The festival circuit is kicking off early in 2019 with south Florida hosting one of the heaviest lineups currently out there. Forbidden Kingdom, a new event coming to Boca Raton on Presidents Day Weekend 2019, has debuted their inaugural lineup, topped by Excision‘s full Paradox production, Adventure Club, and Zomboy. Bass heavyweights 12th Planet, Dion Timmer, Funtcase and Sullivan King also round out the wub-heavy billing, though Forbidden Kingdom is bringing a lot more than rattling low end to Boca come February 16 – 17.
The event is aiming to create an immersive narrative for attendees to dive into, launching a full fantasy story line in a 60-page book written to complement the lineup announcement. More books and characters are expected to follow Forbidden Kingdom’s first installment. Tickets to the first Forbidden Kingdom are on sale now.
Though he has only been releasing music for a few years, Jaenga‘s name is already well-known in his niche. Cruising to the hottest bass music destinations in a massive purple school bus, the New York-based DJ and producer has made a presence at festivals like Electric Forest, Camp Bisco and Mysteryland. The emerging artist follows up a remix to Zeds Dead’s “Kill Em” last week with his debut Toulambi EP on Deadbeats.
A four-track offering, Toulambi explores a variety of sounds within the bass music landscape. The EP opener, “Gravity,” introduces a subtle yet menacing bass line reminiscent of Zeds Dead’s earlier work. The track is followed by “Monsters,” and it’s at this point in the EP that Jaenga shows what he is capable of. With hard-hitting drums, fierce stabs on the low end, and a simple yet fitting vocal sample, this track is sure to enthrall bass lovers everywhere. On the second half of the EP, “Toulambi Tribe” sees Jaenga giving his take on trap music, while he displays his flair for drum & bass on “Never Gonna.” With each song presenting a different side of his diverse production, Toulambi acts as the perfect taster for new fans and a treat for his loyal following.
QUIX has released his second extensive EP offering entitled Illusions. The six-track release sees the New Zealand producer and DJ come into his own, with a range of engaging, dynamic work throughout the EP standing to solidify him as a creative force in the world of bass and future bass music. Ever the juggernaut, this EP continues a slew of exemplary releases from the rising star.
Illusions follows the release of the emotionally engaging single “Giving Up,” featuring Jaden Michaels on vocals, and the track is a microcosm of what the EP offers. With each track offering new insight into varying moods and music that ebbs and flows stylistically from R&B, trap, bedroom future bass and wavy electronica, Illusions is immediately attention grabbing, continuing to captivate as it progresses.
QUIX will embark on a North American tour in conjunction with this release, kicking off this past weekend in Vancouver. Find more information here.
An ominous synth pierces the silence, and looping, deep pitched vocal cuts slowly fade into focus, amplifying the eerie quality of “Blood,” the latest production to bear WHIPPED CREAM‘s name. Lesser known as Caroline Cecil, the LA-based producer drops off her first original piece in nine months, and it’s well worth the wait. A forceful effort that concentrates repeated sharp synth strikes, “Blood” melds elements of bass and dubstep, making it a logical fit for Zeds Deads‘ Deadbeats label. Dark and gritty, “Blood” is a fitting addition to Whipped Cream’s climactic catalog. Speaking on the new release, WHIPPED CREAM told Dancing Astronaut,
“I took the last nine months to properly project what goes on inside my mind and put it into my music and I’m really happy I did that as I grew a lot more into my higher self, I have always been inspired by world sound and cinematic sound. ‘Blood’ is a perfect blend of both yet also maintains an energy the human body will move to.”
While the newest addition to the Prodigy Artists roster had a relatively quiet year from the studio, “Blood” lands as the precursor to Cecil’s busy touring itinerary slated for the rest of the year. “I’m really happy to start this next chapter with this song and finish this year off with more of my new music,” WHIPPED CREAM added. “Blood” comes as 2018 begins to wind down, but for Cecil, clearly things are just beginning to heat up.
There is a certain allure that accompanies the unknown — that curious whisper that can beckon one blindly, vertigo that comes not from fear of falling from city rooftops but rather from knowing that one could. It’s from that place of interest that draws our attention towards Deathpact.
