Exclusive: SoDown unleashes aggressive new anthem, ‘Kill Em’ ft Kyral x Banko

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So Down - Kill Em Album Art for Web High Size

The saxophone playing, bass music producing, adventure fiend from Colorado, SoDown, is stirring up a frenzy in the dance music world for his wickedly unique productions that effortlessly blend a range of genres. The man behind the sax, Ehren Wright, returns to DA for an exclusive debut of his brand new single, “Kill Em,” on which he’s enlisted the help of Denver-based producer duo, Kyral x Banko.
SoDown’s newest single puts Wright’s immense versatility and range on full display. Whereas most of Wright’s past discography begins light-hearted and funky, slowly building to a cleverly deployed — and fearsome — bass drop, “Kill Em” begins with the full force of that same ferocity. Wright utilizes the ominous intros of early US dubstep, complete with dark synths and grimey bass lines, offering a glimpse into the more sinister side of SoDown’s musical package. When Wright introduces deep horns to the mix, the result is a riveting track that sits between heavy head banging music and funky groove appeal.

“Kill em started in a green room at an after party in Denver. Before long it had taken on a life of its own, morphing into an epic full on banger sent from the depths of the earth. We hope you enjoy listening to it as much as we enjoyed making it,” Wright tells DA of the track.

One thing that is the result of SoDown’s uniquely style of bass music and his keen ear for sound design: this is one producer to watch out for over the coming years. With sold out shows in Denver’s most popular venues, to opening at Red Rocks, Wright may be the next big thing to come out of Colorado. SoDown brings his live show back on March 3, 2018 to headline The Ogden Theatre (Denver, CO) with support from Buku, ProbCause and Homemade Spaceship.

Bear Grillz – Drop That

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bear grillz

For years, the EDM world speculated over the identity of nonsensical Firepower producer, Bear Grillz, setting the scene ablaze. He  first turned heads in 2013 after he was featured smoking a joint, and middle finger erect. It wasn’t until 2016 when he took to none other than  Jerry Springer to unveil the man behind the cartoon bear.

The Bear Grillz phenomenon has grown a cult-like following based around his outlandish persona and fondness for trolling EDM and its off-the-wall culture, most notably in his breakout track “EDM,” within which a girl exclaims she’s just “died a little bit inside” because her friend didn’t know what dubstep was.

His newest track, “Drop That” is not for the faint of dub-devotees. It’s thrashing guitar riffs, heavy metal death growls, and pounding snares are likely to assemble hair-whipping riots near and far.


Ganja White Night explore the dynamic depths of low end bass in seventh LP, ‘The Origins’ [Interview + Album Review]

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ganja white night the origins 500x500

Who exactly is Mr Wobble?

It’s question that has been on the minds of many since Ganja White Night released a series of music videos late last year. One that has answers partly in the release of their newest and most ambitious album to date, dubbed The Origins, out now on their own imprint SubCarbon Records

“We created SubCarbon when we started making music because it was the only way we could be released. Big labels weren’t interested in our sounds.” 

 February 2018 saw Benjamin Bayeul and Charlie Dodson’s seventh LP since they extensively explored their riddim-inspired sound almost 12 years ago. “We’ve tried to release an album every year since we started in 2010,” said the two Brussels-based producers. They wanted to do everything but rush The Origins album, which the pair had been working on since the fall of 2016, so as to avoid making the twelve track compilation more than just a shallow “collection of easy-to-mix tracks.” 

Photo courtesy of Ganja White Night

The Origins LP is anything but shallow. The album takes a deep dive in many ways.

First, it’s a dive into re-examining their own roots; a new exploration of the hypnotic, immersive sounds that incapsulated fans many years ago. Cinematic intros, playful experimentation, and otherworldly sounds mark the album’s landscape. In a lot of ways, The Origins is an intoxicating ethnic journey with a careful sense of adventure — a psychedelic trip into the worlds of dub, riddim, and low-end bass, more broadly.

