4bstr4ck3r releases 1 + 1 = 3 on Digital Whomp! Hailing from France, 4bstr4ck3r is consistently injecting fresh glitch hop and bass into our ear drums. A true collaborator, this release features an eclectic blend of bass, diving deep into neuro hop, glitch hop, and psybass in co-production with six of his friends: Modern Noise Machine, Devin Kroes, Tack, Dr. Spider, Mauvaise Pioche, & Kaze. Experience infinite solid doses of experimental bass through six imaginative explorations which are felt through rhythmic yet mysterious melodies, funky vibes, and intricate textures. Old school and futuristic psychedelic visions are felt as each beat and whomp syncs beautifully into the next. The sound design on this release is ready for you to put your speakers on full blast of deep sub bass, synth, kick drums, scratching, & ancient feels. Experience dopeness and a lucid feel as old-school feels are brought back into the now. Keep your eyes on this up and coming artist who is gearing a path of fresh creation.
Audiophile kLL sMTH is back with another avant-garde and highly polished envelope-burning release “Flummoxed” sending listeners through a six track journey of laser landscapes and breakbeat backspins. From the sultry vocals of “Syzygy” to the intricate low ends of “Mutton Chopper”, Kris Edland has delivered another brain-tickling and diverse installment in his musical career, staying true to his sound while continuously pioneering new musical territory. The exotic textures, outlandish swing, and engaging playful nature will certainly stay on serial repeat, keeping observers endlessly trying to solve it’s rubiks cube of sound. Please enjoy this ingenious opus of one of our favorite glitch hop masterminds, as it pulls you through a world of sophisticated sound design, multi instrumental melodies, and dexterous bass leads.
Tryptich releases ‘Sunspot’ EP on Luminus Music today, March 17th, 2016, and it’s a funky fresh glitch hop into outer space – it’s a mode of discovery. Grooving in with psychedelic twists, dope and mind boggling basslines, and tripped-out melodic twists, Tryptich generates a lush space-funk rhythm through four midtempo epics. An atmosphere of smooth reverberation is felt as eerie crescendos provide an alien-like surface into presence. How did we end up here? An emotive, trippy, melodic, & morphological approach through “Lost” is ignited through laser bass, which is then fueled by innovative and fresh beats, which then creates an overall extension of psychedelia and innovation. “Air Lines” swings in by with that psy-hop-funk vibe and reveals sporadic vocals, a true glitch hop theme, this journey sets a smooth outlook as each transition fuses in magically together.
“Sunspot” hits the spot with its luminous feel and continuous rhythmic presence of intricate and grimey characteristics. Tryptich’s composition really makes for an intriguing and innovative soundscape of “psychedelic space-funk” as he will reel you into w known state of thumping alternative whomp states. “Ooze Cruise (feat. Mise)” is like an aquatic bass escape into deep layered textures and patterns, it’s an entrance into higher levels of consciousness. This collab screams out EPIC as you feel a triggering rush of light enter your entity through beams of radiating beats and enhancing grooves booming in and out of this world as crescendos ( 3.51 – 3.54 esp) reveal imagination ! Saam Hodivala’s “Tryptich” project is a recent discovery for me and he’s instantly becoming a favorite! Looking forward to more from Trypitch! Artwork by Caspian Kai (Design By Kai)!
Big shout out to Hedflux, the mastermind behind Luminus Music, and Tryptich on this release! Don’t sleep on these guys!
Cualli releases “Birds of Bliss” – a mid tempo journey on the legendary Merkaba Music. Inspired and written while exploring the tropics of Costa Rican and Amazon jungles (of Northern Peru) in 2015, Aaron triggered deep inspiration which reveals extraordinary depth. A soothing, captivating, & invigorating bass extravaganza is composed of fluid transitions, organic melodies, funky vibes, and psychedelic lush which provide an overall balance of being in tune. Cualli is a rhythmic and innovative world class composer, and through this release, his soundscapes encompass a wide-range of glitch hop, ambient, and electronic visions made possible through the love of nature: birds, ocean, trees, sands, and jungle magic. Staying true to it’s 432hz roots and Pura Vida vision, the track “Dragon” set the tone and tempo of the rest of the 8 track album following a ceremony that left him experiencing higher levels of consciousness. Aaron is a genuine and a passionate creator. I met him in Austin, Texas and his lively presence can be felt not only through his sounds, but his humble nature! Big ups! A true collaborator, “My I” features his love, Sophia Boedecker!
