Imagine the most soothing melody paired with hyper-satisfying visuals calming enough to make you forget that 2020 still has 5 more months. With credit to Spanish artist, producer, multi-instrumentalist, sculpture, jack of all trades, Bichopalo, the aforementioned really exists. With the help of his two birds, Pico and Verdi, Bichopalo creates trance-inducing melodies that incorporate synthesizers, various percussions, spiralling water, marbles, a toaster(?!), and lots of nature that are just as much of a treat for the eyes as they are the ears. We caught up with Bichopalo to learn about how he came to create such works of art and if we can get our hands on his awe-inspiring musical sculptures.
Electric Soul: Tell us about your musical beginnings.
Bichopalo: As a kid, I always had instruments around. My father had a drum set in the house, so I started to play drums from a very early age. Drumming has become second nature for me. Throughout my life, I´ve been in contact with different musicians and every genre of music, but it’s only in the last 3 years that I became completely obsessed with electronic music and synthesizers. I got my very first little synth a couple of years ago (a Volca Keys from Korg) and I was fascinated with the enormous potential of this instrument and how this little thing can inspire such creativity. I needed to understand everything about how this synth worked and that was the beginning of everything.
ES: You’ve been called a musical sculptor. Is this how you describe yourself?
B: Personally, it´s very important that the music I write has a visual aspect so you can have a complete experience. If you hear a cello, it’s nice, but when you see the musician playing it and you see how the cello is vibrating and shaking, that’s a completely different thing. I consider all instruments pieces of art. They are beautiful. So, when I write music, I make it about how the instrument is actually playing the song. There is so much to explore and sometimes how it plays defines how the music should sound. So yes, “musical sculptor” would describe me quite accurately.
ES: Initial reactions to your instruments and pieces are “holy, that’s so soothing, but what is it?”. How would you explain your creations?
B: I don’t know. I just follow my intuition and create the things I would love to see and hear. Maybe trying to give an explanation of any instrument is irrelevant. I make the things that come out from the gut with no particular logic. I create just for the joy of creating. You know when you have this voice that says that you have to make something, regardless of time or resources, there’s just no option, you have to do it? Having that intuition and then seeing that the fantasy is tangible and functional is one of the most satisfying experiences ever.
ES: How long do you spend on a musical sculpture?
B: It really depends on the complexity of each piece. For the “Plantyflutesizer”, the last piece I created, took a year.
ES: How can someone get their hands on a Bichopalo instrument?
B: I’ve received a lot of questions asking me if I sell my instruments. For now, all the instruments I create are just beta versions, but I’m working to create simplified, yet robust and solid versions for any person interested in getting one.
ES: Is the visual just as important as the audio for you?
B: The visual part is important to me as accompanies the music creating a complete and unique experience of what you are listening to. But the visual is not the most important part. You can hear the radio and listen to music and feel transported to other places, but if you try to watch TV without sound, it just doesn’t make sense. Visuals help the listener become more interested and focused on what is being heard. These days, people are always in a rush with so many inputs coming from everywhere. So, if you want people to give the amount of attention that your music requires, you need an extra element. In my case, that’s where the visuals serve their purpose.
ES: You do some outdoor sound recording. What do you collect these sounds for?
B: I love having outdoor sessions and hunting sounds. You always stumble upon happy accidents, interesting textures, and flavours in nature that you would never be able to create in a digital way. All these textures are so incredibly useful. You can create all types of percussion, snares, pads, or melodic instruments to incorporate into your process. You can use your default library samples of your DAW and it’s totally fine, but using your own sounds is way more fun and helps to create a more personal sound, bringing it to another level, I think.
ES: It seems that the true stars of the show are your birds, Pico and Verdi. How important are they to your creative process?
B: There’s no doubt about that. They are rockstars. I always have been surrounded by animals, but in the last years, these little fellas appeared in my life. I never had birds before and I´m so amazed at the love that these little animals are able to give. Even though they are so small, for me, they are like real people. They have such strong personalities. I love making them part of my videos because they are always around me. They are really special creatures, and in a way, they have been on this path with me and I wanted to share their existence with the rest of the world. My pieces would not be the same without them, for sure.
ES: Where do you pull your inspiration from? Are there other musicians or artists you look to?
