The Colorado music scene has never been defined by a single sound, a single musician, or single venue. The scene is sculpted by artists willing to take risks, evolve alongside their audience, and pour pieces of themselves into every release. For nearly a decade, Matthew Phillpot-Jones, better known as DMVU, has been one of those artists. His unmistakable blend of earth-shaking bass, cinematic textures, and deeply introspective songwriting has helped define Colorado's underground electronic scene while inspiring a generation of producers to push beyond genre boundaries and limitations. As DMVU steps back onto the stage with fresh music and a new perspective, we sat down to talk about creativity, Colorado, healing, and why this next chapter feels like the most authentic one yet.

The Rust has had the pleasure of reviewing and interviewing several acts on the Loci Records roster, but we’ve always had a particular soft spot for Lapa. His cumulative works sit right at the nexus of sound that we hold in such high regard, and Helix is no different. While so much of the electronic music in our wider orbit focuses on sheer kinetic and percussive weight, Ilya Goldberg and Cedar Miller have gladly made their bed alongside the gentler, melody-driven bent. To get better acquainted with the scope of Helix, The Rust took the opportunity to get Ilya on the record for a brief conversation covering this latest LP and his thoughts ahead of its full release:

Denver-based visual artist David Schunemann, known professionally as Actualize, has built a reputation for manually performing immersive visuals in real time using custom effects, projection mapping, and MIDI-controlled animation, bringing cinematic depth and intentional storytelling to the artists fortunate enough to work with him. Denver’s visual underground is in full spotlight tomorrow, on May 28, at Cervantes' Masterpiece Ballroom as Actualize and Glass Crane present their collaborative audiovisual project, Actual Crane, rooted in Denver’s thriving art-forward electronic scene. Ahead of this resounding evening, we had the chance to dive in with Schunemann about his recent experience at Red Rocks and what he’s got in store for this upcoming showcase.

Michigan-born, Denver-based producer Fika arrives with a debut LP that cements his climb from sound-system agitator to a serious downtempo auteur. Having built momentum through relentless live work, high-profile festival slots (Infrasound 2025) and recent direct-support runs, Fika’s profile is rising fast. Latent Signal Descent is his clearest statement yet: a deliberately paced, immersive record that leans into downtempo without abandoning the guttural, experimental bass instincts familiar from his live sets.

Entangled Mind is guided by curiosity, collaboration, and a willingness to be free of boundaries. That openness is perhaps what makes their performances so compelling; no two moments are ever the same, and each set is shaped as much by the room as the people in it. Whether it’s carefully curated melodies layered over pulsing basslines, or organic jams reshaped into immersive electronic journeys, Entangled Mind reflects the conversation between instinct, influence, and presence. The Rust had an opportunity to speak with them ahead of their latest performance alongside the Supersillyus Life Band and friends at Brooklyn’s Fine and Raw Chocolate Factory. We sat down to talk about creative evolution, physics, the artistic struggle and how intuition plays a role in shaping a live set.

Appealing to an extremely broad range of fans and listeners, Ewing’s personal infusion of multi-instrumentalism stands in stark contrast to the ever-growing “in the box” production and recording phenomenon for music producers, and is the standout factor throughout all of his minted originals and collaborations. Next weekend, The Rust is hosting Ewing and a smattering of other potent acts for a Morning Coffee two-night escapade at The Chocolate Factory in Brooklyn, and we’d be remiss if we didn’t take the opportunity to get a few questions and answers on the record:

The humble position to take would be that Submersion Festival is akin to its many contemporaries; a gathering of like-minds, hosted by like-minds, with the intention of furthering musical and artistic experiences in a space that makes us all feel at home with the event and its surroundings. The more modest position is that Submersion has achieved a standing in our wider community that is reflected in the circuitous return of fans, friends, and acts year on year. If you’re still on the fence, now’s the time to get serious. Tickets are running out, the doors open in three days’ time, and we’re hoping to see each and every one of you out in crowd for three days of sun, shoreline, and serendipity.

With over 14 years of music production hanging off of his toolbelt, Sam Rivkin has taken the patient path to musical maturation, gradually stirring his ingredients at the right pace and temperature to guarantee hearty results through his Conduit project. Rivkin is certainly no stranger to sound, having been a multi-instrumentalist for much of his life, and has been concurrently performing through his collaborative duo project Betafuse for over a decade. Up until now, Conduit releases have been kept close to vest. The payoff for this patience is release of his debut Duality EP through the veteran Colony Productions label, an apt home for such a granular set of tracks.

