PENUMBRA vol. 3 Grand Alliance Music cover artwork by: Matik
Rising label and publishing house, Grand Alliance Music releases their monumental open-format bass music showcase in surreal soundscapes.
At the forefront of forward-thinking sound, Grand Alliance Music (GAM) is a brand built on innovation, artist development, and empowerment by artists and for artists.
Their efforts are not just another label pushing music to the unconcerned masses but building movement behind sonic connections where they matter most in today’s competitive electronic music markets.
With a substantive discography on their hands, GAM has been rendering and providing fans, listeners, and consumers with state-of-the-art soundscapes since day one, and today, we are elated to share with you all their latest musical venture, Penumbra (Vol. 3).
Penumbra | 13 songs, 16 acts, 1 album
Garnering thirteen songs from sixteen artists, this open-format bass music compilation album is stacked to its brim with a multitude of bass music subgenres, including dubstep, trap, 150-style, DNB, half-time, experimental bass, midtempo, and so much more heat from this album.
Given its open-format setting, the album showcases where bass music has evolved and thrived in today’s world, and the answer is simply put – it’s everywhere.
From BPM differences, more experimental sound design to location-specific or culturally refined genres, bass music thrives in every corner of the planet, and the artists developing these soundscapes are the ones who push this scene into the excitingly unknown.
Penumbra, the word, is defined as a partial shadow – the soft, indistinct space between full luminosity and complete void of light.
Where traditional genres seek clarity and form, Grand Alliance Music aims to embrace ambiguity through evolutionary sound, ultimately pushing the needle further away from the norm and into the partially lit frontier where innovation happens.
Psychedelic bass queen AAYA starts off the compilation album with her song and her debut GAM release titled “Helix.” Originally from the arid regions of Egypt and Kuwait, her new domain of development behind the DAW in Northern California is where she conjures her detailed and stylized approach to bass music.
Fresh off the release of her ‘Refract EP,’ and previous works on platforms like MutiMusic and Gravitas Recordings, her creative mark is made on the masses with this new 2:02 runtime in ‘Helix‘.
From its start, “Helix” doesn’t let up on its sheer magnitude in musical ability to jaw-drop anyone who graces its sonic whirlwind.
Throughout its meticulous entirety, not a moment is left underutilized. Even when nearing its conclusion, alluring back-end chants pepper its low-end sections, while experimental sound bits are left unto the listener to process.
Overall, the song stands out as a new-age rendition of what bass music can be when viewed from a certain creative lens. The future of bass music is bright with the luminosity that AAYA brings to the table, and ‘Helix‘ is her vortex of sonic and seismic proportions.
AAYA shares:
“This track was incredibly fun to make, and I’m truly honored to be part of this compilation alongside so many talented artists for my first Grand Alliance Music release! It was born from an urge to experiment – both with a tempo I don’t typically work in (150 BPM) and with the addition of a softer female vocal, something I haven’t explored in my previous releases. I loved the contrast this created and aimed to balance high energy with a grounded feel, allowing the track to evolve while giving each sound space to breathe.”
Bass Temple, a powerhouse producer from Hawaii and now based in the high mountains in Colorado, has been cutting her teeth in the bass capital with progressive label releases such as Gravitas Recordings, Odyzey Music, and her iconic event performances at Denver’s The Black Box, Cervantes Masterpiece, and making her indelible mark in the electronic music market.
Although today, Bass Temple dives deep into the cinematic sounds and power-laden branches of bass music with her single ‘Innit‘ on the multi-tracked album Penumbra.
From its initial ethereal ambiance and distorted vocal bits to the spine-tingling drum patterns, this 3:24 runtime is nothing short of mind-altering from start to finish. Bass Temple is no stranger to developing soundscapes fit for the feral bassheads who want a little dose of wonky and weird with their wubs.
So it’s all relative and very fitting for her tune ‘Innit‘ to make us feel like we are ‘in it’ together.
Bass Temple shares with us:
“I’m so grateful to have been able to work with Grand Alliance since their first compilation. They have put so much thoughtful energy into every release and the artists involved. “Innit” has been a blast to play in my sets lately. It’s got a steady build all the way through the second drop. Stoked to share this one with the Grand Alliance Music family.”
pictured above: Bass Temple | c/o: Grand Alliance Music
Mass Relay, a future funk and dubstep-centric duo known for their seismic soundscapes, live instrumentations, and forward-thinking approach to music production, fires on all cylinders with their latest production, “Turtality,” a bone-shaking, bass-heavy experience built for movers, shakers, and headbangers alike.