With the release of their latest, “Piston,” Deathpact has done it once more. The track begins with an eerie alien-like mutter only to quickly form into an explosive, bass-heavy, rail riding, headbanger. Sonically, “Piston” demands an energetic reaction through a dark, cosmic calling that says, “come one, come all… if you can handle it.” It holds a circus of bass, kicks, and synths that are in perfect disarray. The track comes to a close as eloquently abruptly as it arrived leaving the listener dumbfounded, exhausted, and immensely entertained. “Piston” has definitely further developed the mystery shrouding this artist. This perplexing website doesn’t hurt the cause either.
Earlier this year, Ghastly dropped his 13 track debut album titled The Mystifying Oracle, and apparently he’s kept the pedal to the floor in the studio since. Ghastly back again new track, and it might just be his hardest release of the year. The title of the new original cut, aptly dubbed, “This Song Scares People,” is certainly a worthy name for the ominous new tune. The LA-based artist is known for his hard-hitting sonic style, but this track will add an even heavier dynamic to his live sets with its frenzied bass assault.
Ghastly — known equally for his dark aesthetic as he for his complex, multi-layered set list weapons, often capped by menacing synthwork and stirring vocal accents, falls right on brand with “This Song Scares People.” And based on the new track’s title alone, this one is certainly not a listen for the faint of heart.
Travis Scott and Drake‘s “Sicko Mode” is easily one of the most enticing hip-hop cuts of the year. The song, an obvious standout off of Scott’s dominating mid-summer LP, Astroworld, serves as the perfect groundwork for a loud Luca Lush flip that will satisfy both dance and hip-hop fans alike with a fitting homage to La Flame and Drake’s chart-topper.
Taking the original “Sicko Mode” and remixing it with his own signature bass-heavy style, Lush plays with pitched down vocal samples, tight hi-hat rolls, and thundering drum builds before a pair of halting, screeching bass breaks. Lush gives off a snarling remix effort, transforming “Sicko Mode” into a rail-rattling festival bulldozer. No doubt Travis Scott struck gold on “Sicko Mode,” but now with a menacing Luca Lush remix that’s bound to start circulating heavily through DJ sets, expect Scott and Drake to be coming through your club’s speakers well past the summer season.
Following the release of their critically-acclaimed album Escape,Gorgon City is back with a remix of Weiss‘ house jam “Feel My Needs.” With a widely successful sophomore album and a what appears to be steady new material stocked as well, the English duo has hit their stride this fall season, gearing up for a well-equipped 2018 tour.
The remix is sure to be a fan-pleaser, as Gorgon City stick to their UK underground house roots on this one. The producer duo throw in some beloved deep bass and quick drum hits, topping off their remix effort with interchanging piano chords and echoed vocals cropped from the original mix. The tempo is sped up a bit, which sets this up perfectly with the theme of most Gorgon City live sets. Jump into Gorgon City’s “Feel My Needs” remix below.
Zeds Dead have made a career out of destroying crowds with their endless canon of haymakers. Adding to their catalog, the duo are back again with “Kill ‘Em,” a ground-shaking collaboration featuring 1000Volts, the production and vocal duo of Redman and Jayceeoh.
First previewed at EDC last month, DC and Hooks come through with the official release via Deadbeats to meet popular demand. The song begins with a Redman verse, with the veteran Wu-Tang Clan affiliate working the vicious hip-hop/bass hybrid sound that characterizes 1000Volts polarizing style. Zeds Dead and Jayceeoh take the reigns as the track drops into bass-heavy madness, dropping off a setlist ignitor made to turn dance floors into a full-on frenzies.
Panda Eyes, Barely Alive, and Virtual Riot team up for the glittery dubstep collaboration, “Triforce.” With video game synths, happy horns, lush keys, and twinkling arpeggios, the track starts off in a blissful state before shifting towards the dark side. There’s a stark contrast between the verse and hook, using a Skrillex-esque vocal build that unwinds into old-school dubstep.
Panda Eyes makes his Disciple Records debut alongside label alumni, Barely Alive and Virtual Riot. Each combine their gritty bass sound design to create this headbanging oasis of unadulterated joy and grit.
The 22-year-old Swiss bass producer teamed up with dubstep veterans in anticipation of his Isolation EP. Barley Alive and Virtual Riot are regular collaborators, so adding Panda Eyes to the mix must be a nod to the label newcomer.