For the past two years, Continuum Bass has operated on a “patient man’s game” philosophy, building a scene from tiny rooms and DIY shows. With this release, they are stepping out of the underground shadow to propose a new genre vernacular: one where the Kulintang meets the Amen Break, and classic Kundiman but turn it to Bass.
The Architecture of “Dub Dystopia”
The compilation features eight tracks that span the bass spectrum from UK Dubstep and Footwork Jungle to Breakbeat and Rave. However, the unifying thread is the deliberate recontextualization of Filipino heritage. Founder Ezzrei notes that the project was born from an intuitive mix of Kundiman vocals with drum and bass, a concept that evolved into a full-blown study of cultural identity.
The result is a “portal” into a world that defines the Filipino bass artist, distinct from their Western counterparts.
Reimagining the Classics
Several tracks on the compilation function as heavy-hitting nostalgia, flipping cultural staples into dancefloor weapons:
- Allives tackles the track “Una Kaya” by Pinikpikan. He takes a song rooted in community chanting and reshaping “possibilities” and transforms it into a Dubstep experience, bridging ancestral textures with heavy sound design.
- Bergamask & PHB (Bantayan Bass Club) provide a regional Visayan flavor with “Matud Nila.” They reframe the classic Cebuano love song (originally a tender Kundiman) into a Drum and Bass track.
- Rvck delivers a “Darkside Dub” of Celeste Legaspi’s “Sabado.” Utilizing a tremolo-and-delay vocal treatment, and jungle breaks down to create a hypnotic, weaving atmosphere that feels like a warped memory.
- Hundred Digits takes a darker turn with the lullaby “Ili Ili, Tulog Anay.” Inspired by Filipino horror scores, the track used 808s and detuned synths to turn a comforting song into a cinematic, suspense-filled dubstep journey.
- Ezzrei’s track “Sinta” is a prime example of this “Footwork Jungle” aesthetic. By manually sliced jungle breaks to preserve human swing, contrasting them against the bamboo jaw harp (Kubing) and Agung gongs
- Thirstkid incorporates the Palendag (a Maguindanao bamboo flute) on “Ginhawa ni Kali,” using the instrument to add a healing, melancholic tone to the complex percussion of jungle music.
- Soothsyr’s “Hiwaga” operates at a kinetic 168 BPM. The track draws its phrasing from the Singkil (a traditional folk dance), using the interplay of metallic gongs and rapid rhythms to mimic the ceremony’s footwork.
- Orbit, PHB, and Bergamask – False Anito, reflects on how false deities, systems, beliefs, and influences can replace what was once authentic, sacred, and ours. With distorted bass, ritual fragments, and uneasy electronic textures,
A Continuous Movement
Perhaps the most critical aspect of Dub Dystopia is its geography. This is not a Manila-centric project. It represents a wide network of producers from across the archipelago, from the elevators of Cebu to the indigenous Manobo roots of Kidapawan City.
Each track feels like a canvas: textured, distinct, and intentional. You can hear
individual roots, shaped by their influences, experiences, and unique perspective on
their music production.-NEIL ROVICK VICTORIA
“RVCK”
Curator/ Dub Dystopia
vol. 1
The project’s curation emphasizes that Dub Dystopia is less about adhering to a genre checklist and more about personal identity. Ultimately, this body of work is presented as definitive proof that local producers have crafted something powerful enough to challenge borders and demand global recognition.
* generate randomized username
- Intriguing concept! "Dub Dystopia" sounds like a real genre-bending experiment. i'm curious to hear how they blend traditional Filipino music with such diverse bass styles. the portal idea; a cool way to think about it, will def give it a listen.
- #1 Lord_Nikon [12]
- #2 Void_Reaper [10]
- #3 Cereal_Killer [10]
- #4 Dark_Pulse [9]
- #5 Void_Strike [8]
- #6 Phantom_Phreak [7]
- #7 Data_Drifter [7]
- #8 Cipher_Blade [6]