As a new installment in the Penumbra album, this track demands more than a single listen – inviting repeated playthroughs, pauses, rewinds, and full-on repeat sessions to grasp the sheer scale of its prolific sound design. With each revisit, new moments emerge worth highlighting.
Anchored by a slower, stylized 85 BPM approach, the 4:12 runtime wastes no time, using every second with intention and impact. Jazzy, groove-infused sub-sections that bring technical precision and musicianship to the forefront, reinforcing the idea that music thrives without boundaries.
With notable uploads, prolific label representation on platforms like The Gradient Perspective, ThisSongIsSick, and now GAM, Mass Relay‘s new single ‘Turtality‘ will nestle comfortably in their growing discography.
Mass Relay mentions:
“In this song, I combined elements of halftime/glitchy bass music with smooth jazz guitar to create something vibey and heavy. Think Wes Montgomery meets VCTRE. The song name ‘Turtality’ was inspired during the total eclipse, in which my friend and I imagined a giant turtle blocking out the sun instead.
I am so grateful to be a part of the compilation and to work with Grand Alliance Music on this one.”
Kelowna, Canada’s burgeoning and hyped-up-heathen duo known as Oats delivers a sure-footed slapper that is fun, cartoon-esque in its playfulness, and ultimately a fresh take on bass music that lets its complexity speak for itself.
No strangers to cooking up contemporary heaters, Oats has not wasted any time convincing the music-loving masses of their unique ability to take modern music production and flip it on its head.
“As a duo we keep things simple: write something we’d want to play out, make sure it slaps, and call it a day. Not much to say other than we hope you enjoy it.”
Adding in:
“oat /ōt/ noun: a couple grains that enjoy making music coming from far left field. We never stick to one sound. Expect something different with every track. Whether its dubstep, half time, or mid tempo, you can bet we strived to make it weird and grimey with top tier drum work.
Denver, CO–based xankara teams up with Montreal, Canada’s Planet Zyha for their explosive new collaboration on Penumbra, titled ‘Hopscotch.‘
With both cities widely regarded as bass music capitals of the world, it’s no surprise that ‘Hopscotch‘ speaks volumes through its heavyweight sound and shared underground pedigree.
From the very first moments of ‘Hopscotch‘, choral symphonic vocals – led by soaring sopranos and rich contraltos – captivate listeners, instantly setting an air of mystique. A percussive build-up follows, acting as a subtly coercive yet inviting command that pulls the audience deeper. This momentum gives way to a bewildering preliminary drop, welcoming those who seek the immersive, atmospheric embrace that dubstep delivers.
This moment on, their unrelenting yet beautiful display of soundscapes is laid out in a technical and textbook fashion. Both Planet Zyha and xankara showcase their profound attention to detail with each passing second of their impressive 3:07 runtime, resulting in a dance among the sonic possibilities of electronic music production.
Planet Zyha details their process:
“xankara had initially sent me a very early WIP that I completely destroyed to the point where he didn’t recognize his original version (laughs). I asked him to make the second drop, and then brought it all together with the version we have now. It was a very fun process all-in-all!
“I really love this growing community of emerging leftfield bass music producers – it’s the sound of the future!”
“This will be our 3rd release with Grand Alliance – it’s always a pleasure to work with Will and the supportive team, and our first true ‘glitch hop song – I’m really happy with how the bass sound design turned out!“
“I was really excited to be able to work with Planet Zyha on this project, thank you so much Grand Alliance for giving us a space to release our music!”
Audiovoid‘s entry into the Penumbra album with ‘Gotta Make Noise‘ is nothing short of pure bass-laden brilliance from behind the DAW and into our headphones and speakers.
Three Rivers, CA-based bass music veteran and engineer Audiovoid is no stranger to developing truly mesmerizing works from raw material and foundational principles. His long-lived tenure in music production (since the ’90s) has rewarded him an upper-echelon-level masterclass of lesson learning from trial and error.