Dysphemic is back with his second release on Gravitas Recordings, “Inter-G-Lactic”! Hot damn, glitch-hop feels! This release is fire, been jamming it on the regular! Julian does it again with a full focus on high-creative explosions made possible through in depth imagination & profound/healing intention as he has co-created this next level EP alongside his brother, Yiani Treweeke, as a tribute to their father, Vernon Treweeke, who passed away last year. Experience a 5-track Sci-Fi and intergalactic expedition beyond space and time…it’s a mystical journey elevating through hard-hitting yet smooth bass, glitch-hop atmospheres, genius composition, melodic and grimey grooves, synth leads, mind-boggling Eastern melodic rhythms, & intriguing whomps. Conscious Hip-Hop feels blends well with trippy soundscapes, crescendoing effects, funky beats, instrumentation of the Spanish guitar, and pulsating drum beats – an overall amazing release! Well known for his visually psychedelic paintings, Vernon was a well respected figure within the Australian and international psychedelic community!
Alex Gonzalez, more commonly known under his stage name ‘Spoken Bird’, is back with another solid installment in his panoply of cutting edge tracks with Liquid Soul Mantra. After 6 years in the mix, 28 year old Gonzalez is undeviating in releases that are growing in popularity throughout the future sound arena. Gonzalez has made a lot of advancement in his sound composition from earlier releases while continuing to manage his unique statement bass. He began djing parties in his college town and a quickly noticed a hunger for experimental sounds in the local community, so he began throwing renegade events to create an outlet for those in want. Once his eyes were set on making music and producing original content, he joined a round robin work group compromising of artists such as Devin Kroes, Itsurite, Urple Eeple, and Mia Lolita where they shared material and constructively critiqued each other’s work.
Feeling more seasoned and inspired, he was then able to open up and share his music with others. While prolifically maintaining his solo endeavors, Spoken Bird also balances side projects ‘Lucid Solutions’ and ‘Triple Threat’ with friends and fellow artists Lazertooth and Elevated Mind. Along his journey there have been many stand out moments such as opening up for Polish Ambassador and Wildlight for a crowd of over 3,000 people and getting asked to perform at the festival that solidified his relationship with bass music, Symbiosis, in 2013. Fast forward a few years and the epic continues, with Alex’s newest chapter in the story of Spoken Bird.
This compilation highlights Gonzalez’s idiosyncratic style with distinctive bass lines, tastefully playful melodies, and pulsing composition. With his forward thinking sound design paired with a steady progression, this glitch hop collection will keep the energy high and the fairies moving. It was a pleasure to get to open up the space and detail a little more into the inner workings of this fresh EP release. Enjoy some inside perspective to the foundational mechanics and esoteric understandings of one of Afro Monks favorite new releases.
Exclusive Spoken Bird Interview
Can you lend us some clarity into the title “Liquid Soul Mantra”?
The name actually came from an old poem of mine, which sadly has been lost in the digital ether on an old hard drive that failed. Essentially though it represents my own connection with water and with constantly being in a state of flow. It connects with the idea that our bodies are simply a vessel and our souls are eternal able to flow from one container to the next like water. If you fill a cup with water, the cup is the vessel and the water is the soul, if you drop the cup and it shatters, the vessel may be gone but the water is still there, if you dry it up with a towel the water is now in the towel but if you wring out the towel the water flows out, its fluid and free.
As always I love the signature lazer bass. I like how your style notably advances but the bass lines and kits seems to remain intrinsic to your sound. Is this something you try to achieve intentionally or something that ends up happening on its own?
A little bit of both. I try to use a mixture of new sounds and old sounds, and I have a big library of bass patches, synths, etc that I have created over the years and keep coming back to because I love the way they sound, other times I challenge myself to make new sounds and push the envelope. A lot of it also has to do with the nature of the synths I use (A lot of Razor for Reaktor and Serum from XFER Records) and the kinds of sounds they tend to be good at making.
