LSN Induce ‘Night Terrors’
LSN Induce ‘Night Terrors’

Three-piece experimental bass music collectiveLSN have been carving a highly unique path in the electronic music world since their inception in 2013, as they’ve constantly been striving to blur genre lines and push an emphasis on a live musical experience for their listeners. Comprised of members Na-Kika, Feonix and Simetra,each member lends different influences and talents that enhance the overall creative power of the group; breathing a new, refreshing perspective into the art of bass music production that can be felt deep within the fibers of LSN’s overall output. Together, LSN explore and compile facets from a variety of different genres under the umbrella of their multi-tempo sound; making everything from abstract, ambient soundscapes to full-fledged bangers while always striking an inspiring balance between live instrumentation and emotionally driven, electronically produced bass music.

The trio’s latest production feat comes in the form of their self-released, four-track Night Terrors EP; a deranged, explosive and distorted journey through the production expertise and creative ingenuity of LSN. Beaming with innovation and originality, Night Terrors offers a delectable buffet of crunchy midranges, infectious glitches, impactful space and hauntingly hefty weight that proves that there is still much untapped potential to be discovered in bass music.

With the unleashing of LSN’s forward-facing Night Terrors EP, we asked the trio to create a playlist that captures the thematic vibe of “night terrors,” featuring an array of tunes that may have either directly helped inspire the creative process of the release or simply compliment and connect to the overall dark “night terrors” energy. LSN’s Night Terrors EP is out now through their Bandcamp, so be sure to support and snag yourself a copy here.

Nick Cave And The Bad Seeds “Red Right Hand”
This one’s always been a big inspiration, and, to a degree, a part of our sound; from the percussive string stabs to the creepy Rhodes/Theremin combo towards the end. As soon as you hear that bell at the start you know they aren’t fuckin about and we like that.”

Trisicloplox “The Black Shuck”
“Trisicloplox is an artist that, since we became aware of him, has pushed the distorted envelope further than a lot of other artists currently daring to try the same. ‘Black Shuck’ is the perfect example, like a two-minute long intro of chaos, white noise and grueling distorted bass that rolls into one of the smoothest and sickest basslines. Can’t wait to smash this one out on a rig. Game changer.”

Slipknot “Eyeless”
“The second those Amens wobbled their way out of Sid’s scratching we started thinkin’ about merging more electronic and metal styles. Truthfully, it was something we didn’t go in on too much until we started this EP. It gave us a new avenue, leading us to exploring some of the music we were into as kids; cracking out the guitars and pushing the gain on certain elements a bit further than others might want to.”

Mike Oldfield “Tubular Bells (Pt. I)”
“Monumental piece of music soundtracking from one of the most famous horror films of all time. The story behind it is pretty wicked and inspirational; Mike Oldfield was consistently rejected by serious labels (they deemed it unreleasable due to it being instrumental) until, at his lowest point, practically broke both financially and spiritually, he was called over to Richard Branson’s where he brought the demo and they fuckin’ loved it. They let him record it properly there and he went in. Tubular Bells.”

LSN “Night Terrors”
“Contrary to the Control EP, which was more hip-hop oriented, we decided to hone in on a more metal inspired sound for this EP. It was deep in a cold and harsh winter so we made some cold and harsh beats. We felt the track ‘Night Terrors’ itself was the thematic middle ground of the EP, and, in terms of the sound, it generally tied it all together. Shoutouts to Gaz from Sonicstate, there’s some little ‘ha’s’ and weird vocal cuts that skip in and out of the mental basses which we ripped from his review of the ‘Dubreq Stylophone Gen X-1.’”