Four months ago I released my most recent mixtape of original beats:
ANOTHER DAY, ANOTHER PSY-OP.
An hour and thirty four minutes of BADBOOB’s most polished beats arranged and recorded to showcase a potential live set. Dubstep, halftime, neuro, techno, house, ambient, IDM and every genre in between. For me, producing is less about fitting into a box and more about experimenting with a feeling or sound.
Highly inspired by the crossover between hyper glitch, IDM, and experimental bass, the BADBOOB project embraces technical malfunctions, noise, and miscellaneous artifacts. The point of the project is to spend more time writing music and creating beats, and less time learning jargon and drowning in music theory. Coming from the background of a drummer, the focus is distorted chaos, rhythmic intricacies, and tribal meditation. The goal is creating via intuition and trusting one’s gut.
Listening.
The song is all ready written. One only has to listen….
I’ve only been producing steadily for about four years. Still plenty of time to learn and grow as an artist, but I’m proud of my collection of beats thus far, and I’m highly anticipating a future of further refinement. I want to make crazy, fuck you up, glitched out chaos. And the more I produce music, the more I discover myself, my sound, and what I can offer to the world of electronic music.
I don’t want my music to be a cheap knockoff of somebody else. Originality is everything.
Anyway, I hope you enjoy my most recent selection of tracks. And if you’re interested, the Audio-Visual VHS Mixtape is available for sale on my website.
On May 19th, I released an EP called Amygdala Hijack.
Ever experienced fight, flight, freeze, or fawn? Ever experienced a panic attack? A rush of emotion, distortions and confusion. Ever been under threat of annihilation? Grasping for survival?
The Amygdala Hijack refers to a natural physiological and psychological reaction to threatening or dangerous events. A survival mechanism initiated at signs of threat or times of duress. The amygdala is the part of the brain responsible for survival instincts, emotional processing, and decision making. Also playing a large role in the behavior of the narcissist. A narcissist’s drive is typically based on immediate self gratification and the survival of the self, seeking short term rewards out of entitlement. A reversion to the snake in the grass, the lizard brain that dominated our human and evolutionary ancestors.
Here we have a contrast of information, the psychopath is functioning from a place of self-centered and callous entitlement, based on the amygdala, while simultaneously experiencing less fear from the amygdala in pursuit of said selfish goals.
Narcissism, in my opinion, is the ultimate Amygdala Hijacking of the human mind. A permanent life sentence from the age of 2 years old, an inversion of chemistry due to an overwhelming environment on the infant psyche. What happens when an infant is overwhelmed and neurotic with negative emotion, trapped in a cesspool of anger, bitterness, and betrayal? The mind of the infant turns the anger onto the ego, forever trapping the narcissist in permanent diagnosis. A life sentence, more or less.
As the narcissist leaves a trail of death, disease, and destruction.
The EP focuses on the unconscious process of making music – the process of letting go and thinking later. The last few months have proven stressful, unsure of the future, and unsure whether my art can provide sustenance to the world and myself. Can you actually make a living doing what you love?
Instead of trying to “write the best banger of the year”, I just write what I feel. Which lately is a lot. And instead of resorting to the familiar dark places, the self loathing, the self attack; the depression, I’ve been focused on writing music and creating art. Rewiring a brain that’s quick to excite. A brain that calls the Amygdala Hijack home. But life on the edge, 24/7, is no way to live. And after the past few years of chaos, I’m ready to retrain how I handle the pressures of feeling overwhelmed, helpless, alone, overstimulated, or depressed. The Amygdala Hijack EP is a reminder to resist the terrorists causing mutiny aboard your ship. To express yourself unforgivingly in the face of chaos and the unknown. To resist the primal pull of the lizard brain.
P.S. I’ll try and do a better job posting blogs.
Also I wrote this on an empty stomach. Don’t forget to feed yourself during the creative process.
On March 31st, I released Cooking Sausages on Seroquel. Ten tracks in fourteen days. (EDIT: I added more tracks) A continued exploration of experimental and psychedelic bass through crunchy neuro wobbles, resampled distortion, and compressed chaos. The project explores genre defying bass music: techno, halftime, dubstep, riddim, experimental beats; Cooking Sausages On Seroquel defies routine and embraces the unknown. I got bored. Ya know?