Outside of the Hacienda Audio studio, their master engineer Matt Davis recently unveiled his latest rig deployment for the home-grown Reference Sessions series in Denver, Colorado. Featuring an enormous and meticulously designed sound system, expansive LED walls, and precision front of house engineering, he and his cohorts are aiming to set a new bar standard for high fidelity concerts and events. For one of our most technically expansive interviews to date, we had the opportunity to sit down and reference the master himself after their recent Reference Sessions 002 deployment in Denver for an intimate conversation about the philosophy and engineering behind one of the latest developments in the live audio playing field.

Alec Seifart, the creative force behind Murkery, is poised to bless Denver audiences November 23rd at Meow Wolf’s Convergence Station alongside a cast of hand-picked characters. With years of production steeped in psychedelia and modern bass music fundamentals, he’s dialed in a sound, style, and presence that defines the Murkury brand with clear intention and direction. Speaking with Seifart, The Rust had the chance to dive a little deeper into the experience and the inspirations that drive his project and output, as well as attempts to address and assist community needs through his platform. 

Resurfacing for air two years after the release of his psychedelic α​ρ​ι​θ​μ​ό​ς τ​έ​σ​σ​ε​ρ​α LP, the Bristol-based producer John Hislop has come up for air with another minted project. Stretching back to his formative days with the Dubsaw and Inspected labels, Culprate has become a staple producer in the arc of bass music and contemporary audio production. his latest release through Inspected, Normal, puts pure force on display, harkening back to the energy in his formative years. In collaboration with The Rust, Hislop agreed to an insightful interview that has given us a proper lens into his thought process, approach, and interpretation of his own productions and some of the wider context to his career so far. 

Every seasoned festival-goer in North America should try to attend Bass Coast at least once. But be warned - once you go, you’ll want to return every summer. That can be challenging for those who live far from Merritt, British Columbia, but the trip is worth every mile. Tucked into a hot, dusty valley in the BC interior, Merritt is Canada’s country music capital, or used to be, depending on who you ask. The likes of Johnny Cash, Merle Haggard, and Tanya Tucker have handprints on the town’s Walk of Stars, and Merritt Mountain Festival used to bring more than 100,000 people to the area. In this context, Bass Coast is a natural fit for the area.

Why is it important to consider equity and diversity in dance music? From house and techno to jungle and dubstep, electronic dance music often came from marginalized diaspora communities which, at least in North America, were often Black and Latino. Yet as dance music has become a mainstream, multi-billion dollar business, it is impacted by racism and exclusion like any other business in a society where these challenges remain all too present. In 2019, Bass Coast started collecting detailed demographic data about its bookings and using it to “critically look at strengths and gaps in our programming choices.” In 2024, the Phase 1 lineup featured more than three dozen women and gender non-conforming people, and nearly 30 artists of color, including several indigenous and Métis DJs and producers from Canada. So with this in mind, in addition to Leikeli47, here are 10 can’t-miss artists of color at Bass Coast. 

It takes hard work to host an enormous music festival in the middle of the woods without leaving any waste behind, but Bass Coast in Merritt, British Columbia (BC), Canada strives to make it easier, for both attendees and crew. Boasting a modest 6,500-person capacity and operated independently in the southern BC interior, it’s been twice awarded 'Best Boutique Festival in North America' by DJ Mag and 'Best Midsize Festival in Canada' by the Canada Music Awards. Curated by Andrea Graham aka The Librarian and Max Ulis, the lineup is of course stupendous. But Bass Coast hasn’t earned these accolades for music alone. Excellence at the event extends beyond the music to things like harm reduction, cultural respect, and sustainability. 

Marissa Barbato, the creative force behind Entangled Mind, has carved out a place for themselves through their consistent blends of instrumentalism and exceptionally high production standards. Three years after the release of their debut LP, Eternal Motion, they’ve poured their energy into a sophomore album that expands on the thematic psychedelia at the center of the Entangled Mind sound, and reaches new heights against their personal catalog.The Lucid Living LP bridges the gap between emotive and somatic compositions, employing sound as a conduit for fostering connection and introspection.

Another year comes, and another stellar release makes it’s way out into the wild from the heart of Bristol in the UK; Sandy Finlayson’s Seppa moniker needs little and less introduction these days, with his extensive catalog of EP’s and LP’s doing the majority of the talking. With four years having come and gone since his last solo album release, and his current spate of US shows kicking off this evening, he’s primed to flesh out a grip of new tracks across each stop from his latest See It Through LP across the eponymous 11-stop tour.

Punching through to new territorial waters, the collective cross-atlantic bass music culture has been steadily seeking out fresh inspiration and deeper dance floor integration for several concurrent years, with breaks, house, and drum and bass feeling particularly syncretic for so many stalwart producers and fans alike. Recently stepping into the arena for a slice of newfound sonic territory, Observatory Records has tapped the efforts of several cutting-edge acts to craft their sophomore release, the Pure Energy compilation EP.