This is a very solid 3 piece release. Was this intended to be only three tracks or did it start as a single or the beginnings of a full length release?
It was actually a 4 track EP but sadly one of the tracks was an older one in a different version of Ableton, on an older computer and when I got my new macbook I wrote the other 3. When I came back to the older track [which I had managed to salvage from the failed hard drive I mentioned before] all of the patches and synths had reset themselves to the default synth sound so I basically lost everything. Instead of trying to redo all the sound design and synthesis I decided to just keep writing new songs, work on remixes for friends etc and just release this one as a 3 track EP.
Is there anything you might be trying to evoke in listeners through these new tracks? My music has always been about painting pictures on silence with sound. Honestly I just hope that people can get lost in their own imagination or lost in the movement of their body on the dancefloor while listening to the music!
From the start to the final product, how long was the process for this collection of tunes?
I’ve gotten faster at writing over the years and especially after getting my first EP out, which took me a looooong time to get together and get released [2 years of going back and forth], I dedicated myself to writing for at least an hour a day and trying to really focus on getting songs completed. For this EP I would say that from start to finish the whole writing process took me about 3~4 months and then getting together artwork, release strategy, a record label etc was another 3~4 months.
It’s hard for me to call, but I think I would have to say that “Moments of Clarity” stuck out to me most. All of the tracks embody a very bouncy, playful spirit, but MoC really paints a vivid picture with a banging lead verse, beautifully arpeggiated melody, and then to a glitchy, atmospheric break down. Can you give us any insight into the influence behind the title? a little bit of the process behind making it? Personal connection to it?
At the time I was going through a lot in my life, just kind of stressing out about student loans, finding a place to live, not having a fully stable relationship/being in a long distance relationship, struggling with the decision to quit my job and switch to working part time so I could focus more on writing music. Then it kind of hit me one morning, when I got into an argument at work with my boss and decided right then and there that it was time to quit and start focusing on music. I was so frustrated with everything and with working for someone else and not having enough time to work on my true passion, music, that it was kind of a moment of clarity for me. I put in my 2 weeks the next day and almost immediately found a part time job working 20 hours a week with extreme flexibility and 4 day weekends to go play gigs and write new music. It really marked a big shift for me, and I was super inspired after quitting my previous dead end job, so after putting in my 2 weeks I went home and began working on Moment of Clarity which was actually the fastest song of the EP to be written (from start to finish it took me 3 days which is the fastest I have ever completed a song). As for the song-writing itself, I actually took a lot of inspiration from listening back to eDIT’s Crying Over Pros, hence the glitchy break down.
Could you shed some light into the assembly of your works? Take us into a day in the studio with Spoken Bird. Where does it start, how do you push through stagnation, how do you know when a piece is done? I don’t really have a typical day in the studio as for me the inspiration always hits at different times and for different reasons though lately I’ve been noticing a trend of either getting inspired super late at night when I am coming back from a gig, etc and writing music into the wee hours of the morning, or getting really inspired right after waking up, taking a shower and drinking a cup of coffee. Essentially though, when I get inspired I will open up Ableton and usually start with a melody or chord progression I am hearing in my head, and then build from there, usually adding rudimentary drums, and then a bass line to fit the chord progression, which will usually be super simple at first, and then once I have the notation for the bass line down I will go back in and tighten up the drums, make them more intricate, move kicks and hihats around to better fit the groove, etc. Then I will go in and add automation and different bass sounds to the bass line to start getting the signature “Spoken Bird” lazer bass sound. From there I will start adding more melodic elements like pads, stabs, ear candy, etc. I think a big part for me as well is knowing when to drop a track or when to push through. A lot of producers talk about the idea of knowing when to stop polishing a turd, which is true, if you polish a turd, it’s still a turd at the end of the day. So you kind of have to know when an idea just isn’t good and to move on to something else. With that said, I also think it’s important to know when to push through and keep writing. Sometimes I will have something I am just not feeling and will be thinking about scrapping it, and then I’ll take one element and change it to a different patch, or arpeggiate it, or maybe I’ll change the patch on a particular bass sound and all of a sudden BOOM! Now the track is banging and im feeling it and super inspired to keep writing. I think it’s also important to know when to take breaks, give your ears a rest, or just simply stop listening to the same half a bar over and over again trying to get it exactly right. As that tends to happen a lot haha, sometimes my roommates will be like, “DUDE! IF I HEAR THAT SAME HALF BAR LOOP ONE MORE TIME!”.
