I don’t say this for dramatic effect, or with the purpose of instigating competition, but simply taking objective data into consideration. In the year that saw the highest number of wave events ever, barnacle boi took his iconic blond hair and moustache literally everywhere, performing from Los Angeles to Ho Chi Minh City, touching down in Central and East Europe and touring the length and breadth of the States, playing DEF and Waakan among others. I have to say that, following his adventures tweet after tweet,  filtered through his irreverent and relatable personality, has been one of my guilty pleasures (I’m convinced that a video vlog of the tour would’ve been a hit).

Now, to nitpick, one could say that barnacle boi lacked a blockbuster release to platinum this 2023 (pardon the gamer quote but I’ve been watching a lot of gameplay lately). But things change tomorrow. Or rather, starting from today thanks to this exclusive premiere. In fact, as his brand new EP, titled INTROSPECT, goes public in twenty-four hours, we give you the chance to get an early listen of the single ‘In The Dark’.

Despite the strong competition (both’ U Were Everything 2 Me’ and, especially, ‘Love Hotel‘ have the potential to become future classics), ‘In The Dark’ immediately became my favourite cut from INTROSPECT. The intro comes in the form of forty seconds of pale and spectral pads with vaporous vocals on top hauntingly chanting “You’ll find me, waiting in the dark.” A combo that effortlessly tickles the soft spots of waveheads like me and sets the perfect warm-up for the main event. Then, out of nowhere, here comes the star of the show. A cavernous synth arises from the darkness, ripping through the air and saturating our senses in a very Lovecraftian fashion. After these initial moments of apnea, during which we were swallowed up in this sonic black hole, ‘In The Dark’ quickly becomes airier again, absorbing the overflowing personality of the synth and integrating it with other elements. Once past this turning point, barnacle boi continues to stratify and evolve the composition during the breakdown and the second drop. The track we find in the second half, truly sounds like a chapter of a whole different story. Personally, I don’t have any doubts, ‘In The Dark’ should be listed in the manuals under the ‘perfect wave track.’

Listen to ‘In The Dark’  exclusively here on FUXWITHIT for the next hours, and be sure to dive into the INTROSPECT EP tomorrow.

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The post PREMIERE: Get An Exclusive Early Listen Of barnacle boi’s ‘In The Dark’ appeared first on FUXWITHIT.

Producer, DJ, A&R, curator, podcast host, he does everything, and it does it well. He’s one of the minds behind vibe.digital and the entire universe that gravitates around the record label but, as I previously mentioned in a recent premiere, tying his name exclusively to the label is restricting. M!NGO’s own creative output has gifted us with an extended catalog to explore, not to mention classics of the genre to rinse on repeat, and in the past month, he was able to bring his vision to the dancefloor thanks to a run of shows alongside some of his closest friends.

To learn more about the person behind the artist and the businessman and to access his inestimable wealth of experience and knowledge, we managed to distract him from his busy schedule and lock in for this guest and interview that I’m sure will not disappoint anyone.

Let’s start with the most recent news. At the moment you’re looking busier than ever. We recently premiered your double release La Morte / Botnet but I saw you’re also in the middle of a streak of shows and, on top of that, vibe.digital is putting out (as always) first-class releases. Am I missing something?

Man these last few months of summer have been wild, I feel mad blessed. Started off the year with a goal of producing and mixing lots of different genres and was able to put together a nice run of shows this summer. Was invited to play a few stops on the Ryan Celcius’ END OF THE UNDERGROUND Tour with my brother Backwhen. Man I’m still hyped from those shows, the experience was so inspiring.  Got to make my LA debut with the Tears in the club crew, alongside Heimanu, Bafu, and Barnacle boi. That show was so MAD man, I couldn’t even breathe. It was so packed. And finally got to play a few festivals this summer, and still have a few left to go. beyond blessed this year, so stoked. Releases wise, I have a new release on Wave Stage coming up next,  I’m really excited about. Lots of new phonk stuff coming out with BACKWHEN And WRCKTNGL and lots of new tracks will continue to drop for the remainder of the year. Stay locked!

Now let’s go back to the beginning and tell us M!NGO’s origin story. Who was born first, M!NGO producer, A&R or DJ? But most importantly, why the name M!NGO?