B: I listen to all kinds of music from Pantera and Napalm Death and Dream Theatre to King Crimson, the Beatles, Chick Corea, Daft Punk, Rosalia, and Bjork. I love when talented people from any genre try to do their best and push themselves to achieve the highest expectations. When I hear their music I always learn something. You always take a little something from here and there. On my RSS feed, I follow a lot of young artists that I think are incredibly talented, not only musically but intellectually as well, sharing their process and motivating emerging artists. An example of this would be the great artist, Andrew Huang or the genius LookMumNoComputer. Both are incredible artists and composers but also love to spread their knowledge and experience in their fields. In a musical level, I don’t have a particular reference when I write my music. It normally happens accidentally when I’m cleaning the dishes or the classic moment in the shower when a melody comes up and needs to be written down before it disappears! Visually, I do feel highly influenced by the master Marcel Duchamp and all his incredible collages, and of course, NATURE!
ES: How do you know when a piece is finished?
B: When I feel there is nothing more to take away.
ES: Do you ever plan to do live performances?
B: Sure! I’m currently finishing my very first album and as soon as it’s ready I would love to share it with people in different formats, one of them being live shows.
ES: What can we expect from Bichopalo in the future? B: More music for sure!
Experimental and genre-bending music is slowly but surely becoming the norm. Artists like musical sculptor Bichopalo, EDM rebel Sullivan King, and electronic RnB and hip hop genius Fifty Grand are emerging from the underground and pulling more and more fans and fellow musicians into their experimental soundscapes. And from this era of no-holds-barred experimentation and unorthodox instrumentation comes PENGSHUi, a three-piece London-based EDM-driven blend of punk, metal, hardcore, grime, and hip hop.
It’s certainly not the first time for these genres to be blended together by more than competent musicians. Big names like Run-DMC, Rage Against the Machine, 311, Linkin Park, The Black Keys, Mos Def, and arguably even Mahavishnu Orchestra have historically paved the genre-blended road that PENGSHUi is now traversing at full speed. Indeed, although PENGSHUi was formed quite recently in 2018, their spiritual roots can be traced back to the ‘80s, when their vein of aggressive electronic hip hop metal was first violently dragged into the mainstream limelight. Yet even with a host of legends before them, PENGSHUi is undoubtedly creating something fresh and new.
This comes as no surprise to those who are familiar with the band’s bassist, Chris “Fatty” Hargreaves. More popularly known as the brains and brawn behind the seven-piece dubstep RnB outfit Submotion Orchestra, Fatty is an electronic beast with no qualms about diving into the rivers of several seemingly unrelated genres. To this end, one of Fatty’s main tools is the Line 6 POD HD500X multi-effects pedal which he considers to be the ‘motherboard’ of his collection of effects. Armed with a diverse pedalboard, his sustained distortions, EDM-inspired loops, and old school house-driven riffs are the backbone of PENGSHUi.
In fact, it was Fatty who first had the idea of founding the band. His love of high intensity EDM, grime, punk, and all-around heavy music is a shared passion with Prav, also known a DJ Pravvy Prav, who plays drums for PENGSHUi. Having played together as mainstays and sessionists for other bands, Fatty was the first to approach Prav for a new collaboration. Pravvy Prav himself is as diverse as musicians come, and has hit the drums and turned tables for EDM artists like Flux Pavilion and Goldie, defunct dubstep hiphop punk group Foreign Beggars, and even RnB queen Jorja Smith. There’s no better man than Prav to provide the solid foundation to PENGSHUi’s special blend of controlled chaos.
And then there’s Illaman, the self-professed hardest working MC in the game. As a pioneer of London rap, Illaman is the biggest name in the trio. Hailing from hybrid rap label Potent Funk, Illaman’s list of collaborators includes stellar beatmaker Norm Oddity, Goldie, MC DRS, and more recently British metal singer/songwriter Jamie Lenman. Even without this resume, Illaman’s sheer energy and lyricism makes him the perfect candidate to be the frontman of this violent audio experiment.
In short, if you’re an EDM purist who absolutely hates genre combinations, then you absolutely have to listen to PENGSHUi. Very few musicians in the game can so elegantly blend grime, EDM, and hip hop with virtuoso energy and still retain an unmistakable air of old school ‘80s punk.
We’ve been delving into the past, seeking out the origins of dance music. Following an era of funk and disco, house music was birthed underground by incredible Black artists of Chicago, Detroit, and New York. Inspired by the sounds and dance culture of disco and this new age of technology, we saw a movement spearheaded by the marginalized (Black, Latinx, women, and LGBTQ+) and brought into mainstream culture.
Names like Frankie Knuckles, Larry Levan, and Derrick May and places like the Warehouse and Paradise Garage brought us through the 80s and 90s, inspiring multiple waves of techno, garage, and house. These early innovators have inspired the next generation of artists to produce, create new sounds, and build up the world’s most multifaceted musical community.