Do you have any plans for Liquid Soul Mantra? Are you hoping to open up the space for some more touring or shows or simply keep the bass kittens prring? I’m hoping that some of the right people take notice of the new music and I can begin to get more shows, play some new festivals and just keep spreading the music to dance floors across the country, but ultimately I am happy to just get the music in people’s ears. If I can convert one more person into a bass music fan, I am happy 🙂
Alright my friend, any last words you would like to share with your fans or the community? Love more, fear less. If you believe it, then live it and be it or leave it be.
Psy Fi releases ‘Colors’ on MalLabel on January 7th, it’s a full length album featuring 10-tracks of solid dopeness! It’s fresh and filled with hard hitting bass, glitch hop feels, psychedelic frequencies, intricate textures, 808’s, and mind blowing composition – it’s fire! This also release screams out flawless sound design fused in with eerie sonic atmospheres and trippy crescendoing effects made possible through energetic vibrations and next level melodic vibes. Miles does a great job of creating expansive ignitions as they rise through the depths of rich layered textures. Along w/ the release are also 5 remixes of originals by Hollis, Perkulator, Muppet Punk, Hypha, & Wu Wei – all showing a remarkable taste of bass and deep collaborative and futuristic escapes!
Miles Ross is a West Coast bass producer hailing from the streets of the Bay Area in Oakland, where mass creativity leads and inspires. On the path for loads of productive potential, Psy Fi will keep his soul uplifted as he digs deeper within himself to showcase his gift to the world. I have yet to catch a live show as he I hear he exemplifies all-original live performances which range in diverse, mind-melting, rareness, and fluid exposure – a transcending effect which has left many emotive responses and high-rating depth. Newly sign into the Re:Evolution booking fam, keep your eyes pealed for live performances in a city near you!
5AM releases ‘Deep See’ EP on Aquatic Collective today, December, 18th, 2015. It’s a four-track amalgamation through the depths of visions into the ocean, through breakbeat, glitch hop, live instrumentation, downtempo feels, and jazz vibes – it’s a true masterpiece. Currently residing in New York, NY, Sam Andrus’ creativity is a breathtaking experience that syncs up magic into the now, a gateway of endless expressions has entered his soul. It’s full of depth, intricate patterns, grimey & squishy glitches, rhythmic melodies, and awe-inspiring composition.
Each track provides a story of its own, an evolving phase through higher levels of consciousness. Experience a collaborative creation with friends: production/live guitar (Sam Andrus), live trumpet (Moses Cicero), acoustic guitar (Eviali). This sonic journey will open up your chakras and reveal to you visions through the mind’s eye of the Universe and into the Akashic Records, a Deep See. 5AM is a producer to keep your eyes pealed for…he’s definitely one of my favorite producers, he’s had a few releases within the year that are pure clarity, always keepin’ it fresh. Dope art work by 5AM himself!
Tipper releases “Its Like” EP on October 14th, 2015 on Tippermusic. Nu skool breakbeats set the theme for this release as it’s fused in with a leading funky, heavy bass, downtempo, and midtempo beats and feels – an overall experimental electronic experience. I dig how all of Tipper’s releases always go specifically unannounced and unexpected, a mystery slowly unraveling itself from the get-go. Creating endless suspense, leading intriguement, and fresh innovation to his sound presentation, our ear pineals are in treat for more glitchy feels in comparison to a more downtempo approach earlier in 2015 – Fathoms EP. Tipper’s gestures are legendary in variety as he’s truly an authentic master for various themes: intricate sound design, flawless melodies, ethereal soundscapes, hard hitting drums, mixdown, & live focus.