M!NGO the producer was for sure my first focus, creating sounds has always been my main expression outlet. If I’m not creating something I feel this massive void. I started making music as a way to release feelings I had trouble expressing with words, it kinda just started coming out. I grew up with a bunch of homies that love to freestyle and I was like “man, lemme make a few beats for y’all to spit over” (this would’ve been in like 2012-13). Then I moved to Colorado in 2014 and started handing out flyers after shows and promoting events and fell in love with wanting to create my own vibe to play. Started submitting music to Plastician for Rinse FM and Terrorhythm and a few other UK labels in 2015 and to be honest, if it wasn’t for Plastician, Skit, Kareful, and Klimeks who took a chance on me and included me in the Wave scene, I wouldn’t really be anywhere close to who I am now. Fyoomz and I  became friends through the Rinse FM show. We started by working on collabs while we barely had like 120 followers each on SoundCloud. Great times! Together we landed our first official release on Wavepool 1, via Terrorhythm. I still remember how excited we were, man, beautiful memory.  That led to us starting vibe.digital. There was a firm void in the U.S music scene as far as Wave was concerned and it needed to be filled. Later, we got lucky enough to snag Djedi to be a part of our team, and what an asset he has been. Some of the first tours of wave artists in the US have been on this man’s back. He is a  monster. The rest is history at this point.  Can’t even fathom how many wonderful souls we have had the pleasure of releasing tunes and mixes of.

Do you think these three roles (producer, DJ, A&R) have influenced one another over the years?

Not really,  I like to give each role the full attention it needs per day. I really try my best to be 100% present for each situation so I can create the right vibe for the setting.

So many amazing people from city to city have helped create this network of Wave families. It’s been years of this routine that has built what you see as the current wave scene.

M!NGO is one of the names that is literally synonymous with the Wave genre itself. From your privileged point of view as a longtime insider, how do you assess the state of the scene at the moment?

I’m really proud of the scene now. It has been through ups and downs like any other genre that starts in the underground and makes it to a real genre name.  Lots of people all over the globe have worked hard and put up their own cash to make a lot of what you have seen over the years. So many amazing people from city to city have helped create this network of Wave families. It’s been years of this routine that has built what you see as the current wave scene. As far as the music itself, I’m immensely proud of how diverse each pocket of this scene has developed from country to country and yet how open-minded the fans have stayed over the years to allow us to grow and try new styles, bpms, and vibes.

Your creation, vibe.digital, has hit the 5-year-old milestone this year. Based on your direct experience, how has the role of A&R changed over these years?

Brett, Donny, and I have always had a really good balance at this, pretty much every decision that has ever been made on vibe has been filtered through all three of us equally. Doesn’t matter what the topic is, little or big, it always gets heard by all three of us. That way we have a perfect blend of what is being represented via vibe.digital. It is an equal expression of all our visions for this beautiful label.

After seeing the energy at this show in a hot sweaty club with lowlights and riddled with the smell of beer, I knew at that moment I was in the right place and this sound was gonna become my obsession. 

Do you have any anecdotes from these five years that come to mind?

I was in London to play a show with Skit and got invited to the Glacci release party by Plastician and that show was life-changing for me. Every key player from the UK wave scene at the time was at this show and made so many lifelong friends that night. Kareful, Cardio, Klasey Jones, Glacci, LTHL, Five Suns, just to name a few. After seeing the energy at this show in a hot sweaty club with lowlights and riddled with the smell of beer, I knew at that moment I was in the right place and this sound was gonna become my obsession. 

With such an extensive discography, not to mention all the label releases, how do you approach the track selection for your DJ sets? Do you want your gigs to be strictly a showcase of your work or do you include music from other artists?

First, I always ask the promoter what kind of vibe or genre the event is going to be. Second, I like to look at the lineup to see who I’m playing with to gather a taste for what I want to load in my crate for that set. I try my best to play at least 50-60% of my own originals, and leave the rest of the crate for label releases, and songs from artists  I’m currently obsessing over. I love to support my friends so I always make sure to leave slots to expose artists I think people need to hear. 

What about this mix instead? What are we about to experience?

Because this is an interview about my project, I’m gonna be playing a lot of originals and collabs with my best friends, as well as a few tracks I’m obsessed with at the moment. I really hope you like some of the new unreleased tracks I’ve been hoarding. Keep it vibe, keep it locked! Love yall. 

