Home Samurai culture The sound of: the worst behavior

The sound of: the worst behavior


Upon meeting the pair, it’s easy to see why they make a good team. Even in videoconferencing, with Anna in Los Angeles and Isabel on the east coast of the United States, they exude a mutual warmth and support, while embodying different energies: Isabel, an exuberance and a desire to communicate full of ideas; Anna, an unruffled poise and poise, even as the roofers above her apartment hammer nails above their heads.

These contrasting but complementary attitudes are reflected in their musical origins. Anna, the self-proclaimed “raver who never grew up” from the Bronx, was known as a dancer and promoter in New York City for years before taking a controller at the behest of friends. Isabel, on the other hand, grew up in Texas, was in a sorority in college, and entered the world of dance music in another way – the internet providing a path of discovery outside of traditional clubbing communities.

But above all, the two experienced epiphanic moments with British sounds. For Isabel, Dizzee Rascal and Caspa & Rusko’s “FABRICLIVE 37” were an alternative to the smooth shine of EDM, while Anna recounts a mind-blowing experience at an ice rink party in the early 2000s.

“So it’s like trance and techno,” she recalls, “and in that side room there was someone playing ragga jungle, and I just had to find out what it was. It blew me away because it was dancehall sample that I grew up with, but it was rave music. I remember thinking, “This is the perfect dance music!” “

“I like this feeling [of not knowing what something is]Isabel interjected. “This is the plan we are pursuing. When I entered music as a complete beginner it was constant. My mind would be blown away everyday.

The label does an impressive job of enabling this kind of experience. Genres, bpm and other forms of categorization are deliberately discarded in favor of artistic freedom. Listening to outings is a dizzying experience: you might find confusing halftime d & bs alongside footwork, heavy 140 designs on jungle breaks and trap triplets, or anxious rave beeps. powered by a distorted reggaeton stomp.

“A lot of DJs and producers often feel trapped in the expectation of the genre,” says Anna. “The worst behavior is about authenticity … it’s about checking out that part of you that thinks you’re supposed to behave a certain way.” We just want to do what we want to do, and we feel free to do it. It is an invitation to ourselves and to others.

The signing of the label has undoubtedly been the eponymous compilation series that has hosted an international cohort of producers – like DJ Madd, Stranjah, A.Fruit, DJ Swisha and many more. Each compilation is capped at a certain number of tracks, so as not to lose anyone’s work, and most often the artists featured are friends, or become friends in the process. This is a testament to the guiding principle of making space for artists and involving people, and the commitment Anna and Isabel have to the relationships they build with artists around the world.

One of the most telling anecdotes is the story of the label’s only single to date, ‘1800AREYOUSLAPPIN’ – a ghettotech banger smothered by gurgling bass blasts. After asking her friend HomeSick for a first on her blog, Footwork Jungle, Anna found herself taking over the curation of the blog, while in return HomeSick sent her the track. Not only that, but the Sinistarr remix that would go on to become the B-side was already a game in Anna’s head. In no time at all, they had concocted what would become a totemic business card for the label.


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