Tribone Goes for Dark, Psychedelic Grooves on New EP

Tribone’s music is meant to enthrall – put you in a trance-like state while encouraging your body to move. Listeners get immersed in this vibe on the Israeli bass producer’s latest EP, titled PRML and out on May 30. 

Recent track “Roar” offered a preview of what to expect on this release melding tribal elements and organic percussion with old-school bass groves and synth melodies. While you eventually find yourself on the dance floor, the four-track EP centers on psychedelic soundscapes requiring a closer listen than the typical four-to the-floor recording.

Tribone’s growth has been gradual and underground. The producer’s been a staple of the psychedelic and bass music festival scenes for close to a decade, including appearances at Boom Festival in Portugal and Global Eclipse Festival in the USA.

At the same time, he’s gotten attention for his collaborations and remixes with Desert Dwellers, Kayla Scintilla, Whitebear, Ace Ventura, Kaya Project, and Liquid Bloom, among others. Of these efforts, his remix of Desert Dwellers’ “The Great Mystery” has received over 100,000 streams on Soundcloud alone.

How did Tribone start producing?

While having a beautiful experience at a Merkaba Set at Universo Paralello Festival in Brazil, I knew I wanted to start making electronic music. I started with psytrance and slowly dived more and more into the downtempo/bass music world. I’ve been trying to combine these two when I produce my music and take inspiration from both worlds.

What drew you – and continues to draw you – to bass music?

It’s mainly sound design nowadays. I found that a lot of producers in this genre are really pushing the envelope of sound and primarily bass design in really creative ways, and it inspires me so much.

How would you describe your sound today?

Dark Tribal Bass music, I guess. I do have a lot of elements that are pulling it out of the classic bass music production, but it still ticks that box off for me.

Today, you use a mix of traditional production and organic percussion. What’s your process for creating a track?

I mainly try to find a driving rhythm between the kick, snare, and basslines. One of my favorite ways of doing it is by mimicking a congas loop or djembe groove sample that I find, and turning the same rhythm into a kick, snare, and bass groove. After I get a good loop going, it’s all about sound design and finding elements that complement the main rhythm.

Tell us about your release, PRML. When did it start taking shape?

While preparing for my set for Boom Festival that I played last summer, I had some visions of how I wanted the middle section of the set to feel and sound like. After playing the tracks a few times in my sets, I went back to the studio and re-tweaked some of the elements that I felt were lacking and thought that I might as well share those tracks with the world.

What’s the concept or theme behind the album?

There isn’t much of a concept behind it. It’s more just a few new approaches and ideas that I had in mind, and they worked together for a release, as they were pretty varied in their styles.

I have a few more tracks lying around from the time I was writing this EP, and they just didn’t fit for this release, maybe for next time.

You’ve also done some collaborations, including with Desert Dwellers, Kayla Scintilla, and Whitebear. How do you blend your sound with another artist’s?

I love collaborating with other artists and friends – it’s always a huge learning experience. Getting out of my comfort zone makes me write better music, especially when it’s with such talented friends.

As you’re also a staple of the psychedelic festival circuit, what plans do you have for the summer, as well as the rest of the year?

I’ll be in Australia all summer (winter for Australia), playing some festivals and shows in different states here. The next one is a PRML EP launch party in Melbourne.