FUXWITHIT Guest Mix: 230 – M!NGO – Tracklist

Backwhen x M!NGO – twin
Backwhen x Everyst – war cry
M!NGO – Booo
M!NGO – Came from Nuthing
M!NGO – pick em up
M!NGO – step
Backwhen x Everyst – Cameras
M!NGO – Blow Lotta
M!NGO – knocking Doors
M!NGO – Do or Die
Backwhen – ID
Backwhen x M!NGO – zaza
M!NGO – Bloody Red
M!NGO – Ashes 2 Ashes
M!NGO – burnt
M!NGO x WRCKTNGL – Lost in Dallas
M!NGO – Neon M!NGO
Backwhen x Everyst – problems
Backwhen x M!NGO – WHY
Backwhen x M!NGO – MISFIT
M!NGO – 25
M!NGO x WRCKTNGL – Trappin in Japan
M!NGO – Thug From Uh

The post Guest Mix + Interview: M!NGO appeared first on FUXWITHIT.

With his previous long-format projects, Through the Forcefield and Neon Tundra, the veteran wave producer had proven to be one of the best storytellers around, capable of creating cohesive, almost conceptual, works that were more than just a jumble of tracks. Meticulously crafted over the course of the past three years, Evolve is imbued with this perfectionism and built following a clear-cut overview that makes it an organic listening experience from start to finish. All five tracks (and in some length, also the Noah B remix) are sewn up by this common theme that sounds artificial but feels more human than ever. iSorin’s intention here seems to be to try to approach the ethereal and elusive world of emotions in a scientific way, to break them down into their source code to find a way to enhance a new evolutionary step in the science-feelings-technology dichotomous relationship.

Each song draws inspiration from different niches of iSorin’s musical background (the classic wave sound of ‘Quad-Helix’, the ambient roots of ‘CRISPR-Cas9’) and results in a unique piece of the puzzle.  Combined with all the other bits, they bring to life this new chapter of the iSorin cinematic audio verse. It’s this deft pairing of influences that allows iSorin to give depth and three-dimensionality to Evolve, elevating the EP into a brilliant gem for aesthetes, audiophiles, and clubbers alike.

Listen to Evolve below or on your favorite platform.

The post PREMIERE: Indulge In iSorin’s Brand New EP ‘Evolve’ appeared first on FUXWITHIT.

These two are not just masterful pieces of music but I feel confident in saying they’re M!NGO’ best works to date (with the exception of ‘Control‘, because you know, it’s ‘Control’).  I will even go further, ‘La Morte’ and ‘Botnet’ are true masterpieces for lovers of the pure, raw wave sound.  The essentiality that profoundly characterizes the two tracks, combined with the perfect palette of sounds M!NGO brought into play (very classic by wave standards, but masterfully orchestrated), lends an intense liminal atmosphere to the project.

With its cavernous bassline, ‘La Morte’ is set to become a certified crowd-pleaser, but I can already see the unfathomable, overpowering vastness of the drop leaving the more unprepared ravers mystified. This is one of those tracks you can’t get your head around. You have to feel it on your skin and in your bones. Close your eyes and leave your body at the mercy of the vibrations that saturate the atmosphere and penetrate your body.  The arpeggios which languidly pulsate over this triumph of low frequencies are just perfect as they double down on the hypnotic effect.

‘Botnet’ doesn’t hold back either when it comes to the bassline, but in this second track M!NGO displays a more detailed and rich storytelling. Split practically in half, on the first part of ‘Botnet’ lingers a strong “neo” vibe while the second drifts toward a more atmospheric approach. In the latter, echoes of instruments cross paths with vocal chops and irregular drum patterns, spiraling the alien feeling that permeates the four minutes of the song. The transition from the two sections is overall smooth, making ‘Botnet’ a sonic cruise between two of my favorite takes on the wave sound and a testament of M!NGO’s plan to “hit as many genres as I can all year long“.

‘La Morte’ and ‘Botnet’ are out today via vibe.digital,  you can listen to the two tracks below or on your favorite platform. If you’re in the US, be sure to follow M!NGO to be up to date with his summer gigs.

The post PREMIERE: M!NGO Gives Wave Masterclass With New Double Release ‘La Morte / Botnet’ appeared first on FUXWITHIT.

Released on vibe.digital, this single shines on a whole new scale. Separating itself from the rest with its unique production design and execution. Making listeners feel an array of emotion as it courses through your imaginations. Opening a gateway full of inspiration, power, and perseverance. An out-of-body experience from beginning to end due to its captivating vision and storytelling. From a gentle melody carried throughout the composition to a trap-infused drum loop to make your attention always present, it’s full of surprises thanks to their unpredictable creative minds. Eastghost’s classic atmosphere building combined with ONHELL’s gritty bass designs really paints a picture of the future for you. Each section blends with the other organically with a cinematic touch to it all. This is by far one of the most unique tunes we’ve heard this year so far. So make sure to show your support by streaming ‘Vanishing Point’ everywhere via vibe.digital!