“Its like” EP consists of four-track escapes into glitch hop feels: Its Like, Distal, Table Flipping VIP, and Flares At Dawn. “Its LIke” is a funky fresh glitch hop beat introduction as it reveals the theme to the EP – glitchy breakbeat. Turntablism takes a leading role in this track as crescendos and squish beats give of a glowing effect of brain strategization through alien gestures. “Distal” is trickling melodic beats of intertwining rhythmic and glitchy soundscapes through intentional taste and variety. Melodies on melodies on fresh fuse together to create an elaborate effect as elevating crescendos groove into discovery. “Table Flipping VIP” takes on a percussive role as its like a re-lived experienced and new vision of the original “Table Flipping” track he released on his EP, Forward Escape. Illuminating and geometrical sound design over exceeds the gift of creation. “Flares at Dawn” is a more downtempo approach than the latter – an ambient meditation can be felt as soothing synth effects expose in-depth yuminess. It’s as if angelic drones through instrumentation is displayed in higher consciousness.
My Pet Monster releases his solo debut, New Age Gangster, on MalLabel Music earlier this summer and it’s a “cinematic dubstep” extravaganza of many moods and eras. From Electro Swing to Hip Hop, this Ghetto Swing feel will have you swerving and feeling groovy, hop on the 1930’s millennium swing-hop. West Coast feels will regress you 3 generations down while remaining in present day flavor and flow. Ryan Summers resides in San Francisco, California and has been focused on the creation of this new sub-genre of electronic music. Artwork by Sparkuhl on the album art is very original, and brings in visuals that are in sync to the title: New Age Gangster. Adding to the album art cover, a pet monster is revealed next to six symmetrical women figures with a 30 – 40’s look. A new age of reaffirming the impossible, a mixture of sounds never thought possible, has come into a reality state. Classic sounds blended with present-day glitch and bass make it a journey of its own.
New Age Gangster consists of 3 original productions including incorporation of soulful vocals, and 3 remixes of the originals: New Age Gangster, When I Get Low I Get High, Baton Rouge Bounce, and remixes include:“New Age Gangster” by Samples,and “Baton Rouge Bounce” by Defunk andTimmy Tutone. “New Age Gangster” kicks off with mid tempo snare, and a momentum of rhythm accumulates, while whistles blend in the mix. Piano and brass instrumentation giving off a danceable beat. Woodwinds can sporadically be heard and the production of glitch hop squelches and future bass make it a unique creation. Combination of two opposing worlds mixing freshly. When I Get Low I Get High, is full of an upbeat tempo and female vocalizations of old-school swing music, with fine creation of sound design of bubble wurbbles and twists of lasers. Saxophone and snare give the swing a full effect, break down your best dance move, as the title suggests the style of swing dance.
Baton Rouge Bounce definitely has a southern touch to it. The track initiates with a banjo crescendo that foreshadows a steady swing, and old-school breaks. A very melodic swing vibe is present, with additions to well thought out glitch patterns. New Age Gangster remixed by Samples reveals his signature glitch-hop style filled with hard hitting bass lines – a crunk effect that will leave you feeling like the sound of lightning bolts striking. Very rhythmic composition blends well between the genre of My Pet Monster and his. Baton Rouge Bounce remixed by Defunk has initial piano key notes and saxophone instrumentation by My Pet Monster which is then meshed with incorporation of deep male vocals. Soon, Canadian producer, Defunk, crescendos an upbeat vibe full of glitch and funky and melodic bass beats for the rest of the track to follow. Baton Rouge Bounce remixed by Timmy Tutone adds in 808 explorations and a smooth feel, a future sound that is pleasant to the ear pineal.
The development of American “Swing” music in the 1930’s is back with a twisted and glitch-ed out vibe. My Pet Monster isn’t afraid to make his ideas an innovation, as this cinematic dubstep and glitch producer has shown in his first solo release. Tagging along to his creation, three well-respected bass and glitch producers joined in on the mix exposing endless support for his style with their own unique taste. I’m excited to see My Pet Monster continue to grow as an artist, especially after a release with a well-known established label. MalLabel continues to hit high charts as they will continue to expose artists and producers such as My Pet Monster. If you’re in the West Coast, be sure to catch artists branching out of this label the best way possible: LIVE.