In this segment, we’re taking a look at the Black artists who have shaped our modern world, in terms of electronic music. They’ve topped charts, sold out stadiums, toured worldwide, and invented countless subgenres.
Black Electronic Artists of the NOW
Carl Cox has to be one of the biggest names in electronic music. The Brit got his start DJing in the 80s as house and techno exploded in popularity. Although the scene was bustling in America, it made its way across the pond and Cox is seen as one of the forefathers of the British rave scene. Carl became a household name in the early 90s after he released his single “I Want You (Forever)”. His popularity and talent landed him gigs worldwide, a residency on BBC Radio 1, and ultimately his own record label, Intec Records (now Intec Digital). There is no one in the scene that is more closely associated with Ibiza, the island of dance music. In 2001, Cox began what would become a 15-year residency at Space Ibiza ending the decade and a half with a ten-hour vinyl set before the club closed its doors forever. The closure of Space Ibiza sparked rumours that Cox would retire, but this veteran can’t be stopped. Cox continues to take the mainstage at countless music festivals and has his own curated stage at Ultra called Carl Cox & Friends, featuring hand-selected acts. His now-defunct radio show Global Radio amassed 17 million monthly listeners making it clear that Carl Cox is one of the most important and influential artists of house and techno music.
Native to South Africa, Black Coffee (nee Nkosinathi Innocent Maphumulo), got an early education in music. A jazz major, Black Coffee understands the intricacies of music production. He and two schoolmates formed a group called SHANA (Simple Hot and Naturally African) and were signed by Melt 2000. But it was in 2003 when Maphumulo broke onto the dance music scene after being selected to participate in the Red Bull Music Academy. His debut album, “Black Coffee” came out in 2005 and he has since released four other studio albums. He has performed globally on big festival stages like Coachella and Ultra, has worked with the likes of David Guetta, Usher, and Drake, earned himself top spots on best DJ lists, and hit #1 on iTunes. Black Coffee continues to blow other artists out of the water, producing innovative and flawlessly executed tracks that certainly earns himself a spot of this list of crucial Black artists of the present.
A pioneer of dubstep, Benga, a.k.a. Adegbenga Adejumo produced his first banger at age 15. The UK producer used to frequent the Big Apple Record shop. It’s here he got himself noticed and the label went on to release his first single “Skank”. This single propelled him to the forefront of UK dubstep alongside his BFF, Skream. He released his debut album “Diary of an Afro Warrior” in 2008. He has topped charts, presented on BBC Radio 1, and continued to forge a path in the dubstep genre. In 2018, Benga spoke up about his mental health illnesses, crediting his single Psychosis as a sort of musical therapy and means of coping. He has mentioned that his time spent in the hospital and recovering has allowed him to look differently at the music he is producing and given him the space to evolve.
Honey Redmond, better known as Honey Dijon, takes us back to the queer roots of dance music. As a transgender woman, she has always used her voice to advocate for trans rights and awareness and honour that dance music was started by queer people of colour. Born in Chicago, she threw herself into the techno music movement and clubbing. It was in her hometown she found mentorship from some of the greats before making her way to New York City. In New York, she gained notoriety for her DJ skills as well as her fashion sense. Her ability to seamlessly glide through multiple genres and undeniable stage presence got her noticed by some big names in fashion, producing the soundtrack to the 2017 Supreme x Louis Vuitton runway show. She continues to forge her own path in the industry, playing festivals worldwide, and being a positive role model for women, but more specifically Black women in the electronic industry.
Jlin, Jerrilyn Patton, comes from Gary, Indiana. She grew up on jazz music and during university, she found herself in the thralls of Chicago footwork. The talented producer has since come to reject herself as a footwork producer, describing her music as EDM. She credits her finding her own sound after her mom listened to one of her remixes and told her it was great but what did she sound like? It was at that point she stopped listening to other people tracks and emulating a certain sound. In 2008, she released “Erotic Heat” and caught the attention of DJ Rashad and Planet Mu founder Mike Paradinas, who included the track on the label’s compilation album Bangs & Works, Vol. 2. In 2015, Jlin experienced international acclaim following the release of her album Dark Energy garnering praise from high-profile publications like the New York Times, Pitchfork, Dummy, and The Wire. Her next album Black Orchid and most recent work Autobiography are countless reminders of Jlin’s raw talent and unique sound.