Writing similar tunes all the time. Time to change it up.
I’m looking for my sound – Landing somewhere between the hyper glitch hellscapes of Woulg, the galactic gurgles of glitch hop, to the metallic clashes of Bleep Bloop. Don’t forget a smidgen of the west coast beat scene.
Tsuruda, Woolymammoth, and Flying Lotus.
I’m not saying my production matches these artists, but you can probably hear the acknowledgment in my tracks. The influence, the hours listened. I love the more chaotic and intrusive sounds paired with psychedelic, experimental, and/or cinematic symphonies. Countered with the high octane, moshpit energy of riddim. It’s kind of a weird bag. Especially with the attention to ambient drum and bass, saw waves. Barrages of reverb.
Changing the flow, I offered songs like Try 2 Smile Goddamit and Bernie Sanders Bends The Knee to the techno gods. Exemplifying experimental and glitchy sound design over kicking grooves and approachable dance music.
I still have a long ways to go producing listenable music, especially since I lost production time to health concerns, legal battles, and general moping/psychological resistance, but I’ve been hounding to make up for lost time.
I love video games, so its about approaching Ableton or Final Cut Pro like a new or saved game of Minecraft, or working toward the next Prestige on Call of Duty; staying motivated, goal oriented, and having fun. I learned this from a stream with Subtronics who said he noticed better results after replacing daily gaming habits with daily production. The more songs you write, the better habits you build, the better you become, quicker too.
I’ve read and asked music forums how long it takes to achieve worthwhile results. The answer lingered around 5-7 years for artists to start coming into their own sound, to 10-15 years for artists to become headliners. Fifteen to twenty years are generally the pioneers of modern bass music. Eprom, Nosia, Seppa, Kursa, Tipper, Mike Wallis, G Jones, Resonant Language. But it varies, and remember it’s not a race. Bad years occur, shit happens. Life happens. And the journey isn’t always linear. Some people learn quicker than others, and others are more disciplined about getting to the studio and working. Again, it’s never a simple answer to how soon you’ll see your results.
Just work hard. Have fun. Don’t ruin it for yourself.
(A Note to self)
Anyway… The track “I Don’t Trust AOC” proved difficult to master and I might re-upload a finalized version later, who knows…. but the rest of the tracks are ready to go.
Again, I’m exploring my sound and tackled a variety of genres compared to the typical neuro or dubstep beat. ALSO. The writing process was more exhilarating with the recent release of Serum 2. While typically an Ableton Whore. Serum 2 is cool as fuck. Spectral and granular synthesis, a sampler and advanced wavetable functionalities? Insane. A majority of the sounds are made in Serum 2 with little to no post processing in Ableton. Extraordinary.
This project also explores the potential of Trash 2. I’m going to start mixing my songs better I swear, and the answer lies in distortion and limiting with Trash 2. I can start pushing my sounds and squashing the compression, giving me more control over volume and mixing. Wish me luck.
Also, random thought. Do I upload all posts to Substack? I’m thinking no. Maybe? Substack should house nonfiction “essays” and short stories, while maybe the THEBADBOOB.com offers the uncensored glimpse into my work – content exclusive to the THEBADBOOB.com, blogs and the updated portfolio of work, especially release notifications like this about music or music videos.
I’m still in love with the idea of hosting my own site and managing my own content. If anything happens to the hosting provider, I export the content and import directly into another hosting provider. Substack is rented land, although the rents cheap and the landlord’s chill as hell, so I might as well use both. I just want to create an incentive to visit thebadboob.com over substack. Although any visibility is better than none.
I wrote this EP after a month break from Ableton. After experiencing problems with my hard drives, I took a rest-bit from technology and focused on paintings, drawings, pastels, and videography. This analog process of creation allowed the mind to recover from digital overload. A nature break, we’ll say.
