JamL unleashes ‘Euphonius’ on Taiga Collective [PREMIERE]

September 12, 2020

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JamL is the bass music project of Billy Hambridge, who comes from the thriving underground bass scene in Philadelphia. His moniker is actually an acronym for “Just another music Lover.” But personally, he is so much more than his music. Armed with a love of experimental sound designs and a burning passion for all things electronic, JamL’s drive and vision can be heard clearly in his productions. Just look to tracks like “Xtra Sauce” with Texas-based producer Yung Sriracha, or his debut EP, Level Up, which we earned him a feature in our Rising Bass Spotlight series.

Recently, JamL was approached by Josh Teed on his newly-founded world bass project, Taiga Collective. “I met Josh at a New Year’s Eve show I played at for Aspire Higher with him,” Hambridge exclusively told CE. “He’s talented as hell and inspiring but I had sent him a track and he said he’d liked it to be on the collective. It was a ways out so we ended up going with something else which turned out to be ‘Euphonious.'”

The result is a track, titled “Euphonius,” and we’re proud to premiere the tune here on Conscious Electronic. The track touts a warbly ethereal vibe from the outset, with spacey synths, complex breakbeats, and undulating bass lines to set the tone. As the track progresses, Hambridge experiments with slippery synth patterns that call on Tipper’s slippery, drip-drop glitch-hop stylings; all while JamL builds to a beautiful climax and equally fluid comedown.

“On how the track came together, I was listening to the entire Taiga Collective compilation [and] trying to get into the organic meets bass music vibe,” JamL continues on making the track. “It was a slow start, I’m not gonna lie. I was way outside my comfort zone but, eventually, I started putting more of myself in it with the crazy wood percussion and basses from my vault of patches. I think it came together beautifully through the struggle of being outside my comfort zone at first. I love the progression of it. It’s short and sweet too so it would be great to slow down the energy of the room for a minute and then go back into something nasty with how the track ends with that laughing bass synth.”

All robotic elements aside, the track nestles itself perfectly into Taiga’s sonic identity on the whole. That is, somewhere between the musical crosshairs of world and bass, and the many different ways one can interpret that.