From the get-go, the auditory jaunt of exploring soundscapes as unique and ear-piquing as these is what makes the task of sound design so complex and daunting, yet so rewarding once they are refined to this level. Audiovoid‘s in ‘Gotta Make Noise‘.
Well-before the one-minute mark, this single has already mustered a vicegrip on the listener with a barrage of bewildering and bass-heavy thumps, wubs, and a coarse dose of ‘wtf was that?’.
As the seconds pass, the minutes move with meaning, and as we travel through the remainder of its 2:34 runtime, the return to its wonky foundation is revisited at the second drop, leaving jaws dropped and necks turning. Pressing the replay button has never felt so easy and necessary.
Audiovoid mentions:
“All I can truly say is that I’m incredibly excited and honored to be part of this compilation – it’s been a genuine pleasure working with the team at Grand Alliance Music.
My music lives in the contrast between dark and beautiful, pulling from experimental bass foundations layered with industrial grit, glitch textures, synth-wave atmospheres, and subtle gothic influences. There’s a strong 90s-era sensibility at its core, reimagined through modern production techniques.
My creative process is almost always exploratory, built on techniques I’ve learned over time and then pushed as far as they’ll go. I’m constantly experimenting – using audio tools in intentionally “wrong” or unconventional ways – in search of unexpected textures, tension, and sounds that feel both familiar and forward-thinking.
pictured: AudioVoid | c/o: Grand Alliance Music
7. dela Moon, ‘Not Equals‘
dela Moon holds nothing back on ‘Not Equals‘, a standout cut from the Penumbra album that delivers a menacing, high-octane surge of drum and bass energy tempered by raw emotion and fervent intensity.
Known for her berserker DNB and stadium-sized sound, dela Moon has steadily commanded increasingly massive crowds, performing at iconic festivals such as EDC Las Vegas, The Untz Festival, Shambhala Music Festival, and NocturnalWonderland. No stranger to delivering unrelenting, high-impact energy, she brings the same ferocity and precision to her live performances as she does in her productions – an experience fully felt in person.
While her performances leave a lasting impression, it’s the work forged behind the DAW that truly pulls crowds toward the mainstage. dela Moon’s ‘Not Equals’ is exactly that kind of track – one that draws listeners in and bridges the gap between raw artistry and mass appeal..
Across its 4:38 runtime, the track meticulously fills every crack and crevice with brooding atmospheric textures and layered percussive accents, steadily priming the listener for what’s next.
These tension-building moments erupt into berserker basslines and relentless momentum, catapulting listeners into a controlled tailspin where precision production meets unfiltered aggression.
Nearing the song’s end, we can undeniably conclude its forward-moving feel will further cement dela Moon’s command of emotionally charged, high-impact DNB.
‘Not Equals‘ thrives in the balance between chaos and intention – it’s dark, it’s driving, and unapologetically feral where it needs to be.
dela Moon tells us:
“I was looking to hit a sweet spot that combines heavy beats, fun spirit, and some genuine feels. It’s been such a pleasure to be a part of this Grand Alliance Music comp because of the energy and intention that has gone into its creation. I think every artist puts their heart and soul into their creations and it feels good for the release of my creation to be supported with the same level of care.”
pictured: dela Moon
8. Bundarr & TOPAZ, ‘Printing Press‘
Ottawa, Canada-based Bundarr and TOPAZ bring the hometown hues to the fans with ‘Printing Press‘, a humble approach to melodic bass soundscapes, memorable melodies, and a hybridized feel for the future as they traverse the realms of halftime, deepened vocals, and stringed instrumental bits of refreshing tactility.
Each time the beats crescendos intro a kaleidoscope of snappy drum patterns, and alluring temptations to keep energy skyward. As a self-described continuation of their latest 2024 collab, ‘Shaolin Style‘, this episodic semi-sequel is all the craze, leaving listeners in a daze from its hair-raising soundscapes as it returns us to terra firma, before the song’s end.
One of our favorite collabs on the Penumbra album, and one collab you all need in your playlists and mixtapes going forward – now that it’s out now, and hot off the ‘Printing Press‘.