Returning to Ableton, I focused on ambient auras and decapitating decibels of bass. I’m continuing the exploration of the dark and glitched. Punishing malfunctions and borderline bad beats. Teetering the line between heady, introspective sound design and flat out noise. I thank my listeners for taking a chance, braving the corrupted collisions and whirlpools of wub.
“Halftime Homers” and “I could use a lil USAID” are two of my favorite tracks I’ve written, and tracks like “Jungle Garbage” are attempts to solidify myself into the genre of experimental bass.
I still have a lot of work. Much producing to be done.
But… I’m beginning to see the fruits of my labor. The hard work is paying off, judging by the results of these tracks.
“Naive-Expressionism”, the name of the EP, is the genre of art I classify myself.
From beats cooked in 2-3 hours, drawing and paintings done in mass, to the warfare of words; the majority of my art is produced in a barrage of emotion and represents the “outsider artist” – untrained and self-taught. Utilizing my sensitivity, I attempt to dispel my creative output like a hand-twisted sponge, dousing the canvas in the raw and gritty.
Releasing the project yesterday on my 30th birthday, I felt compelled to provide an honest representation of my production skills, and sat down over the course of a week and produced the “NAIVE EXPRESSIONISM EP”.
Producing electronic music is not achieved overnight, despite my intentions.
A process of learning sound design, composition, software, music theory, file management, mixing, mastering. Marketing. Over the past year, I’ve uploaded all finished tracks to provide a representation of my process. A “started from the bottom” proof of purchase.
Personally, I don’t think people understand the difficulty of producing electronic music. I know I didn’t. And by providing an honest journey, maybe others won’t be dissuaded from sticking with the art. It takes time, really.
The portfolio also proves that I don’t require any ghost producers.
I am self-taught, self produced. The proof is in the pudding.
Looking for the heaviest hitters in underground bass music? Look no further than Generation I from the mysterious arrival. – a curated compilation of our favorites names in glitch hop and neurohop. A crash landed ship hauling the prized goods of J.Lang, Sqonk, Fika, Crawdad Sniper, Ginseng, Shep, Hokey Boi, and more. With the impending departure of Tipper, producers across the globe scramble to fill the void and pay tribute to the monolith figure, Dave Tipper.
Today’s we’re blessed to uncover a transmission from the future of glitch hop and neuro bass, a transmission extending light years away from modern day Earth, a statement confirming that Tipper was only the beginning. Only the genesis of a movement that exists in galaxies far, far away.
A movement of laser-precision sound design, bone bunting bass, and translatable, alien squelches. Are we ready?
Track’s like J.LANG’s “Like This” prove to commandeer listeners as our digital vessel corrupts into cyberspace after a bad export. Gurgling and squelching, the track breathes with artificial life and drools with digital decay and malfunction. Like applying automatic driving to your Tesla on winding, country roads. Will you survive? The track insists we hold on for dear life. Hard when you’re made of pixels.
Next, we’re abducted abroad the spacecraft of Sqonk, a PA native who pushes the parameters of halftime with funky, glitched grooves and sound design straight from the riverside swamps of the Susquehanna. Sqonk, a versatile producer proves why he calls halftime home, delivering dank, digital download speeds over his tearout track “Brain Sludge”. Never a disappointing moment from a hardworking producer, releasing some five EP’s in the past year. Congrats Brodie, strong work.
After Sqonk, you’ll pause to see what church you’ve just been transported, but have no fear, Sqonk’s dropping listeners off at Crawdad Sniper’s mass to receive a blessing. And boy are we blessed. Beckoning bass lines, a colossal kick, whizzing wubs, and the Sunday School sample instruct listeners to stay engaged. A powerful combination of religious high magick and ironically a little witchcraft, but we won’t tell anyone. Especially not a priest.
J.LANG, Sqonk, and crawdad sniper back to back. Can you ask for anything more on this halftime hallelujah? I was hooked after the three-peat victory. Generation I bangs. If you’re looking for the most competitive sounds in the glitch hop universe, X marks the spot with Generation I.
And we love to see how arrival. hinted a Generation II? Like Terminator 2, I love a good sci-fi sequel.
“What in the fuck?!!1” I said after listening to the latest J.Lang EP, Protonoid.