Maya Shipman, better know as Suzi Analogue, was born in Baltimore but has since relocated to New York. Crediting her name as a counterpart to RZA’s alter-ego Bobby Digital, Suzi Analogue stays true to it, releasing most of her music on vinyl or tape. She sprang into the public eye in 2009 with the collective Klipmode. She started her own label, Never Normal Records, in 2013. She uses her voice to speak up about what it is like to be a woman in a male-dominated industry and collabs with other female trailblazers, like TOKiMONSTER. She has hit the decks of Boiler Room and topped Pitchfork charts. She also made her way to Uganda to teach production to up and coming artists. Her sound can be described as international and inclusive, seamlessly blending hip hop, soul, sythensizers, and electro sounds.
Born Louis Kevin Celestin, the Haitian-Canadian is best known under the moniker KAYTRANADA. A natural talent, he began DJing at 14. Chronically shy, he used music as a release. In 2010, he started posting his tracks to Soundcloud, but it wasn’t until 2012 when he released a bootleg remixed version of Janet Jackson’s “If” that he blew up. The track went viral. His remixes went on to become nightclub soundtracks. Now openly gay, the artist speaks at length of how accepting his true self and coming out affected his mental wellbeing. Through this, he has come to find his own sound and now only keeps the bootleg remixes for himself. He has since toured the world and opened for Madonna twice. In 2015, he signed to XL Recordings and released his debut album 99.9%. Celestin has collabed with big names like Anderson Paak, Vic Menson, and most notably Craig David. In 2016, he won the Polaris Prize for the album. In 2019, he released another album, Bubba, which has topped Billboard’s Dance/Electronic Albums chart.
Ras G, born Gregory Shorter, Jr., described his music as ghetto sci-fi, subsequently naming his record label this. Without any formal musical training, Ras G became a crate-digger at an early age searching markets and fairs for old albums. In the 2000s, he began releasing music and catching the attention of the industry. His work ethic was incredible. He would release multiple albums in a year. His proficiency as a producer led him to work with names like Thundercat and Flying Lotus. His two most popular albums Brotha from Anotha Planet and Back on the Planet were released under Brainfeeder Records. Up until his death in 2019, Shorter stayed true to his otherworldly, Afrofuturist sound. As his health declined, he continued to work at Poobah Record Shop in Pasadena where he swore by his open-door policy, bringing in people of all kinds to introduce them to new music.
At surface-level, the electronic music industry is dominated by white, male faces. Google “best electronic artists” and you’ll be hard-pressed to find a person of colour until the 5th or 6th page. How did a musical movement, pioneered by Black artists and born from historically Black music (funk, soul, disco) become so whitewashed? Well, we know why.
Since the beginning, dance music has been about solidarity. The disco clubs in the 70s and 80s were where the misfits, the marginalized, the Black, Latinx, women, and LGBTQ2IA+ went to seek community, great music, and freedom. Your differences didn’t matter, in fact, they made you special. And this terrified the white population, so much so that they tried to “kill disco” during a summer night in 1979. The “Disco Demolition” was a turning point in the history of dance music during which angry, white White Sox fans snapped, burned, and blew up any disco record (in fact, any record of Black artists) they could get their hands on. Real mature, Bradley.
If these white baseball bros thought a little bonfire would be the end of dance music, they clearly underestimated the resilience of the Black community. The music went underground and what was born from that was Chicago house, Detroit techno, and New York garage. In the 1980s, underground dance music thrived. The faces of this music didn’t look like those of David Guetta, Martin Garrix, or Tiesto. The melanated and musically-inclined birthed electronic music and it’s about time we pay homage to them.
In this three-part series, we’re celebrating the Black faces that have shaped and continue to trailblaze the electronic industry. Get to know the Black artists that birthed house music in the 70s, 80s, and 90s. Refamiliarize yourself with the group that moulded what we know today as electronic music and say hello to those who are making waves, guaranteed to be big names in the future. It’s time to crank up the volume on these incredibly talented artists and make electronic music Black again.