Speaking to the evolution of their signature wobble sound, the duo elaborated on how it took them a good amount of time to manifest their ideas into reality: “You can really feel a difference when you listen to our old albums. Sound techniques evolve and the new material sounds more refined. We always had these ideas in our heads, but it’s crazy to see how ideas develop over time into actual sounds.”


Second, the album signals a nod to the roots of Mr Wobble, an animated vigilante superhero character designed by long-time collaborator and illustrator Ebo. Mr Wobble has played a role in their work since they released “Wobble Master” and “LFO Requiem.” At the outset of the new LP, he is joined by a whole new cast of characters whereby fans are given a glimpse into the very origins of how their super powers came to be.

“Mr Wobble isn’t the only guy who has the power. In different civilizations, the people receive this power, and what we see in the [Origins] video is how, in this period, of this era, at least, Mr Wobble is using it this way. We still don’t know where this power comes from, or how he’s be chosen, maybe it was an accident, we don’t know.”


Finally, the album pulls on the nostalgic allure of ancient ethnocentric sounds. Inspired by composers like Hans Zimmer, Ganja White Night has a way for constructing cinematic bass compositions that incorporate reggae, dubstep, hip-hop, and drum ‘n’ bass, with influences from the Middle East, Asia, Africa, and Latin America. “We have some inspirations that never change,” they say. “We’ve always been fans of ethnic sounds and ethnic voices, long intros, harmonies.”

GWN approaches collaborations in the same artistic spirit. Teaming up with Caspa, in particular, on the album’s second track, “Unique,” the three producers capture the very unique essence upon which their collective visions for bass music resonates — back before the days of violent, head banging “bro-step.” Cinematic, fun, mischievous, and stripped down to the bare bone essentials of bass, the track flips fluidly between it’s melodic breaks and stabbing synths for a hypnotic anthem that is sure to capture fans’ eardrums on the dance floor.

Ganja White Night on their “Mr Wobble Is Back” tour stop, 8/5/16. Photo cred: Brew City Bass

From cosmic introductions to intense party jams and downtempo grooves, the twelve tracks come together to tell a more complete story around Mr Wobble, the superhero who creates music from ancient mythology and uses it to awaken citizens dwelling in the modern world he inhabits. Regarding to expansion of Mr Wobble’s world, Bayeul and Dodson are still exploring the many avenues the vigilante hero may take:

“There is still a lot of mystery, and we don’t want to say too much because we have a lot of projects that we want to go deeper into, we want to do more music videos and comic books. There’s just so many ways to go deeper into the story, there’s a lot of doors open now. We just introduced a lot of characters, so there’s a lot of new avenues to explore.”

The Origins arrives just as Ganja White Night gets ready to embark on their album-accompanying “The Origins Tour.” The duo will travel to 20 US cities featuring strong support from CaspaOpiuoDownlink, along with label mates DirtMonkey and Subtronics. They plan to begin each concert stop with a special B2B DJ set from the SubCarbon roster, before transitioning into the tour openers, and ending with a GWN performance that will feature live instrumentation, editing, remixing, and improvisation much like a band playing all original material.

Premiere: Ganja White Night talks Origins LP and newest Dirt Monkey collab, ‘No Escape’

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Ganja White Night Suwannee Hulaween

Belgian duo Ganja White Night have teamed up with Colorado-based dubstep producer Dirt Monkey for their latest original “No Escape,” released via SubCarbon Records. When the duo premiered the track on Electric Forest‘s iconic Tripolee Stage this past summer, the reactions generated an infectious outbreak of wobble fanatics.

With a drawn out Middle Eastern-inspired lead in, GWN fashion a track that builds on their long time love of ethnocentric sounds and voices, long intros, and harmonies. Dirt Monkey’s influence is immediately evident with his devastating basslines and cunning, intricate melodies. The track is an iconic representation of what the duo has in store for their upcoming album, dubbed The Origins, which seeks to construct a cinematic bass music experience that incorporates reggae, dub, hip-hop, and D nB with influences from the Middle East, Asia, Africa, and Latin America.

