Slikback takes a blowtorch to club music's genre boundaries yet again with a one-two punch of elastic 'n futuristic DSP funq.
Listening to Slikback's music feels like hearing the last few years of dance music sub-genres thrown into an acid bath, alchemically reformed into music that manages to reference without copy-pasting. His innovative reconfigurations of trap and bass forms have, at this point, developed into a completely fresh style, which Slikback flexes confidently on these two new tracks.
'Quoios' juxtaposes queasy timestretched ambient textures with thick, percussive gqom-adjacent percussion, rattling Atlanta hats, DSP-mangled rhythms and disembodied chants to remind you it's music engineered for the dance. 'Klout' dips the tempo but ups the bass content, overlaying rhythmic elements with precise, fluid complexity to create an atmosphere that's evil but inviting.
Remixes from Poland's Sarmacja and Bristol's Sunun spin the party into the afters, but tbh we're still getting over the originals. So future and so f*cking good.
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Slikback takes a blowtorch to club music's genre boundaries yet again with a one-two punch of elastic 'n futuristic DSP funq.
Listening to Slikback's music feels like hearing the last few years of dance music sub-genres thrown into an acid bath, alchemically reformed into music that manages to reference without copy-pasting. His innovative reconfigurations of trap and bass forms have, at this point, developed into a completely fresh style, which Slikback flexes confidently on these two new tracks.
'Quoios' juxtaposes queasy timestretched ambient textures with thick, percussive gqom-adjacent percussion, rattling Atlanta hats, DSP-mangled rhythms and disembodied chants to remind you it's music engineered for the dance. 'Klout' dips the tempo but ups the bass content, overlaying rhythmic elements with precise, fluid complexity to create an atmosphere that's evil but inviting.
Remixes from Poland's Sarmacja and Bristol's Sunun spin the party into the afters, but tbh we're still getting over the originals. So future and so f*cking good.
Slikback takes a blowtorch to club music's genre boundaries yet again with a one-two punch of elastic 'n futuristic DSP funq.
Listening to Slikback's music feels like hearing the last few years of dance music sub-genres thrown into an acid bath, alchemically reformed into music that manages to reference without copy-pasting. His innovative reconfigurations of trap and bass forms have, at this point, developed into a completely fresh style, which Slikback flexes confidently on these two new tracks.
'Quoios' juxtaposes queasy timestretched ambient textures with thick, percussive gqom-adjacent percussion, rattling Atlanta hats, DSP-mangled rhythms and disembodied chants to remind you it's music engineered for the dance. 'Klout' dips the tempo but ups the bass content, overlaying rhythmic elements with precise, fluid complexity to create an atmosphere that's evil but inviting.
Remixes from Poland's Sarmacja and Bristol's Sunun spin the party into the afters, but tbh we're still getting over the originals. So future and so f*cking good.
Slikback takes a blowtorch to club music's genre boundaries yet again with a one-two punch of elastic 'n futuristic DSP funq.
Listening to Slikback's music feels like hearing the last few years of dance music sub-genres thrown into an acid bath, alchemically reformed into music that manages to reference without copy-pasting. His innovative reconfigurations of trap and bass forms have, at this point, developed into a completely fresh style, which Slikback flexes confidently on these two new tracks.
'Quoios' juxtaposes queasy timestretched ambient textures with thick, percussive gqom-adjacent percussion, rattling Atlanta hats, DSP-mangled rhythms and disembodied chants to remind you it's music engineered for the dance. 'Klout' dips the tempo but ups the bass content, overlaying rhythmic elements with precise, fluid complexity to create an atmosphere that's evil but inviting.
Remixes from Poland's Sarmacja and Bristol's Sunun spin the party into the afters, but tbh we're still getting over the originals. So future and so f*cking good.
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Slikback takes a blowtorch to club music's genre boundaries yet again with a one-two punch of elastic 'n futuristic DSP funq.
Listening to Slikback's music feels like hearing the last few years of dance music sub-genres thrown into an acid bath, alchemically reformed into music that manages to reference without copy-pasting. His innovative reconfigurations of trap and bass forms have, at this point, developed into a completely fresh style, which Slikback flexes confidently on these two new tracks.
'Quoios' juxtaposes queasy timestretched ambient textures with thick, percussive gqom-adjacent percussion, rattling Atlanta hats, DSP-mangled rhythms and disembodied chants to remind you it's music engineered for the dance. 'Klout' dips the tempo but ups the bass content, overlaying rhythmic elements with precise, fluid complexity to create an atmosphere that's evil but inviting.
Remixes from Poland's Sarmacja and Bristol's Sunun spin the party into the afters, but tbh we're still getting over the originals. So future and so f*cking good.