The Pioneers of Dance Music
Often called the “Godfather of house music”, Frankie Knuckles can be chalked up to one of the most influential people responsible for the birth, development, and popularization of house music. Originally from the Bronx, Knuckles made his way to Chicago and that’s where his story really started. As an openly gay Black man, he began spinning at his friend’s nightclub, Warehouse, which catered to mainly gay, black men, and it is here they say House music got its name. His popularity at Warehouse surged, pulling in a much wider demographic before he went and opened his own club, The Power Plant. Frankie Knuckles rubbed elbows with some of the most iconic in the biz, including his best friend Larry Levan, Detroit techno pioneer, Derrick May, Jamie Principle, and Chip E. He released countless mixes and albums on labels like Virgin Records and Definity Records. He topped charts remixing iconic works by Michael Jackson, Toni Braxton, and Diana Ross. Knuckles won the 1997 Grammy for Remixer of the Year, Non-Classical and was inducted into the Dance Music Hall of Fame. In his 59 years, Frankie Knuckles forged the path for all future house artists.
A Chicago native, Jesse Saunders is another pioneer of the house music scene. Saunders had a musical upbringing, performing in the Chicago’s Children’s Choir and being taken under the wing of his cousin, DJ Wayne Williams, who taught him the art of DJing. Jesse Saunders was influenced by his predecessor, Frankie Knuckles, and became a Chicago nightlife regular from the tender age of 16. He quickly gained notoriety headlining multiple venues before opening his own, the Playground in 1982. In 1984, his first single “On and On”, co-written by Vince Lawrence, officially became the first-ever house record to be pressed and sold to the public. In the 90s he launched his own label, Broken Records, that solely released music digitally, truly embracing the Internet Age. After a worldwide tour following the release of the 25th Anniversary of House Music album in 2009, Saunders headed back to Vegas where he opened the Electronic Music Café and founded the Music and Arts Society that focuses on the preservation of DJ culture.
The Belleville Three
The invention of Detroit techno can be accredited to The Belleville Three. Comprised of Juan Atkins, Derrick May, and Kevin Saunderson, the three met as boys in the rural Michigan town of Belleville. The boys would bond over their similar tastes in electronic and funk music and musical acts such as Kraftwerk, Parliament, and Prince. After hearing the sounds of Parliament, Atkins bought himself a synthesizer and got into the art of DJing, which he passed on to his other groupmates. Atkins and May started DJing in the Detroit nightlife scene under the name of Deep Space Soundworks in the early 80s. The trio visited Chicago where they were met with house music. They drew inspiration from the house scene, incorporated mechanical sounds of the likes of Kraftwerk, and came out with their unique genre of electronic music (what we know as techno) that amassed great popularity in the US and UK. All three men branched off to form their own record labels and have successful solo careers, in particular, Derrick May under his moniker Rhythim is Rhythim. Together, the three started their own nightclub, The Music Institute, that became a creative hub for DJs and artists to collaborate and ultimately led to the second wave of Detroit techno. The men found their way back to each other in 2017 and continue to tour globally.
We already know him as Frankie Knuckles’ BFF, but Larry Levan was instrumental in the development and surge in popularity of house music by his own rite. Best known for his 10-year residency at the New York nightclub, Paradise Garage, more aptly known as the Gay-rage, Levan was royalty in the ballroom scene. We’re not talking the waltz, rumba, or foxtrot. We’re talking Black and Latinx underground LGBTQ+ ball culture where participants would walk, lip-sync, and perform in drag for trophies, prizes, and most importantly, notoriety (think Netflix’s Pose). When Levan dropped out of high school and found himself working as a dressmaker for ball culture, he befriended Knuckles and many other notable DJs in the scene. Levan got his start DJing alongside Knuckles at the gay bathhouse, Continental Baths, before landing a spot at the Garage. His mixes were hitting top spots on dance music charts and his proficiency as a producer and remixer, as well as his diva personality, built Levan up to be quite the celebrity in the scene. In the height of the AIDS epidemic, Levan had to say goodbye to too many friends, which unfortunately led him to PCP and heroin as a means of coping. When the Garage shuttered in ‘87, Levan struggled to secure another residency, pushing him further into a downwards spiral. In 1990, he found his way back to DJing and went on tour to Japan in early 1992. Larry passed in November of 1992 leaving a legacy and lasting imprint on house music and the LGBTQ+ community. In 2004, Levan was inducted into the Dance Music Hall of Fame for his contributions to the genre and achievements as a DJ.
Green Velvet a.k.a. Cajmere
Curtis Alan Jones has a laundry list of monikers he has gone by since his first appearance in the dance music scene in 1991. However, he is best known as Green Velvet and Cajmere. Inspired by the house music craze in the 80s, Jones picked himself up a keyboard, 4-track, and drum machine to try his hand at making music. It turned out he had a knack for it and in 1991, under Cajmere, he began releasing music. In 1992, he started his own label, Cajual Records, and released “Brighter Days”, a collaboration with superstar dance music singer, Dajae. The song hit number 2 on the Billboard Dance Music Charts. Modern-day publications like Rolling Stone and MixMag have included the single on their lists detailing the best house tracks to date. In ‘95, under the name Green Velvet and on his new label Relief Records, Jones released another single “Flash”that too, skyrocketed to the top of the charts. He continued to produce bangers, putting out albums under the name Green Velvet, working with big names like Claude VonStroke and Carl Craig. Jones is still extremely relevant on the scene these days, touring worldwide.
