{"id":13265,"date":"2025-11-05T20:22:09","date_gmt":"2025-11-06T01:22:09","guid":{"rendered":"https:\/\/wecb.live\/?p=13265"},"modified":"2025-11-05T20:22:09","modified_gmt":"2025-11-06T01:22:09","slug":"bassvictim-is-reborn-on-forever","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/bassvictim-is-reborn-on-forever\/","title":{"rendered":"Bassvictim is reborn on \u201cForever\u201d"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"410\" src=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4-1024x410.png\" alt=\"\" class=\"wp-image-13268\" srcset=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4-1024x410.png 1024w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4-300x120.png 300w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4-768x307.png 768w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4-1536x614.png 1536w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/1-4.png 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p>Design by Katie Lew<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">by katie lew<\/h2>\n\n\n\n<p>bassvictim presents <em>Forever<\/em> as more than just another release. They announced this as their \u201cfirst album\u201d despite having two earlier full-lengths\u2013 <em>Basspunk<\/em> (2024) and <em>Basspunk 2<\/em> (2025). This really shows the reset and reinvention of their bassvictim identity, they\u2019ve clearly articulated this album is made to feel like a return to childhood wonder and unfiltered self. The album covers the full arc from innocent wonder to reflective maturity all encapsulated under their signature \u201cbasspunk\u201d energy and style.<\/p>\n\n\n\n<p>The duo, Ike Clateman and Maria Manow, formed in 2022 after running into each other at a party in London. In the dark booth of a basement club, Clateman noted he could feel the sub bass \u201cin my chest and throat.\u201d He then went to write the note in his phone, \u201cI&#8217;m making out with the bass I&#8217;m inside the bass torture bass tortureed by the bass bass torture bass victim.\u201d Leaving the intense environment of the club, he found Maria and proposed starting the bass-house project where the next day they made their first song \u201cAir On a G-String.\u201d&nbsp;<\/p>\n\n\n\n<p>bassvictim had been posting a lot of inspirational quotes with the angel numbers 1010 and infinity symbol on Instagram leading up to the release of <em>Forever <\/em>like with the caption \u201c1010 forever affirming\u2026 tomorrow (10.10) album, shit we never played before, made in 2 weeks in buttfuck nowhere Norway, inspired by everything and nothing.\u201d Many have noted this as \u201cbassvictim\u2019s twee makeover\u201d and will be regarded as \u201cthe lodestar for the oncoming twee revival.\u201d But this album is what bassvictim has always been and always done, just way more personal.&nbsp;<\/p>\n\n\n\n<p>Their new album has more screaming and child-like high pitched vocals in comparison to their previous projects like <em>Basspunk<\/em> and <em>Basspunk 2<\/em>. Opening <em>Forever<\/em> with \u201cIt\u2019s Me Maria,\u201d the album starts with a fun, catchy tone that works well as a starter track, although it\u2019s initially slightly repetitive. It introduces you to Maria\u2019s voice, persona, and world as it transitions into \u201c27a Pitfield St.\u201d These show the familiar bassvictim territory but hint at new themes of introspection of adolescence, like the verse \u201cFull of people you don&#8217;t even know\/ Full of your old friends that you miss and you hardly see no more\/ I was on my way\/ Far away, far away now\/ Times gotta wait.\u201d&nbsp; \u201cGrow Up!!!\u201d shows a complete shift with less heavy production and more emotional vulnerability. The instrumental oddly really reminded me of Maggie Rogers\u2019 2016 hit \u201cAlaska\u201d and her overall production style. <\/p>\n\n\n\n<p>The interlude sets the stage for \u201cLil Maria,\u201d which is one of the album\u2019s high points. \u201cLil Maria\u201d reads like a letter to Maria\u2019s younger self, contrasting bassvictim\u2019s previous style. \u201cDon\u2019t feel bad all day, life is good I swear.\u201d At this point in the album, you really feel like you are being taken through her life; you watch the beginning of innocence slowly morph into doubt and insecurity as she is no longer present and gets caught up in the unpromising nature of her future. \u201cGrass is Greener\u201d struck a fun chord with the nursery-rhyme vibe and sense of club-bounce mixed with youthful naivety. With the chorus \u201cThe sun is always brighter when you don\u2019t have glasses on\/ The fight is always bigger when you don\u2019t know what went wrong\/ The love is always deeper if you have to fight for it,\u201d this song shows the descents and realizations of consciousness. The track ends with \u201cStop resenting and move on you bitch\/ Ayo\/ Leave us alone you bitch\u201d showing how the other side goes just as crazy as you idolize it. <\/p>\n\n\n\n<p>\u201cI\u2019m sorry, King\u201d flips the mood to be heavier, sadder, and more introspective and isn\u2019t shrouded by overwhelming, clashing production like most of bassvictim\u2019s tracks. It asks, \u201cWhich side do you want to be on,\u201d which leaves off an unsettling loneliness and grandeur on what began as a lit clurb tracklist. The interlude \u201cIke Piano\u201d felt random, yet at the same time, fitting. With the whole theme of innocence and childlike wonder being prominent, this sudden classical break felt natural. Maria Manow noted on her personal Instagram, \u201cShoutout to my primary music school, Panstwowy zespol szkol muzycznych w bydgoszczy, that kinda taught me how to play cello, then made me hate cello and music altogether but created a ripple that led me here\u2026 And for this listening party done with my dad in a park where that school is.\u201d Many musicians come from a classical background\u2014even if it\u2019s a couple years playing the cello in primary school at an institute with the longest, craziest name I\u2019ve ever heard (but I looked it up, it\u2019s very <a href=\"https:\/\/www.gov.pl\/web\/pzsmbydgoszcz\/\">real<\/a>). Following the piano interlude, \u201cMr. President\u201d has familiar instrumental echoes from earlier in the album but lulls and loses its initial momentum. The production across several tracks are very similar, but they are disbursed. The closing \u201cFinal Song\u201d is self-explanatory in its title, but brought into focus that although the songs individually have strong moments, as a whole the album sometimes lacks distinct differentiation.&nbsp;<\/p>\n\n\n\n<p>Overall, the album works as a statement, it\u2019s bold and personal but still on brand. Arguably, \u201cGrass is Greener\u201d is the best track due to the playfulness and experimentation with various fun nursery-rhyme influences. It captures the essence of what the club was glamorized to feel like from a kid\u2019s perspective. It feels like going to a birthday party and seeing there\u2019s a bouncy house. \u201cFinal Song\u201d felt like the weakest track since it did not have any unique qualities. The production reflects many of the others in a way that feels monotonous and unvaried while the lyrics are repetitive with no inherent purpose. If you\u2019re a fan of bassvictim\u2019s past bass-heavy club energy, this album might surprise you with its shifts toward intimacy and reflection, but their core artistry remains\u2014the classic electronic bassvictim production and Maria\u2019s spoken vocals. This is a worthwhile listen that feels like a bridge between who they were and who they\u2019re becoming.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Design by Katie Lew by katie lew bassvictim presents Forever as more than just another release. They announced this as their \u201cfirst album\u201d despite having two earlier full-lengths\u2013 Basspunk (2024) and Basspunk 2 (2025). This really shows the reset and reinvention of their bassvictim identity, they\u2019ve clearly articulated this album is made to feel like&#8230;<\/p>\n","protected":false},"author":3669,"featured_media":13266,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-13265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Bassvictim is reborn on \u201cForever\u201d - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bassvictim is reborn on \u201cForever\u201d - wecb\" \/>\n<meta property=\"og:description\" content=\"Design by Katie Lew by katie lew bassvictim presents Forever as more than just another release. 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