 Ganja White Night

Photo credit: Rezinate

We’re very keen on this Mr. Wobble character in your music videos. What can you tell us about Mr. Wobble’s story/background that I can’t get from watching the animation?
There is still a lot of mystery and we don’t want to say too much because we have a lot of projects that we want to go deeper into. There’s just so many ways to go deeper into the story, there’s a lot of doors open now. We just introduced a lot of characters, so there’s a lot of new avenues to explore. We have so many plans. We wanna do music videos, comic book, full visual experiences where every song has its own visuals.

The Dirt Monkey collaboration is definitely a standout on the upcoming LP. Tell us about this process and working with Patrick.
We met in Denver first; we were speaking before the show, and noticed we had a lot in common musically. We are around the same and we started making music around the same time, we’d been following the same practices, we have the same inspirations, and and just felt a connection. We then went b2b in Minneapolis, it was our first curated festival in Minneapolis, and we felt it and it was like “oh shit. So it all came really naturally. So yea he had us listen to his stuff, and it went into a full EP actually. I think he felt that SubCarbon was the place where he felt comfortable, we are the same kind of par core.

What is on the horizon for your imprint, SubCarbon Records?
We created SubCarbon when we started making music because it was the only way we could be released. Big labels weren’t interested in our sounds. For Patrick [Dirt Monkey], he already had his label but he felt SubCarbon was a fresh place for him because it had this wobbly sound and all his new tunes are wobbly, groovy. I think that’s what people are looking for when they see a release on SubCarbon. That’s what is great about Patrick, he always brings great vibes to a set, it’s groovy, its dancey, you want to have fun, it’s not violent, its not raging, you might still break the rail though, don’t get me wrong. But it’s the kind of music that makes you smile. That’s what we want to keep in the SubCarbon family. We’re open minded, we don’t care about the bpm, we don’t care about the numbers.

Let’s talk about the tour. It seems like tons of producers recently are slapping the “live set” label onto their tours. What can we expect from The Origins Tour?
Since we started performing on the stage, we have always played a live set. We can definitely DJ, but we are definitely not as good of DJs as some people that we know. It’s more fun for us because we can express ourselves better live and we never play other people’s tunes. So it makes more sense to us to perform live. While not 100% of the songs are produced live, that’s not doable obviously, but we have parts that we interact with, like the harmony and the leads we put in, and restructuring a track, it’s just a lot more enjoyable for us.

Stream Ganja White Night’s ‘Origins’ mini-mix, packed with IDs off upcoming album

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Ganja White Night have carved out a style of intelligent bass music composed of sharp beats, spacey synths, explosive bass lines, and trickling melodies. Affectionately nicknamed the “wobble brothers” by fans, Benjamin “Bamby” Bayeul and Charlie “Erwan” Dodson had a busy 2017 touring schedule opening for Pretty Lights Live and Excision‘s Lost Lands Festival.

Now the Belgian dubstep duo have made good on their promise of a fully innovative and immersive new concept for their upcoming album, The Origins, set for release on their own imprint, SubCarbon Records. In anticipation of the release, the duo has put out a 15-minute promo mix that previews all eight tracks off the forthcoming LP.

Ganja White Night’s album accompanying tour kicks off this February, with support from CaspaOpiuoDownlink, along with a special B2B2B experience with label mates Dirt Monkey and Subtronics. Tickets for The Origins Tour are on sale now via Ganja White Night’s official website.

The Origins is set for release on February 5, 2018.