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The post Eastghost And ONHELL Frolic In A Flowerbed Of Mystery With ‘Vanishing Point’ appeared first on FUXWITHIT.

Obscure and cryptic, Cy-gen is a very short EP (none of the three tracks exceeds three minutes of runtime) but with an overflowing personality. It shares the power of the best wave tracks to suck you out of reality and toss you into an abyss. You’ll drown under a flood of low frequencies, the gargantuan kicks will push you to the depths and there you’ll be transfixed by cold, yet poetic, lucid dreams. Once you hit play, you’ll be at the mercy of gl00my’s genius, who casts on us the perfect exorcism against the daily chaos that, in turn, always tries to submerge us. Despite my passion for long, structured cuts, the conciseness and spontaneity that I personally perceive from ‘Cy-gen’, ‘Proxy’, and ‘Ice’ (my favorite from the EP) is refreshing. The same feeling that I came upon listening to Skrillex’s ‘Quest For Fire‘.

Listen to Cy-gen below or on your favorite platform here.

The post Plunge Into gl00my’s Latest EP ‘Cy-Gen’ appeared first on FUXWITHIT.

Pantheon kicks off on Thursday, with the official pre-party at the High Dive, which will see calicry and Static Angel behind the decks, two of my favorite producers in the game at the moment. The festival reaches its climax on Friday and Saturday nights, where more than 30 artists will take the stage at the Substation. The gargantuan lineup includes some familiar names such as Remnant.exe, barnacle boi, brothel, Noah B, Falldren, Ramon Pang, Angel Cannon, and many more.

You can find the last tickets for the pre-party and the two-day festival here and here.

The post Pantheon Debuts This Weekend As The Biggest US Wave Festival appeared first on FUXWITHIT.

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I remember it like it was yesterday. Plastician would put out the call on his socials to send him a SoundCloud DM with new beats for him to play out. The peeps who messaged him were mostly a bunch of kids and early 20-somethings, responding from their bedrooms, on their laptops, with pirated copies of audio software and the Lex Lugar sound pack, making beats. They didn’t make them for the club (they probably hadn’t set foot in a club in their life), they made beats for themselves and their peers, and it was a time of splendor on SoundCloud. On Rinse, Plastician would transition to these tunes that were usually made without a DJ intro, and he often referred to them as “wavy bits.”

Right away, having clocked onto this sound in 2014, I knew that if I heard someone get played out on Rinse on Plastician’s show, I should follow them. I was almost always in the comments section of the SoundCloud upload of the radio show that went up the next day, asking for track IDs and networking with other people who also dropped a comment. I found Kareful, Sorsari, Skit, Noah B, Øfdream, WTCHCRFT, and tons of others that way. I started making my own beats, which I had largely given up on doing after an unsuccessful journey in the early days of dubstep in the USA, and after I made a few I sent them to Plastician. He even previewed the first few, but didn’t download them. That was okay, I knew they weren’t that good, but it was cool that he took the time to listen.

It was around this time when a bunch of the artists I had followed earlier formed their own collective and they called it Wavemob. They were all tagging their genres the same, calling it something generic. At first, I wasn’t so sure I liked it but it had a simplicity to it. They called their music “wave.” They released their first compilation, and I got excited and was inspired to up my producing game. I had moved to New York City from my small Iowa town, and while I was making the best music I had ever made, I still wasn’t sure if anything I laid down was worth a damn. My mixdowns were choppy, and not as loud as some, but my ideas were solid, and at the least, I was making something that I liked, so I sent Plastician another DM with the download enabled, and I made sure to name the song file properly (“Artist Name – Song Name” and this is still relevant today). His exceptionally basic response changed my life, “Grabbed this cheers”…

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Ummmmm, WHAT.

