2016: Lo-fi house emerged from the underground

We're looking back at the trends that defined dance music in 2016. Next up, the rise of lo-fi house...

A slightly rugged texture creeps out of the speakers as steady paced 4/4 percussion builds into a wonderful display of rough and atmospheric dance music, with subtle layers of delicate melody. The distorted essence makes it seem as if the track is a piece of deep house produced using primitive electronic equipment in a Chicago basement 20 years ago, but it’s not. What is in fact filling the air is a track off an album titled ‘Cranks’ by the mysterious Los Angeles-based producer Grant, released in 2016 via the Lobster Theremin sub-label Mörk. The album, dropped at the tail end of this year, is one of many recent releases that supplied us with a sound that’s picking up steam among a fresh crop of artists, a sound that has been one of the major emerging trends of dance music in 2016. Enter the intriguing realm of lo-fi house, a burgeoning scene that’s quickly accumulating more than just a niche following.

Budding German talent TRP, who has become one of the scene’s most creative artists to watch, believes it’s the subtle imperfections that are attracting listeners: “I think people don't like the polished and clean sound of electronic music nowadays. These lo-fi textures sound dirty and rough and the warmth is something people just like. Everybody seems to like the sound of dusty vinyl. For me, I don't try to sound lo-fi, I just like the sound of tape and tube warmth. Polished music is just kind of boring to me.”

On a similar note, Barcelona-based DJ Seinfeld, a freshly emerging artist that many followers of the lo-fi sound will recognize, believes there is a more rebellious nature to the producers creating these harsh dance tracks: “I think it shares some similarities to the whole punk and metal genre; you won't always have clear and crisp tones, but that was never the point of it, and now with all the production software available, the lo-fi bedroom producers are the dance music equivalent of people rocking out in someone's garage somewhere. I think it invites some listeners to be a bit more curious and thoughtful about what they hear, and maybe make them re-think the whole paradigm of pure-sounding dance music.”

There's a counter cultural essence to the way in which producers release under-the-radar anthems on records pressed by a network of DIY labels across the world. The dusty essence of the music is appealing and is a characteristic that lies at the heart of the lo-fi aesthetic, but another possible cause for lo-fi’s increasing popularity, particularly in house music, is the pairing of rough and distorted rhythms with moody and ethereal melodies. A contrast of disparate styles allows the gritty motif to be more easily digestible, prompting a rush of new listeners to gravitate to this style.

For example, last year TRP, who confessed that he simply enjoys rougher house and techno and doesn't purposefully try to make 'lo-fi', released a free download of his edit of Huerco S.’s ‘Untitled’, fusing the dreamy atmospherics of the original with an edgy, beefed up 4/4 house beat. That track, which has boomed in adoration, is just one of many in recent history to deliver the balance of distortion and delicacy, a factor that escalated this past year.

Another artist who broke ground in 2016 is a newcomer who quickly gained notoriety throughout the industry and is one of the most recognizable names pumping out lo-fi. Following a string of EPs on 1080p, Collect-Call and the first release on Shall Not Fade, while also self-releasing his debut album, a 23-year-old Australian known as Mall Grab emerged and would showcase the remarkable scope of lo-fi at a rapid pace, a catalyst for the style’s ascent.

With a knack for cheeky edits, loops and an overall appealing output of lo-fi house, Mall Grab can be credited as a key player in the rise of the sub-genre. One of his best known tracks, ‘Can’t’, released on Church in April 2016, has amassed over 1.5 million plays on YouTube, a feat not typically earned by what can be considered “underground”. While the industry was still buzzing, he launched his own label, Steel City Dance Discs, with a groundbreaking inaugural release of his own that quickly sold out and is commanding steep prices on Discogs. This all prompted Mixmag to tap him for an Impact mix as an artist to watch and he’s showing no signs of letting up. With the year coming to a close Mall Grab has produced a remix for Kllo on Ghostly International and has lined up the third release on his SCDD by X-Coast, all while holding down a steady touring schedule. But lo-fi became more than just a trend in 2016 and this wasn’t just because of one artist, it was due to the entire community delivering on all fronts.

At the core of the lo-fi scene are those already mentioned as well as Ross From Friends, Baltra, Route 8, Shedbug, J. Albert, Rudolf C, Trudge, DJ Boring, Tlim Shug, and the list goes on. Plus the home for all this music, the labels pushing the sound in the right direction, need to be commended on their steadfast approach. Labels like Lobster Theremin and its sub-labels, Axe on Wax, Shall Not Fade, 1080p, The Lauren Bacall, LiveJam Records, Opal Tapes, E-BEAMZ, Renascence and more all played a critical role in supplying the scene with a quality output in 2016.

At this point the lo-fi aesthetic seems to be as strong as ever, but there are certain issues with the style that may come into play in the future. TRP points out that the sound doesn’t necessarily translate well to a club setting, which can cause issues: “Most of the tracks sound cool if you're listening to them at home, but they sound shitty at the club. A lot of this stuff is overcompressed and muddy, which is why I don't like to listen to that stuff at a club. It can be strange to listen to lo-fi sound on a high end system. If something sounds rough but it's still banging at the club, that’s perfect.”

“Every gig you play a lo-fi track someone is coming to the booth and tells you something is wrong with the soundsystem or your needles,” continues TRP. “I always tell them the music is supposed to sound like this and they should listen to stuff like that at home calmly. But like I mentioned earlier: Many tracks just sound shit at the club and I can totally understand people who just think something’s damaged.”

It's true, the textures present within the lo-fi genre might be confusing to some, but artists who showcase the sound are becoming more in-demand than ever before. Lobster Theremin label boss Asquith recently embarked on the label's first North American tour with Route 8 as the headliner and performed to ecstatic crowds throughout. Mall Grab also has been gigging relentlessly in 2016 and will likely cross the pond to the States in 2017 as fans are eager to see him behind the decks. The fuzzy aesthetic can be extremely prominent in a lo-fi track or it can be more subtle, but rather than ruining a tune, most fans tend to find it pleasant and warm.

As more newcomers to the sub-genre gravitate, it’s easy to see how the uninitiated might think something’s wrong with their speakers or headphones, as most listeners are used to hearing crisp sounds when listening to polished electronic music. This seems to be a common thread among those who are looking for something new and come across the course, jagged textures of lo-fi. This distinct style is clearly not for everyone, but as DJ Seinfeld assures: “Your headphones are not broken and neither is the song. Just give it a shot.”

Harrison Williams is Mixmag's East Coast Editor. He's joined the lo-fi movement; will you?

Patch Keyes is a freelance illustrator and regular contributor to Mixmag