00:00 – Ganja White Night – The Origins
02:30 – Ganja White Night x Caspa – Unique
04:20 – Ganja White Night – Sacred Pipe
06:03 – Ganja White Night x Dirt Monkey – No Escape
07:47 – Ganja White Night – Chak Chel
09:29 – Ganja White Night – Wobble Buds
12:08 – Ganja White Night – Blood Shower
13:38 – Ganja White Night x Boogie T – Reminisce

Datsik evolves with meticulous masterpiece, ‘Master of Shadows’ [Interview + EP Review]

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How does an artist become an icon?

Musicians and managers often overlook this question in their quest for career prosperity. It speaks to art at the intersection of style and substance, more than it does to commercial fame. Datsik certainly understands the power of iconography. Recently dubbed by critics as “ninja warrior,” Troy Beetles has harnessed the visual power of the Asian samurai. Look no further than his Ninja Nation tour, which rolled out last winter and sold out nearly every major US city. 

“It’s tough sometimes to make the shit that you just want to listen to on headphones when you tour so much,” Datik told DA recently in a conversation. “Being out here and seeing what works on a dance floor can sometimes be detrimental to creativity. I guess at the end I’m just trying to find a balance.” The 29-year-old producer further noted that he’s outgrown the phase of his career where he feels the need impress people, and that his inspiration comes from human connection: “Honestly, it’s the people and my friends and being able to share music with people. I’m inspired by the love I am shown from my listeners.” 

“I’ve been into this [ninja] stuff since I was a kid.”

The Canadian producer, now based in Los Angeles, has been at the forefront of heavy, head-banging dubstep from the start of his career. Since the release of his debut EP Nuke ‘Em in 2009, Datsik has been open about how his particular style of bass has been inspired by Bassnectar and Excision


 “Both of them [Lorin and Jeff] are legends, and its been such an honor to not only work with them but to call them friends for life. The grind is so real out here and to have mentors you can share the experience with is invaluable. Very stoked to see the progression of underground music and where its gone.” 

Yet, he remains humble to the fact that he himself has ignited a burgeoning dubstep movement across North America that has landed him on the major festival billings of Ultra, Coachella, EDC Las Vegas, and Shambhala. January 2018 marks the seminal moment that Datsik emerges as a leading tastemaker in bass music, as he releases his tenth studio EP: Master of Shadows

The seven-track project, out on his label Firepower Records, comes as the potentially the biggest milestone of Troy Beetle’s career, reaching No. 1 on the iTunes Dance charts within hours of its release. Along with it, the deadly assassin is taking on January armed with an enormous 60-date Ninja Nation Tour

“The fact it [the EP] debuted at number one made me realize how fortunate I am to have the supporters that I do.”

Master of Shadows is filled with collaborations, which speaks to Datsik’s ascendancy as a real influencer of his genre. Not only does it enlist some of bass music’s most innovative names, from JPhelpzDion TimmerVirtual RiotExcision, and Ganja White Night, the quality of its sound design places Datsik well within the company of the very pioneers who inspired his early musical directionality. 

Whereas his previous albums helped lay the groundwork for dubstep’s biggest expansion since its early emergence in 1990s London, Master of Shadows marks a pronounced stylistic shift in Datsik’s lethal arsenal of bass. On the one hand, the project fully delivers on every sonic element that Datsik has been dialing into over the years. One the other, what he serves up here is something fresh, inimitable, and entirely different. 

“I really try my best to keep a vibe that people like me for. I also really want to explore different avenues, and I feel like every EP is a new venture to figure out how to meld the old with the new.”

Datsik on his Ninja Nation tour stop in Philadelphia. Photo courtesy of DMNDR.

Throughout Master of Shadows, Datsik achieves his vision, in part by channeling his passion for creative expression and the pursuit of his dream of making music. “I am happy to be in a position to do what I love for a living and be able to express and share the vibe with everyone at these shows. There’s nothing else I’d rather be doing,” he says. Thematically, Beetle’s work pinpoints the nexus between his evolved style and an artistic commitment to where he’s been. 