What a gloriously glitched out and galactic ride. From the beginning, we’re assaulted with whirlwinds of malfunctions, swirls of static, barrages of bass. Hold onto something, because you might lose your grip. J.Lang portrays a world of dubstep we’ve never witnessed and lets listeners know early, “we aren’t going anywhere familiar”. Freak Sauce Hot Tub is an exclamation point after a beefy “Mean Mug Protocol”. Lurching bass lines, wonky treble, whimsical pads. Alien textures. We’re being teleported. Whether we like it or not. One squelch at a time.
“DUMPSTER SLUT” doesn’t disappoint, pushing the boundaries of saturation (I mean seriously these basses compete with riddim) before settling into oozing neuro and amplified, psychedelic fuzz. This is pure wizardry.
While J.Lang masters the contemporary glitch hop bass line, he’s arranging the sounds into something we’ve heard only on the heaviest of our acid trips, connecting with the deepest of dimensions, in the darkest parts of our minds.
On his website he claims a decade of experience producing computer music, and there’s no denying what we’re seeing is the result of hardwork and talent, combined. If you’re interested in the Tippershere of music, aka Tipper & Friends, you’re doing a disservice leaving J.Lang out of your vocabulary. Expect many shows many lineups, many festivals. Guy is ear candy.
A Denver local, J.Lang is somebody we shouldn’t take our eye off.
Tracks like Weaponized Bonkers remind listeners that J.Lang is in full control, we’re at his mercy, but from the looks of it, he’s taking us for a good time. A damn good time. This is emphasized with Goop Squad Paradise, featuring bass lines that cut like vinyl scratches, edging listeners into a nostalgic b-boy scene from the 1990’s. J.Lang is proving his ability at time travel, and he’s not shy about sharing the experience. This is for the acid heads, the wooks, the mushroom enthusiasts, and audiophiles alike. Anybody with an ear for production greatness will appreciate J.Lang’s “Protonoid”.
In a world where a lot of artists sound similar, here’s something new for your noggin. Tracks like “1-STEPPAA’” will remind you of the railing you’ve been holding onto for the entirety of the project, while breathing life into your vessel one head nod at a time. For as wonky a project, the EP remains danceable, groove-able, noodle-able, throughout its thirty minute duration. I envy in glee at those fortunate enough to experience a J.Lang set on a pair of Funktions, Hennesey’s, Stanley’s, and the like. This is sound system music. And deserves to be heard on a worthwhile rig in front of eager listeners.
What a treat. I stopped writing reviews for a while, so for a project to grab my attention like this, forcing me to write a blog is rare. So I appreciate the original material. Also, shouts out the album artwork, a digital foreshadow into the alien-cybernetic world’s we’re destined to witness under the guidance of J.Lang.
This project slaps, don’t believe me? Here, why not give it a listen yourself?
Here is a list of my favorite Bass Projects (EP/LPs) of 2024
41) Kizer – Recursion EP
Looking for something that quenches your music listening thirst? Try the Recursion EP from Kizer. Tracks like Abnormal and Enhanced are especially keen to my appreciation for glitch. This whole EP stands together as something new and interesting in the field of bass music. Don’t believe me? Why not give Kizer’s Recursion EP a listen for yourself?
40) Zach Christ – 𐘲(𐘨)𐚎𐘲𐝥𐃀𐘡𐘴𐝂.
Zach Christ resurrected the dopest hyper-glitch soundscapes I’ve heard in recent times. This project is absolutely bonkers and deserves a listen from any self-proclaimed introspective listener. I return to this project often when looking for inspiration or queues on how to produce the nastiest and dirtiest glitch. Looking for something different from your average bass tune, something experimental and abrasive? Look no further.
39) VANM – ACTIVATE EP
I don’t know why I like riddim, but I do… something about the feeling of marching the collective unconscious with alien sound effects over thick sub bass and repetitive, lurching beats. It’s quite obliterating. Speaking of obliteration, here’s VANM’s ACTIVATE.