At its core, Submersion Festival has no defined “home sound”; there’s no singular lane or style that fully engulfs the breadth of the festival’s musical vision. Both as a part of its appeal, and as a result of the palettes that craft each successive lineup, a diversity of sound and presentation is the fundamental characteristic that carries the event from year to year. High on our own list of desired acts, and standing atop a three-decade career, was Mark Farina, the prolific DJ & producer who’s remained an invaluable staple across the domestic and international touring circuits. A few days ahead of his appearance at Submersion, we had the opportunity to have a conversation covering a number of points that sat parallel to Mark Farina’s hour in the Saturday sun.

Closing out another monumental year in a career built on its own momentum, Phil Gallo continues to deliver a sultry, vivacious package through his musical alias, pheel.. The New York-born producer is a crucial member of Denver’s venerable all:Lo record label, injecting his distinct blend of boom bap and groove-driven bass music, and paying homage to the music of his childhood while nose-diving into the sounds of the future. Much to the delight of his fans, Gallo’s latest release is his long-awaited debut album, echo chamber., demonstrating his ever-evolving talent and ability across nine tracks of shifting moods and nebulous hues.

On October 5th, electronic music fans flocked back to the Pine Barrens for the third annual Submersion event. For the second year, the three-day festival was hosted at the picturesque Paradise Lakes Campground, nestled among moss-covered pines providing ample shade from the waning summer’s sun. The second and highly-anticipated installment of the Submersion camp-out once again housed two distinctly and carefully curated stages showcasing global and domestic veterans of the festival circuit, U.S. debuts, and up and coming stars of the underground. In the wake of its 2023 installment, Submersion proved that when the right teams come together, lightning can in fact strike twice, allowing creativity and inspiration to flourish while providing an exemplary experience for all of those who attend.

The dynamic New York-based production duo Lipphead has gradually built out a sonic playground of funkadelic slides, swinging trumpets, and tipsy, on-the-nose rhythms, bringing their energetic and eclectic instrumental hip-hop style out to play. With already potent pool of established tracks between the two, Blockhead and Elliot Lipp continue to outdo their stereophonic dance floor motif with the sensual blends and lush progressions of their latest record, “From The Back”.

Individually, Ilya Goldberg and Random Rab have extraordinarily fruitful careers on their own merits, with the former both through his Lapa project and being Doug Appling’s right hand man in Emancipator, and the latter through a dedicated, double-decade approach to the Random Rab sound. It was only a matter of time before these not so disparate camps found themselves unified under the same banner, and this year saw the inception of their collaborative project, DOS. Consequently, and ahead of their appearance at Secret Dreams later this month, the Rust felt it necessary to have a quaint conversation with these artists on the nature of their collaborations, the inception of the project, and the lens through which they view their own musicality.

Long after the divergence of hip-hop music and its swing-centric instrumental arrangements, both lyricists and producers find themselves coming back around to their time-tested partnership of songwriting and studio finesse, with a few choice sets of creatives finding their stride with contemporary flavor. Continuing their gradual dive into the murky waters of lyricism and bass music, Rasp-5 and Tygris follow up their rambunctious Cheap Thrills EP with a dual serving of brackish low-end and sauntering wordplay, with The Gradient Perspective hosting their latest release, Smash & Grab.

Making a fast-paced break into the spotlight of NYC’s sound system culture and musical underground, the texas-raised and New York-based DJ and show-host Edica+ has already made an ample name for herself. Stretching from Reggae and Cumbia to contemporary bass music and beyond, her effusive influences and pronounced mixing fundamentals have made her a potent force behind the decks, showcasing ecstatic and expansive DJing in pure form. Tomorrow evening, The Rust and our long-time co-conspirator Sermon are slated to host Commodo, Ellis Delta, EasyJack, and Edica+ at The Meadows in Brooklyn, and in anticipation of the rambunctious evening ahead, we felt it necessary to get ahold of Edica+ for a brief primer on her influences, background, her experiences as a show-host, and her time with Dub-Stuy records.

Across the pond, the pensive and surefooted Bulgarian creative Yavor Zografski has spent the last several years tightening the reigns around both his own musical project SMYAH, and the wider Sound in Picture label under his purview. Narratives covers a variety of styles and genres, with notable influences from IDM, jazz, downtempo, trip-hop, and ambient film audio. Founded in 2018, Sound in Picture features dozens of individual releases, all paired together with accompanying photographic art. Given the expansive scope of both Yavor’s personal musical output, and the approach to his particularly curated label, The Rust felt an immediate necessity to sit down with this affluent artist and discuss the genesis and direction of his dovetailing projects.