The EP’s leading track, “Pressure Plates,” paints a cinematic picture, encompassing listeners into a fully immersive experience. The track begins with orchestral layers that, interestingly, call on the electronic stylings of a budding deadmau5 ballad. Datsik is a master of building suspense, as anticipations run high all the way up to the two-minute mark. This is where the payoff happens for those yearning for Datsik’s signature style — the deadly assassin delivers his fatal drop, followed by sparse, syncopated percussive patterns and heavy bass lines. 

There is an intentional construction to Master of Shadows that demonstrates Datsik’s leap from ordinary dubstep producer to bass music icon. Along with the colossal instrumentals he imbues in two of the EP’s tracks with Virtual Riot, including the previously-released “Warriors of the Night,” Datsik has so too proven himself a master of collaboration. In “Freakquency,” listeners are left hanging onto every added sonic element in this carefully constructed track. After a gradual lead in, the senses are quickly bombarded with staccato guitar riffs, jarring synth work, low-frequency subwoofer bass, and masterful breaks. At the song’s close, the silence is — quite literally — deafening. 

Datsik also pays homage to his past style in two unrelenting cuts: one ironically named “You’ve Changed,” and the other titled “Find Me,” which is sure to become an anthem. The latter is a stand out single for its clear influences from Dion Timmer and Excision. While Timmer’s impact is heard immediately at the track’s opening — in his sentient vocals and the unrelenting swells of the electric guitar — Excision’s ruthless touch arrives at the song’s behemoth first drop, oscillating between melodic breaks and frenzied rampage. 

When prompted to tell the story of Master of Shadows in his own words, Beetles states, “I actually wrote this entire EP in three weeks, and my hard drive crashed mid way. It has been the single hardest thing I’ve ever done. I’m so happy with how it all came together and worked out.” 

“To anyone listening to the EP, I love and appreciate you, and can’t wait to see you on the Ninja Nation tour.”

There’s no denying Datsik has been developing his highly stylized Asian directive since his 2014 EP, Down 4 My Ninjas. Neither can one deny that this shadowy mercenary aesthetic fits perfectly into the rough and rugged genre of dubstep. 

 Yet, despite the problematics of a Canadian contemporary appropriating feudal Japanese cultural figures for profit, Datsik has been able to capitalize on his Ninja-branded sound stamp to much success. This precise move is because he has seamlessly fused this ninja imagery into the very substance of his sound design. More than that, he infused the ninja image into his very on-stage identity — from his massive Shogun stage production to his LED conicol hat and karate uniform — all at the level of style. Datsik has branded himself a “warrior of the night.” 

Check dates and pricing for Datsik’s Ninja Nation 2018 tour, featuring support from Space Jesus, RIOT TEN, Wooli, Carbin, and Swage. 

Featured photo courtesy of Jame Winterhalter


Kayzo releases debut LP ‘Overload’

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Kayzo — has officially released his debut LP titled Overload. The Los Angeles-based producer has climbed the ranks of electronic music, gaining notoriety for his non linear approach towards production. As is the case on his album, listeners can expect the unexpected, with songs often shifting tempo two or three times before ending.

Capuozzo’s injection of hard rock guitar samples into forward-thrusting dubstep ballads characterizes his artistic versatility. Seemingly non-related styles blend into a cohesive, yet tough sonic landscape. Overload’s eponymous second track, for example, sounds as though a rogue force is orchestrating the entire effort. Beginning with doomsday breakdowns, it shifts around the 2 minute mark into breakneck psy, flooding the listener with acidic production touchstones.

The album features vocal accompaniments from Micah Martin, whose voice emulates a 2000s punk singer  — an apt inclusion to Kayzo’s industrial soundscapes. What starts out like a melodic build might transform into darkness in an instant, thanks to Micah’s assistance.

“The Overload album started with an idea of bringing the music I listened to in my youth and most vulnerable time with what I have been able to cultivate in the electronic space” Kayzo notes about his LP. “I grew up on rock and pop punk so for me it was really important to bring the musical sound that helped shape me as a kid with what I love now.”

