Presented by System Error, Vision Recordings’ debut US showcase touched down at 1720 for a DnB dance party featuring Ternion Sound, Rohaan, Posij, The Gaslamp Killer, and ØNYX.
The bass scene in Los Angeles remains deeply underground. Since relocating from Boston last year, I’ve noticed that house and techno dominate the club scene during the day. This starkly contrasts with the vibrant culture of bass music that thrives in the Northeast. While I enjoy a sunny tech house party, my heart always beats for bass music.
After exploring the LA party scene, I discovered System Error. I was both excited and relieved to find this collective.
Founded by Tony Merino and Shailee Ben-David, System Error is an independent grassroots bass music collective dedicated to fostering creativity and inclusivity. Emerging from the post-pandemic landscape, they have played a pivotal role in revitalizing the underground bass scene in LA.
System Error hosts events that can only be described as mindful bangers. Their December 14 collaboration with NOISIA’s Vision Recordings at 1720 was a perfect example.
In line with Vision Recordings’ innovative and forward-thinking brand, their US debut presented fresh underground sounds from across the Atlantic. With over 60 artists on their release and playlist roster — including Hamdi, Eprom, HOLLY, and Tsuruda — the label further solidified its legacy through this historic showcase.
ØNYX opened the night with a deep and thoughtful set, creating a welcoming and explorative atmosphere for the audience. Her experimental sound was both refreshing and vibey, serving as a beacon from the underground.
The Gaslamp Killer took the stage next, engaging the crowd with his MCing. “It’s a full moon tonight,” he announced, prompting howls from the audience to set the vibe. Once he hit the decks, the bass hit hard, making the entire room sway. I steadied my camera to capture the moment, but his energetic movements challenged my novice photography skills.
The set was a whirlwind of chaos, perfectly matched with his eccentric stage presence. The only constants were our heads bobbing and feet moving. He played an eclectic mix of exclusive tracks featuring Jason Wool, drops from Tsuruda, Machine John, and HOLLY, along with a few unreleased gems.
In a surprising twist, he dropped “Bohemian Rhapsody” right in the middle of his set, catching my attention and evoking a smile as the song is typically saved for pre-show or finales. Who drops Queen mid-set? It certainly made me listen.
The energy escalated as he transitioned into “Hellafornia” by Gesaffelstein. We were treated to his iconic live scratching skills, complemented by dark, psychedelic visuals.
Posij then quietly took the stage, launching with a minimal, inviting drum beat. He showcased unreleased tracks, announcing, “Yo! This is brand new!” to the crowd’s enthusiastic approval, evident in the sea of heads bobbing side to side.
He followed with a new VIP, turning the dancefloor into a haven for bass enthusiasts. “I’ll just keep going with the new stuff, specially made for y’all,” he declared, keeping the vibe flowing. The set flew by in a blur, lost in the rhythmic embrace of the drums. It concluded on a vibey note with soft vocals layered over a melodic beat, fostering smiles and good vibes on both sides of the stage.
Rohaan then took the stage, immediately establishing himself as a drum and bass powerhouse, energizing the crowd from the moment he began. The audience danced as if they were born to experience his relentless bass, craving more with every beat. Rohaan’s meticulous mixing kept the energy alive.
Despite the pulsating energy, the crowd remained relaxed and respectful, making it easy to navigate through the venue and get close to the subwoofers.
Throughout his set, Rohaan skillfully navigated various BPMs, building intensity and allowing moments of calm. Midway, he introduced a punchy, driving techno beat with a drum and bass edge. He then energized the crowd with a fast-paced remix of Flowdan’s “Welcome to London,” delivering a crisp, minimal drop that had everyone cheering. He brought the energy back into the rave with a deep, bass-heavy rendition of “Push” by Skrillex, Hamdi, TAICHU, and OFFAIAH.
The trio from Ternion Sound then took their turn behind the decks. It was my first time witnessing their full performance, and it was a spectacular experience.
There was a brief technical shuffle at the start of their set when the entire mixer was swapped out just as they began. However, this hiccup didn’t stop them from delivering a powerful, rippling sound. The crowd erupted in excitement, and Ternion Sound responded with a whirlwind dance party filled with sultry samples and a filthy remix of “Simon Says.”
“Let’s give it up for the sound system,” one of the Ternion members said as they transitioned into their final track of the night, “Artifice.” They were right — experiencing the track through the top-notch sound system was a magnificent conclusion. After leaving 1720, I jumped into my car and immediately played “Artifice,” reliving the show highlights on the drive home.
Attending a show designed for the community is always a rewarding experience. System Error and VISION provided just that, offering a space for revelers to unwind for a few hours — a crucial opportunity in our fast-paced world. I believe that sometimes the most important thing we can do is find joy in movement and share smiles with strangers who understand the unparalleled experience of a dancefloor.