I tried not to get my hopes up. Yes, he downloaded the song, but that doesn’t mean he’s going to play it out, right? Nevertheless, I tuned into his radio show, which played at 2PM Eastern Time, in the middle of my workday, and all of the sudden I heard it. The intro of the song I sent, and then he announced my artist name. I couldn’t believe it. I was sitting at my desk with my earbuds connected to my work computer, and the adrenaline was coursing. I was listening to MY OWN music on Rinse. My colleagues were oblivious to the catharsis I was experiencing, squirming in my seat. I may have made a high-pitched sound after the song played, but no one really heard so did it really happen? I was glued to the Rinse SoundCloud channel waiting for that upload. When it came up, I immediately commented on my own song and was so grateful all week to Plastician. I’d often go back in and see who else was commenting and who else got played that week, and one guy stood out to me in particular, it was a man calling himself M!NGO. This was another guy who got one of his first plays on Rinse that week so I followed him. I heard his tunes. I eventually reached out to see if he wanted to collab, one of the first times I’d ever reached out like this. I thought it was a long shot, but hey, Plastician playing one of my songs on freaking RINSE was a longshot. For a few days I didn’t hear a response from the guy until eventually, I got a DM back. “Yo Fam When You Want To Collab? I’m ready if you are!!!”

Not long after, I was rolling through Colorado on my way to my friend’s wedding and I came in a day early to meet up with the man. Jordan Wilkinson is an exceptionally tall human, and if his demeanor hadn’t been so friendly I likely would have been intimidated. He came out to the street after I parked and led me into a nearby house. Apparently, he was staying in the basement of his friend’s parent’s house, both of whom were deaf. Next to a dank, humid, and unfinished basement room, he had a DJ controller and a laptop on a standing desk. We talked for a few minutes but quickly started making a beat, another shot in the dark as I really hadn’t collaborated with anyone in person at that point. We found a decent drop for us at the time, and started on an intro. I remembered a scene from True Detective and figured a little cinematic quote would be appropriate for this vibe, so I threw that in there. The two hours I had to meet flew by, but we had the bare bones of a song.

A week later, Jordan finished it and sent it to me. I forwarded it on to Plastician who downloaded it again. Then Plastician messages me, “this is dope u mind if I hold this one back for the wave pool mix?” He eventually signed ‘Rebirth‘ to Terrorhythm, and you can still hear it on the Wavepool 2 compilation, the first wave-centric compilation Plastician ever put out. It wasn’t a definitive compilation of the kind Wavemob would put out, but it was definitely up there in all-time highlights for me to this day. Looking back, we are fortunate in that it’s not hard to experience the feeling of wave music from that time. We still have a direct window into the past with Rinse’s SoundCloud as they conveniently have an archive of all of Plastician’s shows (here and here you can find some of my favorites). And of course, no post about these times would be complete mentioning the epic finale. Did Plastician book Skepta again for his final show? Nah, it was Skit, Kareful, Klasey Jones, and LTHL. Going out the way the man came in. Pushing the underground.

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After Plastician’s show came to an end there was a significant void left, which many tried to fill, myself included. After I moved back to Iowa, I founded a radio show that M!NGO helped me name “vibe.digital.” I was astonished at the excitement and support it generated from friends, fans, and especially fellow artists worldwide. I started to receive exclusive songs to play out on the radio show, including one from M!NGO and Pinknokia entitled, ‘Missed Call’. I did my best to help M!NGO submit that one to all the labels putting out the wave sound at that time, but to no avail, no one would sign. On the phone with Jordan I remember succinctly telling him… “Who is going to sign ‘Missed Call’?! Why won’t anyone sign it? Goddam, who is going to sign it…?” Then I paused and realized, oh shit. I am going to sign it.  And that’s the story of how vibe.digital as a record label started.

Plastician’s early input into our scene was incalculable. The amount he was consistently doing to reach down and pull up artists like Deadcrow, Sorsari, Noah B, Kareful, Skit, and so many others is the stuff of legends now. The rise of successful and sold-out wave shows around the world today can be directly tied back to Plastician’s early support of our scene. We’ll always remember and I’ll always be grateful. 

– Written by Donald “Fyoomz” Revolinski.

Follow Fyoomz
SoundCloud | Spotify | Audius | Twitter | Instagram

Follow vibe.digital 
SoundCloud | Spotify | Audius | Twitter | Instagram

The post Plastician And The Founding Of A New Genre appeared first on FUXWITHIT.

In this second chapter, the story takes off in grand style and continues its highly cinematic journey. It’s interesting to notice how the five tracks are not all collaborations between the two acts. There are indeed three joint ventures but we also have two individual cuts where the artists showcase their individual visions. For me, this was an unexpected and welcome surprise since I’m not as familiar with The Wildcatz style as I am with Klasey’s discography. In order not to spoil everything for you, in this review I’ll focus only on these two tracks from this second chapter of Operation Midnight.