Capuozzo’s tendency to err on the side of extreme audio textures is something that has come to define him as an artist. The synthesis of punk elements into the electronic sphere is a point towards the pure aggression embodied in nearly every track.

“I grew up on rock and pop punk so for me it was really important to bring the musical sound that helped shape me as a kid with what I love now.”

Kayzo’s debut album marks a steep departure from the electronic mainstream. Although sometimes its thrusts feel a bit overwhelming, its influences come from a genuinely authentic space, and their translation into the electronic sphere is a chaotic, wonderful mess.

Dancing Astronaut recently named Kayzo as one of our 2017 Breakout Artists of the Year.

Hi I’m Ghost – On The Run ft Ashley Apollodor

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Rising bass duo, Hi I’m Ghost, has released a staggering single titled “On The Run,” featuring Ashley Apollodor. The elaborate piece begins with unwavering violin progressions followed by an escalation of raw synths accompanied by eerie vocal samples. “On The Run” is a striking compilation of dramatic climaxes, dissonant melodies, and prominent undertones, which Hi I’m Ghost has mastered as an aspect of their signature sound.

The up-and-coming act comprised of lifelong musicians Tiago Nunez and Nathan Davis has been captivating listeners across the world for their distinct versatile style, which showcases skilled production technique and an experimentation with different sounds. They have been supported by bass music heavy-hitters Datsik and Snails, and have received the full support of Firepower Records. With their latest bruising track, “On The Run,” Hi I’m Ghost show no signs of backing down from their unrelenting invigorating productions which put them in the running to be one of dance music’s most promising acts of 2018.

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Culprate surveys new subdued style in new EP, ‘Unity Project, Part 3’

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Over the last few months, Culprate has steadily released a series of EPs with a special twist. The UK-based underground dubstep producer took to his Twitch channel, where he routinely discusses music production and tips, to put out the two previous bodies of work that he created alongside members of the online community itself.

Now Culprate has released the third part in his Unity Project EP series, featuring newcomer artists Quok, Aether, Frequent, Protostar, Bloom and Keota & Sophie Meiers, to further highlight the sense of togetherness and creativity on his channel.

In keeping with his artistic message of unity and togetherness, Culprate’s third EP delivers an eclectic package of subdued, expertly-crafted electronic tracks, taking a step away aesthetically from his previous two EPs. The result is a left-field journey through melodic indie-dance, underground dubstep, and changing tempos. Deep, diverse and unabashedly eclectic, Unity Project, Part 3 neatly encapsulates the limitless potential of artistic collaboration and experimental styles.

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Gaming collides with electronic music in Nitro Fun’s new EP, ‘Closure’

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Gustavo Rangel started producing music at age 14, thanks to an obsession with video gaming and his desire to incorporate gaming elements into music. One year later, the gamer turned music producer won a remix contest on Monstercat, and the rest is history. Rangel was the youngest artist signed to Monstercat at the time, and has been producing music ever since. The Mexican native now produces under the moniker Nitro Fun, and he is back with three new releases in the form of an EP Closure, which are out now on The Arcadium.

The Arcadium is a new label created for gamers looking for free music to incorporate into their content, thus being the perfect fit for Nitro Fun’s desire to incorporate gaming elements into his tracks. The three tracks each have a very distinctive style.

“Go 4 it” is upbeat and would arguably be the perfect backdrop for a Mario Kart game with its retro gaming vibe.

“Leaders” is reminiscent of old-school Porter Robinson with its elaborate combination of elements and commanding future bass framework until the song switches directions and leads into LoneMoon’s rapping and a harder trap drop.

“Keygen” has the capacity to get stuck in anyone’s head, and it is the hardest of the three tracks. Monstrous dubstep chords captivate the listener from the drop’s inception.

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