38) Ooga – Brain Legs EP
Ooga blesses listeners with a party in our ears, bringing the fiercest beats we’ve heard from the caveman. What’s going on? Ooga sounds like he’s waging cave war with a rival tribe. We listeners wish a safe and speedy end to this war, but in the meantime, our ears are extremely pleased with the inspiration.
37) Crawdad Sniper – Mellifluous
I’m adding Mellifluous exceptionally late, and honestly it deserves higher in the list, but wasn’t something I found until today. But Mellifluous is from 2024 and I want to make sure it gets recognition. These grooves are funky and exciting to the ears. I needed Crawdad Sniper in my vocabulary much sooner, shame on me. Really digging this project. While I gravitate toward the heavier and grittier, Mellifluous scratches an itch.
36) Aweminus – GURNVILLE EP
Featuring massive sub bass, chaotic drops, variety in genre, Aweminus slams the goofiest dunk we’ve heard in awhile. This project is wonky and head rattling like mid 2000’s tear out dubstep. A nostalgia is present throughout the project, from the bleeps and bloops of Gurnville to the drum n bass of “All The Way Down”, this project satisfies many needs across many genres.
35) Isotropic – Refraction Spaces
I discovered Isotropic dwelling in the land of hyper glitch, a term coined by Woulg and fellow glitch.cool artists. A term to describe the morphing of bass and intelligent dance music. I enjoyed this project, a combination of emotional ambiance and far-out, IDM inspired sound design. Isotropic is easily the most underground on the list with a total of 75 followers, but the project inspired me to push sound design, and fine tune my ambient drone. “Refraction Spaces” is less danceable, and more of a cereal, heady experience, daring the listener to buy the ticket and take the ride.
34) BackLeft x Phunk Bias- Amateur Hour [WPN009]
Looking for heavy neuro drops, punishing glitch-scapes and funky fun? This halftime project is what you’ve been awaiting. Upbeat, funky halftime beats to rock there soul from two heavy hitters in bass music. What an unexpected surprise?
33) EXECUTIONER – CRAWLER IN CRAWLER
Executioner is one of my favorite names in dubstep and has been for a while. I was pleasantly surprised to see the release of “Crawler In Crawler. EXECUTIONER delivers just like his name implies, beheading sound design and chaotic atmospheres. If you’re looking for the darker side of dubstep, look no further. EXECUTIONER is a treat from hell.
32) J.LANG – Shenanigans EP
This jawn bangs. Four cyber bangers loaded one after another. Didn’t learn about J.Lang until recently and I’m thankful I did. Check out the review of his latest project, Protonoid here. Constantly upgrading, J.Lang is a force to be reckoned with in experimental bass music. We’ll be on the look out for more releases. Check out J.Lang’s release on BEET RANCH.
I mean holy shit. Not to mention J.Lang’s Overcomplicated EP released only a few months prior. This guy’s on fire.
31) Pluto Era – The Deep Breath
Pluto Era’s ability to capture mind-melting bass lines, psychedelic atmospheres, and uncanny compositions are a must listen. Take a trip with “The Deep Breath”, an under appreciated album, drawing inspiration from the Tippershere while still maintaining individuality and a unique sound.
30) SVBLIMINAL – THANATONAUT
I owe SVBLIMINAL for aiding my transition back into riddim. She runs a popular instagram account, showcasing new WIPS, riddim chops, and behind the scenes madness. She’s hilarious. And her bubbly personality, ear for good music, and quality content keeps me returning. THANATONAUT breathed fresh air into the riddim scene, opting for a thematic concept album, something a bit different. Get lost in the void as we confront our deepest fears with SVBLIMINAL.
29) WRAZ. & MYTHM – CLOAK AND DAGGER
This project is fire. Front to back. Banger after banger from two certified dub masters. If you’re looking for a refreshing take on riddim, this project is for you. Seriously, can’t for another collaboration. Is that possible?
28) BackLeft – Gene Driver
This was the first project I heard from BackLeft, and guess what? I’m a fan. Featuring kick ass halftime beats, neurohop neurosis, and original composition, this project is nuts. Heavy, to say the least.
A foreshadow of much more to come.