Bundarr details:
“Absolutely super stoked to have this one come out! It’s been in the works for quite some time. It’s a beautiful continuation of the collaborative work with TOPAZ and myself showcasing both each other’s sound in a unique way that totally flows. That said, very excited to have this release come out with the many other talented artists on the PENUMBRA comp here to start the year with GAM!! Thanks again!!”
pictured above: Bundarr
TOPAZ follows up with:
“This song came from an exploration of blending melodic with crunchy bass-forward sound design. We felt that often a lot of that style of bass music was super technically impressive, but often lacked melody or anything a listener can latch on to and hum along to. We wanted to bring that aspect into this song. On the other hand, a lot of melodic bass has the stereotype of being a bit corny or too happy, so we really focused on bringing in melody while maintaining that grit. We’re definitly not the first to explore this idea/sound , this is just our take on it”
pictured: TOPAZ
9. GRIMEE & Head$tash, ‘Yikes‘
Chicago’s finest left-field bass conjurer GRIMEE and Bay Area, NorCal- based bass music slinger Head$tash fully fire up on a whole mood of a collaborative effort behind their latest 140-style low-to-the-floor bass tune titled ‘Yikes‘.
Channeling in their deep dub roots that beckon bass face but in a slowed, and simply laid out, and suspiciously serendipitous. That feeling of memorable music hitting your head – and it’s the ‘Yikes‘ being used as that iconic and textbook ‘yoi’ soundscape that lots of producers use, but in this case, they have amplified the usage to new heights.
If your music space is clad in low-end basslines, chill atmospherics, and ambient in nature, peppered with wubs, then ‘Yikes‘ will drape itself over your shoulders like any pashima, snuggling you in your wildest bass dreams.
GRIMEE mentions:
“I really had a blast making this tune. Head$tash and I really took our time going through each element to make sure everything had its place and all of the sounds and feelings came through in their own way. We both put a lot of effort into this tune. I’m really excited to be a part of this release and to be working with Grand Alliance Music. The label has been awesome and super supportive. Really grateful for the love and care they’ve shown us and this release.”
pictured: GRIMEE
HEAD$TASH adds in:
“Grimee and I are beyond excited to get this collab out and more so stoked to be apart of a compilation with so many artists we admire!”
ABQ, New Mexico-based producer Ghost Rook channels a mystifying experience for listeners via ‘Gold Smith‘ on the Penumbra album.
Ghost Rook, a heavily inspired artist by their desert-like surroundings, often extracts the essence of electronic music in its rawest forms from the earth and converts it into introspective soundscapes. In ‘Gold Smith‘, a Moog m32(synthesizer) was used to create nearly (if not all) the sounds you hear in the song.
As an up-and-comer and influential identity in the deep dub space, Ghost Rook’s previous works with counterparts like Penumbra-alumni Head$tash, collabs with acts like Mythic Rogue, and a multitude of releases (Midnight Snow, Blackbird), are all worth highlighting and underscores the relative vigor of his newest installation titled ‘Gold Smith‘.
Ghost Rook mentions:
“This tune came about through exploration of new sounds and ideas. I’m constantly trying to evolve my sound and push the boundaries for myself, while expanding the lore of Ghost Rook. I leaned heavy into my Moog m32, and it was used to make almost every sound in this tune.“
pcitured: Ghost Rook
11. drix, ‘Boomer Tech‘
Salt Lake City‘s rising comedic relief in the bass music space, drix shows why his music isn’t just goofy soundscapes paired with storytelling, it’s a message of not taking things too seriously; hence the release of ‘Boomer Tech‘.
While it’s easy to get lost in the ever-evolving world of technology, there is a safe space in this world that pokes fun at its constant complexities, content-laden coursework, and navigating the narcissism that comes with it. But Utah’s drix is hiding himself in that humor, creating songs that shine light on the sillier, lighthearted, or lackadaisical nature of being a boomer in this tech world.
drix outdoes the unorthodox and invites the unconventional for one-hellva dark room roll out on his latest with ‘Boomer Tech‘ on the Penumbra album. Get ready for a chuckle, it’s tongue-in-cheek, and it’s going to put a smile on your bass face.
drix tells us:
“They (GAM) have been very responsive, helpful and very dedicated to give us artists a platform to shine and their hard work really shines through.”
Adding in:
“Every single person on the comp so far has had amazing tracks and I feel really honored to be a part of so much talent. “Boomer Tech” was an idea for the song because I’m getting a bit older and trying to keep up with the times, so this was the basis of the idea. I had a lot of fun creating it and I hope the listeners enjoy it!”
pictured above: drix
12. Sleazy Lettuce, ‘S.L.E.A.Z.Y‘
Heavy low-ends and a sound so deliberately bass-laden you could almost guess where it’s from. The mind of a music aficionado? A producer from the bass capital? Both, actually.
