• EP Review: Butter & Gold – OAKK

    EP Review: Butter & Gold – OAKK

    2021 has been a big year for the Calgary-born producer OAKK. In the virtual space, he was chosen to be one of the DJs for Boombox Cartel’s Cinco Mode livestream event where his set was a clear standout. Shortly afterward, once live shows began returning, he was billed as an opener for concerts headlined by [continued]

  • EP Review: Gems – FRQ NCY

    EP Review: Gems – FRQ NCY

    Many of you reading this might not be aware of the German electronic music label Saturate Records, but they’ve quietly been one of the most influential labels in the genre in recent years. Some of the most prominent names in bass music have released early material through the label—a list that includes the likes of [continued]

  • Essentials: “Guilty / Kanjiru” – Kasra

    Essentials: “Guilty / Kanjiru” – Kasra

    Since its inception in 2002, Critical Music has been one of the premier labels in drum & bass music. They’ve made an indisputable imprint on the genre’s history throughout its run, helping launch the careers of veterans such as Icicle, Rockwell, and Ivy Lab, as well as rising newcomers like IMANU (then going by Signal) [continued]

  • Essentials: “archon” – ell!psis

    Essentials: “archon” – ell!psis

    Following a string of standalone singles and collaborations with artists such as Tek Genesis, galva, and Mohawk Johnson, Chicago-based producer ell!psis is gearing up to release his debut EP archon on October 1st, and the instant standout is its title track. Despite being a relative newcomer to the scene, “archon” demonstrates ell!psis’ mastery of his [continued]

  • Essentials: “ApexClub” – Gaszia

    Essentials: “ApexClub” – Gaszia

    2021 has been a bit of a breakout year for Aaron Spasiano, better known as Gaszia. He has always been well-respected and acclaimed as one-half of X&G, but this year he’s been creating and releasing more material on his own – this includes “Machina” from the Boost Tape 02 compilation, an EP entitled Fired Up, [continued]

  • Album Review: infina ad nausea – QRTR

    Album Review: infina ad nausea – QRTR

    The record label Dome of Doom has long been one of the strongest underground labels meeting at the intersection of hip hop and electronic music, releasing fantastic bodies of work by highly regarded names such as Daedelus, Great Dane, and Dabow. What sets them apart from many other labels in this lane, though, is their [continued]

  • EP Review: Tansuri – Tutara Peak

    EP Review: Tansuri – Tutara Peak

    2020 was a major year for the UK-based duo Ekcle. Their brand of classy halftime neurofunk proved to be extremely popular among both fans and critics alike, and they even got the opportunity to do a remix for DJ Shadow, one of the all-time greats in electronic music. As a result, it came as a [continued]

  • EP Review: The Giant EP – camoufly

    EP Review: The Giant EP – camoufly

    These last couple of years have been very fruitful for mysterious producer camoufly. He initially burst onto the scene with “Macintosh Plus,” a flip of a vaporwave tune by the artist of the same name, and throughout 2019 and 2020 his remixes of artists ranging from Aphex Twin to Pitbull have garnered a lot of [continued]

  • Essentials: “160 Down the A406” – Sherelle

    Essentials: “160 Down the A406” – Sherelle

    London-based artist Sherelle has long been one of the most accomplished DJs in the genres of footwork and jungle, and late last year she turned some heads by including one of her own productions in her Essential Mix. Many people were waiting for the day she would finally release something on her own in an [continued]

  • It’s Still Bandcamp Friday to Me: June 2021 Album Picks

    It’s Still Bandcamp Friday to Me: June 2021 Album Picks

    June marks the first month where Bandcamp is no longer doing their Bandcamp Friday series, but as many of us are creatures of habit I’m certain I’m not alone in wanting to still buy a bunch of music today anyway. If you need more of an incentive to buy on Bandcamp, an estimated 82 percent [continued]