27) Soulacybin – Bug Eyes
Another name I regret not seeing last year. Soulacybin proves why he’s not another “Tipper Clone”, pushing original composition, psychedelic atmospheres, and upbeat bangers, see why Soulacybin’s making a name for himself in bass music. The Philadelphia native is proof the local scene has nothing but potential.
26) Sqonk – Groovy Smoothie.
Despite a terrible year, there were silver linings. Seeing Sqonk was one of these silver linings. A talented producer, it feels like somebody’s filling my car’s gas tank with pure liquid LSD. High octane, ignition on. Let’s get groovy. Highly recommend this up & comer. A Pennsylvania native, when not occupying a music studio, find Sqonk roaming the Appalachian Mountain ranges like a true PA legend.
25) Hokey Boi – Upturn
Have you heard of Hokey Boi? You will after his latest project “Upturn”. Hokey Boi brings the bangers, challenging listeners with textured bass lines. and psychedelic intrusions. There was no shortage of Hokey Boi last year, dropping multiple EP’s but finishing the year strong with “Upturn”.
24) Fika – Deprivation EP
Fika, who the hell is Fika? Dropping two EP’s within a few months, Fika stuns listeners with overweight bass lines and bellowing beats from halftime hell. Like somebody’s trying to fit a floppy disc in a USB port. If you’re into groovy mind-melting lunacy, this is for you.
23) Humandala – Toasty In Happy Computer // Bad Operator
One of my biggest regrets is missing a Humandala show. What a project. I’ll be honest, I didn’t know about this project before “Happy Computer//Bad Operator”, but boy am I glad I showed up to the party a little late, regardless. If you’re looking for the freshest sounds is psychedelic bass music, look no further. This project is incredible.
22) BREAD WINNER – little songs
Does this guy ever disappoint? Seriously, funky banger after funky banger, this guy knows how to party. Wouldn’t recommend sleeping on Bread Winner. He’s also one of the more accessible artists on this list, less sound design mayhem and more danceable beats and grooves. Bread Winner is just that. A winner for 2024.
21) MYTHM – Mind of Madness
This is one of the first projects from 2024 I remember enjoying. Everything MYTHM touches turns to gold. Don’t believe me? Check out “Mind of Madness” and his riddim collaborative project with Wraz. This guy is dope.
20) Mr. Bill – Mechanomorphic
Does Bill even need an introduction? One of the leading influences in bass music, Mr. Bill proves why he’s always a relevant name in bass music, simultaneously showcasing features from Vctre, COPYCATT, Underbelly, and more. If you’re looking for an education in powerful production, Bill is always an option. I missed an opportunity to see Mr. Bill and I promised myself. Never again.
While not typically a fan of the more upbeat EDM sound, focusing more on the dark and dirty, Mechanomorphic has a track for everybody.
19) Hooligan – No Sight
I was excited for this release, following Hooligan’s work over the past years. Front to back, this is a strong example of strong beatsmithing: Textured Organics being one of my favorite tracks of the year. Stay tuned for more.
18) Herbalistek – Diraliavoid
Following the hype from Tipper & Friends, I discovered Herbalistek’s Diraliavoid. A victory for experimental dubstep, exploring liquid gold sound design and experimental beats. This album is different, uncanny, weird. Wet. Highly recommend for anybody brave enough to venture out of bounds.
17) Audio Goblin – Molting
Listening to this project recently, I would’ve felt wrong leaving “Molting” off the list. Audio Goblin is hot right now. There is no wasted space on this album, only a smooth journey. If you want the best in contemporary glitch hop, you have arrived.
16) Noer The Boy – Mr. Gibbons EP
Dude this project is amazing, seriously. Why is Noer The Boy so slept on? Noer constantly reminds us why he’s a ‘vanguard’ in psychedelic bass music. An innovator, pioneer, and inspiration to many, especially those of us who don’t understand music theory and rely on sound design and interesting composition.
15) Sighless – Roses of Silk
I loved this project. Neuro ambient horror. Experimental dubstep. Glitch. Sighless brings the intensity with Roses of Silk. If you’re looking for something intense, dark, and vibrant with creativity, this is for you. Heavily anticipating another release.