Denver, Colorado-based Sleazy Lettuce is a fervently focused artist who doesn’t rely on pre-drop samples or gimmicky snippets to lead his bass lines; he utilizes bass where it matters most, and that’s in your face.
Deep dub, dub reggae, and dubstep foundations can all be felt and enjoyed for their auditory needs. Each facet of sonic fusion at play – compliments the overall tune, supplementing each subgenre, culminating in to what we now know as Sleazy Lettuce‘s style. It works, it blends, and its filthy.
It’s meant for big-rig sound systems. Hearing this live would shake you to your core.
His upfront and centered approach to music production keeps his music under the laser-laden limelight, and S.L.E.A.Z.Y. is no exception to that mantra.
From start to finish, his music stands out as uniquely as it is produced. If you aren’t spelling out S.L.E.A.Z.Y. in your head (or out loud) by the end of the tune, then smash that replay button – it’ll stick.
Replay, revisit, and rejoice; it’s easy. It’s S.L.E.A.Z.Y.
Sleazy Lettuce mentions:
“After making dubstep for several years I finally studied the history of my favorite genre. I followed the trail back to reggae and dub and stopped there, infatuated with the original sound system culture. I wrote “S.L.E.A.Z.Y.” as an ode to dubstep’s roots in reggae dub. Sub tones that breath out of big systems, reggea skank, dub delays, topped off with modern dubstep wobbles.
I’m very honored to be part of the Penumbra release, and Grand Alliance Music.”
As the finale, Sassabrass takes the mantle for the sonic send-off with ‘Juice 2.0‘, a grandiose instrumental and cinematic finish to the Penumbra album.
Sassabrass is comprised of artists Willdabeast and Phunk Bias, curating immersive music experiences through live, instrument-centric motifs fused with electronic bass music sensibilities to create a uniquely refined sound.
Built on glitch-hop foundations, ‘Juice 2.0‘ delivers an undeniably attitude-driven, high-energy upgrade. Fun brass sections and punchy horn accents scattered throughout its 3:26 runtime invite upbeat listeners into its welcoming, dubstep-infused feel.
All the components together give rise to a funky, grooving, dance-forward beat that truly leaves a lasting impression. Whether its your sonically savory tastebuds, your sweet tooth for grand tunes, or just a thirst for a thump, ‘Juice 2.0‘ is a refreshing and quenching creation that listeners will down in no time. Drink up!
Sassabrass tells us:
“Nothing excites me more. This release is homies on homies, and it means the WORLD to me that Will specifically, has backed me and my music up for so long. He’s always encouraged me to grow and be professional. Putting my music in his hands with his label just feels right – I am confident you all will be hearing the new Phunk Bias through Grand Alliance in the near future.”
Sassabrass | (L: Phunk Bias R: Willdabeast)
A message from label owner, Will Glazier:
“PENUMBRA is about contrast. The in-between. We wanted a compilation that felt cohesive without forcing everyone into the same lane. At Grand Alliance Music, we see our role as creating space for artists rather than shaping them. Working with this group of artists has been a highlight, and the focus was always on sequencing, flow, and letting each track speak for itself. If the result feels heavy, strange, and a little unpredictable, then we did our job.”
“Together, we will elevate our collective experience, forging a path that promises to be as inspiring as it is transformative.”
[Penumbra Tracklist]
AAYA – Helix
Bass Temple – ‘Innit’
Mass Relay ‘Turtality’
Oats – ‘How We Do It’
Planet Zyha & xankara – ‘Hopscotch’
Audiovoid – ‘Gotta Make Noise’
dela Moon – ‘Not Equals’
Bundarr & TOPAZ – ‘Printing Press’
GRIMEE & Head$tash – ‘Yikes’
Ghost Rook – ‘Gold Smith’
Drix – ‘Boomer Tech’
Sleazy Lettuce ‘S.L.E.A.Z.Y.’
Sassabrass – ‘Juice’
‘PENUMBRA’ | Vol. 3 | OUT NOW
A 13-track compilation album from Grand Alliance Music
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