Felix da Housecat
The second wave of Chicago house was spearheaded by Felix da Housecat (née Felix Stallings, Jr.). Felix got his big break early at age 15 when under the mentorship of DJ Pierre, he released his first single. Clearly, the kid had talent. After graduating from university, he went on to release multiple singles under the UK label Guerilla Records in the 90s, gaining a huge following in Europe. Felix went on to start his own label Radikal Fear Records, releasing music by Mike Dunn, DJ Sneak, and Armando and his own debut album, Alone in the Dark. His 2001 album, Kittenz and Thee Glitz,brought him huge mainstream popularity and he went on to create remixes for Madonna and Britney Spears. Since his music has been featured in countless video games and movies. His ability to work with any genre has made him indispensable and a big name in the industry.
Carl Craig is another second wave artist, this time on the Detroit techno scene. Craig became entranced by house music while listening to Derrick May’s radio show in the 80s and began experimenting with making his own tracks. He got pretty good at it and eventually started his own label, Planet E Communications in ‘91. In addition to his own albums, the label has also released music by Moodyman, Kevin Saunderson, and Kenny Larkin. His own music topped charts throughout the 90s. In 2000 and 2001, he co-founded the Detroit Electronic Music Festival (now Movement Electronic Music Festival) and his eventual dismissal by festival organizers brought him a bit of fame. He eventually returned to the festival as artistic director in 2010. Since his start in the 90s, Carl Craig has released over 200 singles and remixes earning him the notoriety as a crucial figure in techno, with publications such as Exclaim! and Pitchfork singing his praises.
Listen and learn. Check out the ladies who had a helping hand in shaping the world of electronic music.
Find yourself fiending for a night out? Well, after four months of confinement out of concern for our global wellbeing, it’s time to light up the night. FuFu (the collective who bring us Shi Fu Miz) is back in full force and bringing their expertly crafted soirees back to Duddell’s. On July 24th, FuFu Presents: Feel the Groove, an evening of disco, house, funk, and world music.
This post-social-restriction rager will start at 10pm at the Central hotspot. FuFu resident DJs MLCH and Guido Balboa will hit the decks before making way for special guest Orio Leshem of FAT FISH Familia.
MLCH, a.k.a. Florian Mélinette, is the founder of FuFu and a Hong Kong-based DJ known across the land for his seamless ability to switch up beats from the old school classics to deep atmospheric sounds to disco and funk. He knows how to keep the dancefloor on their toes and they worship him for it.
Guido Balboa is an Italian native making a name for himself on the Hong Kong scene. A disco diehard and a romantic by birthright, his M.O. is to show the world the forgotten artists from the country of love.
Orio Leshem is a Singapore-based DJ and event producer. One part of FAT FISH Familia, Leshem is notorious for not only his skills behind the decks but his expertly curated festival, Strawberry Space. Dedicated to enhancing and building the Singapore scene, he throws underground parties that highlight talent, both local and international.
FuFu Presents: Feel the Groove will awaken the dancing queen you have been suppressing the last four months. Dust off those boogie shoes and hit the dancefloor.
EPIZODE5: EPILOGUE is the 5th edition of EPIZODE festival and happens this December 29th, running for 12 days, until January 10th. Situated on the serene Sunset Sanato beach in Phú Quốc, Vietnam, festivalgoers will rise with the sun and enjoy 24 hours of blissed-out beats and various activities every day.
Artfully curated, the festival will exhibit both awe-inducing stage installations and lighting with a lineup of artists and performances you’ll never forget.
EPIZODE is known for its fire lineups and attention to seamless music curation. This edition will be no different. Get ready for sets from Ouissam, Abelle, David GTronic, Hector, Loco Dice, wAFF, Yaya, Mahony, and so many more.
Those who are looking for the most epic way to say goodbye to 2020 and hello to the new year, EPIZODE5: EPILOGUE is the way to do it. Experience white sandy beaches, lush forests, and rich Vietnamese culture with like-minded individuals. Immerse yourself in the music and the art for 12 days that you will never forget.