14) ONHELL – Sandía EP
I listen to this project. A lot. Its an easy listen, featuring crisp production and forward thinking bass. If you’re looking to explore the darker side of ONHELL, this is for you.
13) Ginseng – Miracle Surface/Catfish Conundrum
I love Ginseng. This guy knows how to produce, offering a downtempo and uptempo EP last year, Ginseng does it all. Because both EP’s capture such different vibes and atmosphere and both released in 2024, I’m including both on the list. Why not, the more Ginseng the better!
12) Swampz – CHROME TO YA DOME
This project fucks. A mixture of experimental bass, dubstep, and trap, this project rewinded to the days of Skepp & Hawk, the days of head nodding beats, and body numbing bass. The good ol days.
11) Hyper Heaven – Lord Genmu
This project was on repeat upon release. A Bleep Bloop feature, seriously? In what well did you find Bleep Bloop? Front to back, this project is exceptional in every way, filling a void in the need for intrusive, distorted bass music.
10) Nvctve – Viscera EP
Easily one of my favorite artists, and saw Nvctve open for Resonant Language. A life changing experience, this guy is the future of dubstep and halftime, often combining the two genres into something he calls “Nightmare Music”. Check this out, yo.
9) DIGITIST – DEMONSTRATION OF FORCE
The only EP I reviewed last year, due to various unforeseen circumstances. However, Digitist is probably my favorite name in dubstep. Powerful, lurching sound design that penetrates the soul. Aggressive, angry, minimalistic, yet simultaneously complex
8) Finding Balance – Deescawa
Who knew Russia had an underground bass scene? There were few projects I listened to as much as “Finding Balance”. This project is original as hell, featuring halftime beats, neuro funk, its hard to put a finger on the genre, drawing inspiration from across multiple genres. This project is dope. Moody with fangs.
7) NEWSENSEI – Look What They Left Of You
NEWSENSEI released music last year? Yeah, some 10+ projects. However, out of all the recordings, this was my all time favorite. It’s something about the Grateful Dead references, resurrecting bass lines, and simplicity. It’s a perfect project and received absolutely no reception whatsoever. A cult classic.
If you own a subwoofer, you’ll see what I mean.
6) Cloud D – Shelter From The Storm
Another underrated project, “Shelter From The Storm” proves why Cloud_D is one of the hottest names in bass music. Carving out his own niche, Cloud_D explores cloudy atmospheres, dark corners, and the macabre. A project that weighs emotionally on the listener, while simultaneously calling to action. This project is thought provoking, inspiring, and original.
5) MINDEX – Resurrection Machine EP
A testament to production skills, “Resurrection Machine” is what happens when you cross beautiful chords and lovely ambiance, with quaking bass lines, ominous glitch, and symphonic compositions. This is for the heady heads.
4) The Gaslamp Killer & Jason Wool – ANANDA
This is a real project? Yes, drawing inspirations from the LA Beat Scene to underground experimental bass, this project is a testament to inspirations like the Low End Theory venue and Flying Lotus. This project feels wholesome. Nostalgic. It’s less danceable, more reliant on a vibe.
3) Onyx Garden – Xenophyonophore
I’ve been following Onyx Garden since his project CNXDRSON, and can tell you nobody saw the Onyx Garden project coming. Rebranding and releasing multiple albums, Onyx Garden proved he’s one of the hottest names in bass music and idm, drawing listeners into a completely original world of textures, landscapes, and emotion. This is a truly special project.
2) Mickman – You Have To Start Somewhere
Mickman’s cheerful, upbeat energy is palpable on his releases. The vibrant producer proves time and time again why he’s risen to festival headliner, featuring a wide array of emotions and production influences, Mickman’s “You Have To Start Somewhere” is proof Mickman’s no fluke. Proof Mickman’s only getting started. Listeners were teased with bits from the album on the Mickman Mini Mix and were surprised to find a completely new arrangement of tracks on “You Have To Start Somewhere”. How sick.
1) Seppa – See It Through LP
I was fortunate to see Seppa last year, which meant I heard “See It Through” played live. Silly me, I didnt even know Seppa released a new album and was floored when I heard the tunes over a professional sound system. Upon the shows conclusion, I stayed glued to the LP for the remainder of the year, and continue to listen. It’s not difficult to see why Seppa remains a pioneer in the genre of neurohop/glitch hop.
