DJ Backstage has returned with a new album titled Consume Budots. If the initial output, New Metal Music Machine, showcased an interest in nu-metal, this time he shifts his focus to Budots, an electronic dance music and dance culture that originated in Davao, Philippines, known worldwide through DJ Love. Simply put, Budots is a blend of ultra-high elasticity 140 BPM pop edits, high-pitched siren sounds, and some Filipino rap. This music possesses an intensely stimulating energy that can be dangerously loud, and DJ Backstage presents a remarkably persistent alternative approach to it.
He downloaded siren sounds and sample packs available on the internet and attempted to create a close-to-improvisational, experimental music style by repeating and combining them. The result of this process was first unveiled about eight months ago as a 13-minute limited version on SoundCloud. The actual work is much longer, and listeners can access the entire length as bonus tracks when purchasing the physical album. After sharing his work on SoundCloud, he showcased it live for the first time through performances across the continent. What started as an improvisational-experimental piece evolved into a cohesive composition through these performances.
On the A-side of Consume Budots, the process of breaking down the jittery siren sounds and elements of Budots is gradually revealed, while the B-side adopts a more direct approach, with Budots elements stretching and transforming along a timeline, resembling drones. Ultimately, DJ Backstage pushes through to celebrate the popular music he loves, expressing a twisted form of affection. This work requires one to engage with the entire process to uncover the subtle nuances that only emerge over time. Perhaps what DJ Love referred to as the most important value Budots aims for—“the way of peace”—can also be found within those gaps. The physical release is on cassette tape and is the eighth release from Seoul Cult, which has previously released works by Danthrax, Juval Lee, and Vomit & Tear.
