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Bàwldy & Molokai Enter 2020 With Heavy Momentum

If you don’t recognize these names… I urge you to grab your closest homies, a pashmina (not required), a high quality sound system (not mandatory but preferred), and an open mind. Although both Bàwldy and Molokai have had notable careers up to this point, i’m very certain they’ve only seen a glimpse of what their futures will bring.

I would prefer to have these two speak for themselves, but I suppose their music will suffice as proper introduction. Check the links below to prevent my words from being your first impression. Cheers.

Bàwldy: Soundcloud // Spotify

Molokai: SoundCloud // Spotify

In the days following the massive “A New Decade of Dubstep” show in Charlotte, I found myself realizing just how blessed we are to live in the future. If you would’ve told Abraham Lincoln, “Whats good g, you should check out the incredibly complex tunes of a half Japanese half West African dread-head called Molokai, oh and also the strangely gangster flows of a bald headed man strongly resembling Popeye that literally throws projectile wubs in your face.” WHAT do you think he would say???

Yeah so there you have it folks, we’re in the future. buckle up.



The year was 2017 when I discovered Louisiana based wub-specialist Devin Danos- aka the wub don juan Bàwldy– who’s first wub mini-mix stuck out to me like a sore thumb amongst his SoundCloud peers. I was overjoyed to find that the music to match the peculiar name and cover art of Bàwldy was actually some wildly unorthodox dubstep.

This is one of my favorites, “Wah Gwaan” from the young riddim wubsta

Between his brand aesthetic (s/o @typfy on Twit) to his juicy wobble-wub-wonk flow, I could tell from the jump he had something special. Over time I found him to be a hilarious down to earth dude with a shockingly fire flow and the creative spirit of NOLA running through his veins.

S/o @bawldyofficial on Twitter

It’s been a joy to watch him remain boldly unique and steadfast over the years in who he is as an artist, and I believe him to be a fantastic example of the uniqueness and creativity that seems to bubble up out of the swamps in Louisiana.

Bawldy getting weird doing his thing in Charlotte! (Creds: aye)

My first guess as to why he’s so gangster would probably be that he eats his greens, but i would imagine there’s a lot more that comes into play as well… I can’t help but imagine him as Popeye except also simultaneously an X Games athlete and mafia boss…

Bawldy @ High Caliber Festival in Camden, New Jersey
(Creds: @bawldyofficial on facebook )

In the three short years following him, i’ve seen the New Orleans native hold true to all of his rarities as a human and creative, grow nastier with sound design, play for bigger crowds all over the states, release tunes from all sorts of genres, but most importantly, above all else, Bawldy has continued to embrace wet, weird, thick, juicy, grimy, gangster wubs.

As one of my first picks out of all his peers when it comes to dubstep, riddim, or whatever you want to call it, it’s safe to say Bàwldy aint eva slackin’.

INTERMISSION: First comes first, Wisconsin stand up. Next, it’s imperative for you all to put your big boy/big girl experimentalist pants on if they aren’t on already. Molokai’s style is one that has no boundary, so essentially prepare for nothing but captivating melodic story-lines, fire beats, and raw innovation.


It was just last year that I stumbled upon the absolute musical genius that is Molokai. The young producer had already been having a massive year, releasing several remarkable originals and Spicy Boi compilation features which were all so unbelievably fire that I quickly made it a goal to present him to the masses. I’m almost positive I haven’t felt this magnitude of “EVERYONE MUST HEAR THIS MUSIC IMMEDIATELY RIGHT NOW DROP EVERYTHING AND LISTEN” since I discovered the OG King of melodic bass flows CharlesTheFirst… and the crazy part is that Molokai isn’t even remotely close to his final form.

Molokai flexing the #vibez (Creds: Ya Boi)

The interview will come when the time is right, but for now i’ll get the ball rolling. The artist behind Molokai is Adetunji (Tunji) Akindes, a 22 year old Yorùbán-Japanese wizard of a producer who is very quickly coming into a sound completely his own. Inspired by the innovation of greats such as Tsuruda, G Jones, and Chee; it’s safe to say this talented young musician is on exactly the right track to joining them.

As his name continues to spread with each release those who decide to listen will continue to find his sound improve rapidly, despite already being recognized by some of bass music’s top producers.

Each track added to Molokai’s quickly expanding discography enables him to more extensively prove just how mind-boggling his musical/production aptitude really is.

In the time between discovering these two upcoming producers and their performances at Serj in Charlotte, N.C. this past January 17, Molokai and Bàwldy have exceeded my expectations with inhuman magnitude. Molokai’s ability to convey complex musical ideas through entirely unique synth fills/bass grooves and Bawldy’s otherworldly sound design flows both constantly leave me questioning how either could actually be human. My only guess is that they use at least 20% of their brains rather than 10%.

As the world begins to take notice of these unarguable talents and their incredibly unique musical styles, conventionality becomes increasingly mundane; paving a clear path for experimental minds such as bàwldy and molokai to enter this new decade of dubstep with extreme momentum and sights aimed towards the cosmos.

Give these two guys a follow on social so you don’t miss whats coming next!

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– Tristan

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