After nearly a month inside a psychiatric hospital, I found it tricky returning to Ableton. While I didn’t ‘forget how to produce’, my skills were rusty and I was forced to find my footing. The order of the tracks is the order each song was created, showcasing my transition from the hospital and back into reality. From a rough patch to some of my more interesting material; the half an hour EP is a showcase of where I stand currently as a producer, hiccups and all.
While not originally satisfied with the project, I didnt promote anything. However, after a few more listens, I’m ready to create videos and begin the process of marketing and showcasing thebadboob.com, once again.
The EP is a mixture of neurohop-glitchhop influences, to the more experimental and IDM side of bass music. All the while taking note of OTT in the world of dubstep. It’s my most aggressive and ambitious project to date; centering on punishing high ends and quaking lows, the project is a glitch-nightmare, showcasing new techniques in sound design and composition. Also, shouts out ZONE DRUMZ for the sample pack. Despite my desire to learn complicated from patters, sometimes a loop from ZONE DRUMZ breathes life into my projects. Thanks again.
Creating new roadblocks to prevent fascist, fucktard parents and other narcissistic entities from censoring THEBADBOOB.com. Actively being censored. WordPress.com is a joke. Where do we go from here? I’ve researched a new method to secure the site, soon, and Substack has decided not to censor posts. So I have options. I’ve taken down the blog post on my own accord and have started amassing journals instead, which can/will be published whenever I feel.
For now, a return to short stories, possibly short films but I honestly don’t feel like shooting anything right now. So maybe one day. Difficult to imagine shooting a movie when I don’t have the attention span to watch. I binge movies and then I don’t watch them again for years.
So it’s not a priority.
In the meantime, I’m reinvesting time into my mental and physical health. My hands won’t heal, concussion won’t heal, not getting enough sleep. Maybe I write something, maybe I don’t. Maybe I shoot something, maybe I don’t. Who cares.
I’m not in any rush.
Election season’s over, time to sleep.
Long season, bumpy ride. Long year. Many obstacles. I’m debating whether or not I pursue Substack and Rumble, alternatives. Alternative to shitty WordPress.
Am I responsible for my family’s denial of traumatic events. Hardly.
Am I responsible for their reactions? Hardly.
Do I care about the impact I’ve created? Yeah, wicked cool man.
Maybe you assholes should try therapy, losers.
I’ve worked hard enough over the past year, taking personal time. Peace.
Complete an EP within one week, before Halloween, despite overstimulation from election season. Here are the results: Halloween Hunger. A testament to an overactive gut brain resulting in insatiable hunger. The EP focuses on gritty percussion, distorted bass lines, and epic ambience – a cinematic approach to bass music and IDM. The project, given the timeframe, is raw. Dark, expressive. Heavy. I spent less time amassing OTT FX chains and leaned into overly distorted low frequencies. A tale of claustrophobia.
I was surprised by the results, Washy Washy in particular. Edgy but impactful. Digital with analog overtures. I’ll be honest, HOLIDAY INN BARBERS CONVENTION was written during my hotel days, but mastered the track this week. Needed a home, and it fit perfectly on the EP.
Realistically if I continue writing music at this pace, my skills will dramatically improve, and I see no reason to quit the momentum.
I’ve continued with my LAPTOP only ethos, preferring a copy of ABLETON 10 Suite and a MacBook Air. No midi controllers, no instruments, nothing. I want to demonstrate how anybody can snag a copy of software and start making music.
Unsure if I’ll ever book shows given my personal views on politics and cultural issues, but I love to create. Realistically the music fits perfectly into my film aesthetic, and will be another tool in the toolbox for filmmaking.
NOTE: I am falling behind on music videos however, and i’m not sure why i’m not receiving any ideas. Maybe because the music will be used for films? Still attempting to decipher the creative blockages.
Maybe I just need time off. Time to recoup, time to generate ideas. Time to heal, realistically.
THE BADBOOB 