound the same but once you get inside, or rather let it get inside you, things change. 180 beats per minute is a lot of beats, a lot of opportunities to move and dance and inch your way towards bliss. I recognized almost zero tunes, aside from a vocal sample from Major Lazer’s ‘Get Free’ and a roughed-up remix of Jack U’s ‘Take U There’

Andy C captain-eering the ship

The crowd going off for Andy

Drum & Bass is raw. It’s ragged. It’s gritty. It’s hectic. It’s .. nonsense, frankly, and anybody who’s in on it has no qualms with others who are in. Drum & Bass is the musical equivalent to cilantro – repelling those who are sensitive to it – and the ones who stay are the ones who say ‘fuck it’ to holding on to the notion of ‘making sense’. Love doesn’t make sense! these people say, and it’s hard to disagree – so imagine a whole room of people agreeing to love each other, tacitly, through the act of Drum and Bass, neurally hardwired to the rushing stream of breakbeat rhythm. We dance, therefore we are. I understand the music ergo, I understand me, I understand you.

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While dancing, I remembered learning how 180 strides/minute is an optimum pace for medium-distance running… which helped explain that part of the Drum & Bass euphoria is cardiovascular – the whole room is on a runner’s high. (Plus, I have a theory that at least one third of these people have had the best fuck of their lives at 180bpm. I have no data on this, but I feel certain to be correct within a couple standard deviations)

MC GQ shot by Hector Vasquez for FUXWITHIT

MC GQ impressed me, and changed the way I viewed ‘the buzz fly MC’. As the set progressed, I saw his role evolve along with the message of the music, notably in the phrases he chose to repeat. “Headstrong!”, MC GC says. “Ram – Ram – Ram”, he says (side note: ‘Ram’ is also the Sanskrit word for God… I wonder how many people were thrown into religious ecstasy that night…). Ram! Run at the thing! Go in! Instructing, goading, chiding – like a maestro, a leader. Co-Captain of the Love Ship Party. MC GQ!. Sometimes I still didn’t know what he was saying, but people seemed to like him. Or they liked Andy, and he was with Andy and reminded them that Andy was here and Andy-Andy-Andy!! There was a knowing and people knew.

An hour later I decided to take an exit before I was fully exhausted. Composing myself in the bathroom, I heard a casual bathroom self-talk –  a random “wow, my ears are fucked” and the attendant halfheartedly muttering “…juicy poosy…”. Still processing the night’s lessons and new experiences, I left the venue and hopped on my bike, careful not to spill any bliss, high on oxygen and covered with my and other peoples’ sweat.

Photos by Hector Vasquez

The post Drum & Bass & Bangers: Destiny’s 22nd Anniversary Pulls it Together appeared first on FUXWITHIT.

If you’ve raved in Toronto in the last 22 years it’s statistically probable that you’ve met Destiny.

A pioneer in the rave community, it seems you can’t describe Destiny without using the words “first”, “only”, “memories”, “police”, and “PLUR”. Depending on who you ask, Destiny is an old friend, a hip bandit, a beacon of light, a safe place, or an advocate for the people; regardless of who you ask, Destiny is always present in the underground, swelling and morphing with the cultural and political tides of Toronto’s contemporary party history.

I’m talking, of course, about Destiny Events, whose storied longevity is the subject of celebration at their 22nd Anniversary at Sound Academy next Friday, August 14. The dual-stage bonanza is headlined by twonk lord Brillz on one stage and long-time DnB resident Andy C playing an extended set on the other. Local bass heads will get their fill from favourites like Hydee and Lush, and up-n’-comers like Pusher and Bensley.

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22 might not seem that old, but for a promotions company dealing with the fringes of law and underground culture, you might as well count in dog years. Surviving the haggard turbulence of the last two decades is no easy feat, and Destiny has soldered many shiny milestones onto their chain in the process.

While you were syncing up Game Boys to play Pokemon with your friends before dinner, Destiny was putting a hotline number on a poster to distribute the secret location of a 3-day rager whose iterations in subsequent years became WEMF – utter that piece of onomatopoeia and you’ll trigger a major waxing of nostalgic from baby boomers and baby-faced ravers alike. Soon after, Destiny was weathering police barricades and fighting city laws that tried to ban raves, in order to keep the party going for the people at the turn of the millenium.

And while you were donning kandi and spirit hoods for the first (and second and third) Digital Dreams, it was Destiny who had partnered up with Embrace to bring you that event. It draws huge crowds when the weather’s not shit.

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Add to this hundreds of shows and innovative events over the years through a wide span of genres, Toronto’s fearless OG promoters draw an organic mixed bag of a crowd: turnt-up bass heads, hippie ravers, and every freak, geek, and unique in between. They’re all-inclusive and it’s all about you.

So come. Whether it’s to get nostalgic or pay respect, to get schooled or to get freaky, or to turn-up/get-down/tune-in/drop-out/shuffle/twerk/step/jive/boogie-like-your-mama; come.

Tickets are available here, $35 and up (500 Early Birds already sold)

The Facebook event has all the info and history lessons you need to get hyped.

The post *NEW LOCATION* Brillz, Andy C to celebrate 22-year old Destiny appeared first on FUXWITHIT.