At a party in The Hague in the late ’80s, DJ Moortje accidentally dropped a dancehall 12-inch at 45 RPM, causing chaos in the audience. This beautiful mistake resulted in bubbling, a cultural expression of immigrants from The Dutch Antilles and Suriname, and the movement would take these communities by storm in the 1990s. Jamaican exports such as the Fever Pitch and Bam Bam riddims were double and half-timed, with Cutty Ranks on one hand sounding like a prepubescent chipmunk, and on the other like an evil spirit. Bubbling borrowed slave rhythms from Curacao (DJ Moortje’s origin), creating a new Caribbean style of music in Europe that ran parallel to London’s Jungle scene.
The excitement eventually died down in The Netherlands, and Dutch house became the dominant genre in the late 2000s. There was more money to be made and bigger parties to be played when the music didn’t consist of pitched-up dancehall, and bubbling became reserved exclusively for the black and Latin crowds, especially teenagers. However, house in Holland was littered with Caribbean influence, and eventually a new generation of DJs pioneered a new style known as bubbling house. The sound is all over YouTube and regional social media sites, the same way the rest of the global youth from Chicago to Luanda are distributing their music.
Delft, Holland’s Anti-G, a.k.a. Kentje’sz Beatsz, is an 18-year-old producer of the current bubbling house generation, but his music often stabs at other realms. Like many of his peers, he takes in the popular styles of the black and Latin communities of Holland (bubbling, reggaeton, house and Dutch and American hip-hop) and loads those influence into Fruity Loops on his PC. The atmosphere is cold and industrial, not unlike that of UK grime producers, but with polyrhythms that swing like funky house. His tracks often can’t decide if they’re for a rave or a rap show, but in the end sound like the soundtrack for someone getting stabbed in space.
Anti-G Presents Kentje’sz Beatsz is a collection of material made between 2009 and 2010, showing all of the faces of his work. “Bubbling Cause Trouble” and “Crack The Glass!” tap into the current club scene of Holland, while tracks such as “Reggeaton Man!” are his own mutant Dem Bow riddims. It’s a trip through Dutch social networking sites such as Hyves, and an example of the experimentation brewing with the current digital youth of the Surinamese and Antillean communities of The Netherlands. These drums may come from the Caribbean, but the synths belong on a space station.