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In the past months, I had hints of Klasey Jones secretly working on some drum&bass tunes, but I wasn’t expecting to find an early taste of these experiments inside Operation Midnight. This EP series has been a showcase of so many fascinating sonic explorations from its very inception, but despite the name, I couldn’t foresee ‘Trojan Horse’ sneaking a D&B incursion inside the tracklist. In this song the UK DNA of Klasey Jones has taken over,  unveiling a new identity of the artist. I was expecting something more in line with what Noah B‘s presented in his release on Pilot, but ‘Trojan Horse’ is of a whole another breed. It mixes the exotic melodies and a sense of spirituality that deeply characterize the entire Klasey Jones repertoire (somehow it recalls me of his 2017’s album Eleven ) with sharp, acid synths (which instead reminds me of Dimension’s latest album) and a fat, synthwave-inspired, bassline. Seeing a singer featured on a track by the London producer is truly a rare occurrence. For this special occasion, he has called back fellow citizen Sooski whose voice works very well in adding more emotional intensity and complexity to ‘Trojan Horse’.

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The Wildcatz’s “answer” is equally spectacular. ‘Elysian Fields’ sticks to a more classic wave sound but don’t get fooled, it’s full of surprises as well. Taking its role as a closing track seriously, ‘Elysian Fields’ pulls together various cues taken from the previous four singles and mixes them to compose a brand new puzzle. The first seconds after the intro where the massive bass kicks accompanied only by those percussions (I can’t really tell which kind of sound it is) are a true musical orgasm. Call me a simple man, but being swallowed by low frequencies still freaking excites me even after a lifetime spent listening to electronic music. Not that the rest of the tune falls short. Indeed, ‘Elysian Fields’ displays one of the most peculiar and glamorous selections of sounds I’ve heard in the while.

I know I told you that I was going to talk only about ‘Trojan Horse’ and ‘Elysian Fields’, but at this point, I can’t turn down the opportunity to say something about the other tracks. I swear, this time I’ll be concise.  Let’s start with ‘Hands of Time’, the single that anticipated this second part of Operation Midnight. From my point of view, this is a hit. The vocal sample turns me on every time I hear it while I love how the drops punch my eardrums. ‘Breaking Point’ seems to come straight out of part one of Operation Midnight and for me works perfectly as the first track of the EP (as it is on the Spotify version). ‘Diego’s Theme’ is the hardest piece of the entire saga but also my least favorite one. Noteworthy is the psy-trance inspired finale, another unexpected gem, and how the overall aggressive vibe of this tune fits very well the storytelling. We’re following a  top-secret interplanetary theft attempt after all.

Just a few final notes about this amazing artistic effort in its entirety. First of all, it’s an indisputable testament of the impressive creative chemistry between Klasey Jones and The Wildcatz. I’ve never, ever, seen such a perfect match. Secondly, I have to express how much I appreciate the “holistic” essence of the project. Both the two EPs feature incredible standalone singles, but when they’re taken in their entirety they become an even more memorable piece of art. By binge-listening to the full project, you get the adrenaline of the storytelling, the magic of following a proper story, and the highs and lows.

The end.

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This title might not be as infamous as the previous examples, but in the wave community it enjoys an almost legendary status. I pride myself on being a wave disciple for several years now, but when ‘Control’ was first played, I didn’t even know that such a wonderful genre existed. We have to go back 6 years and the place to be was Plastician’s legendary Rinse.FM mix. To give a couple of more references, the track made a cameo in episode two of the vibe.digital’s podcast (in 2021 they celebrated the 100th installment) and I still had yet to join the FUXWITHIT team.

Feel old yet? However, ‘Control’ doesn’t seem to be affected by this gap as it retains all the charm of the early days of wave. Timeless, it stands like a cliff on which the tide of time has no power. Let me be clear, this is not a nostalgic celebration of the “good old times” nor an epitaph of the contemporary scene. WRCKTNGL and M!NGO can bring veterans of the scene on a trip down to memory lane but at the same time, they’re also capable of bewitching the new generation of listeners. In all honesty, how can you not feel cradled by the chest-pounding kicks and a subby reese bass? How can you resist the seductive and hypnotic charm of those icy leads and vocal chops? With its simplicity, ‘Control’ makes its way through the daily noise and carves out its space in the spotlight, demonstrating that vibe.digital was right to drop this ace up its sleeve.

Stream ‘Control’ below on or your favorite platform here.

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