The indie music scene is rife with electronic musical duos — but Bassvictim does things differently. They bring a signature, unfiltered, authentic and vaguely European style to the table that is irreplicable. Bassvictim released their new EP “?” on March 6, which came as a surprise, as their single in collaboration with Worldpeace DMT, “Year of the Dragon,” came out two days prior. While “?” lacks the attitude, high energy and vulgarity of Bassvictim’s previous work, it fully embraces the sentiment of nostalgia that reared its ghostly head in their last album, “Forever.”
Bassvictim’s two members are American-English producer Ike Clateman and Polish-English singer-songwriter Maria Manow. Interestingly, sparks did not fly upon their initial meeting in 2022, but when their paths reconverged a few months later outside a party in London, they agreed to start a band together. They then released their first single, “Air on a G String,” in 2023.
Their capricious beginnings did not end after the formation of Bassvictim — it carried down the road, with several false alarms that the pair would disband. This has happened enough that Bassvictim’s disbandment has become an unconvincing headline for fans.
Uniquely, they do not attempt to manufacture an appearance of perfect harmony with each other or even with people on the internet. The duo is known for their Instagram stories, where they interact with their fanbase in a direct, unfiltered manner. While what occurs on Bassvictim’s socials cannot be described as indicative of PR training, it is undoubtedly genuine; they are real people who create sincere art that speaks to their fanbase.
Featuring seven tracks, “?” marks a departure from their earlier work in that it lays off the bass dominance and ventures into territory that is extraordinarily tender.
The EP opens with “Dirge,” which establishes the milder, ballad-like tone of the album. The combination of Manow’s voice over violin-style synths and slight percussion create the somber feeling of this track. The lyrics establish a bleak and hopeless tone, with a particular focus on the word “nothing.”
“Sometimes I believe in God (Sometimes I believe in Me)” counters this bleakness, restoring a semblance of the bass that fans are familiar with. Manow’s voice is more triumphant, singing of Bassvictim’s philosophy of life and resilience over a Polish chorus. This song is raw and ultimately hopeful.
“Don’t Stop Me Now” builds off of this upbeat vibe, defined by an acoustic, folksy sound. It implements acoustic guitar and even indulges in handclaps, laying off of Bassvictim’s signature heavy production. However, the next song, “Going Home,” combines that nostalgic folk vibe with Bassvictim’s typical hardcore hurl of electronic noise. “The Dogs of War” is somber, dark and melodic, consisting only of swirling distorted instrumentals. In “Home,” Manow’s voice returns, but in an echoing, transcendent, barely-there manner. It sounds tentatively hopeful, a sweet transition from the desolate, swooning mood of the previous song. “Babcia Jadzia,” in which Manow sings about her grandmother, is the most sentimental, intimate track yet. In an Instagram story referring to the song, Manow shared that her relationship with her grandmother, who died in a fire accident, was difficult. At the end of the song, Manow’s voice wavers and breaks as she thanks her grandmother.
“I wear it now for you, I thank you / And this elephant on my necklace is for you / And I thank you and I miss you very much / And I thank you, I thank you very much / Jadzia, I thank you, Babcia Jadzia / I thank you, Babcia Jadzia / What a girl, never forgotten / What a girl, never forgotten / I thank you very much / I thank you very much”
“Home!!! (wake up)” picks up the pace a bit, closing out the EP while maintaining a gentle feeling — like how one would sing to lull a child to sleep.
Perhaps this is more of a personal album for Manow, as “?” incorporates the visuals and language of her Polish background. Three of the EP’s tracks include the word “home,” and one is addressed to her grandmother. The cover of “?” is a picture of two traditional Polish dolls, dressed in the likeness of Clateman and Manow, wearing garments made out of a sock that replicates the “Forever” album cover’s pattern.
“?” certainly marks a tonal departure from Bassvictim’s basspunk sound, but the music remains sincere, triumphant and unifying. It unveils a softer side to Bassvictim that fans have not previously seen.
With each new release, Bassvictim’s sound is growing into its own, and their range as artists is showcased. While their initial music established the sound that popularized them, their more recent work feels more like an invitation to feel what exists inside the hearts of the artists. Considering how Bassvictim is still relatively new, it will be exciting to see how the two develop as they continue to create. Whatever comes next, fans are ready, willing victims of the bass.
Tessa Kang is an Arts & Entertainment Staff Writer. She can be reached at tokang@uci.edu.
Edited by Kailee Kim
