In the vibrant realm of electronic music, few collaborations shine as brightly as that of Addison Groove and Sam Binga. Their history stretches back to 2013, with the release of the ‘BS3’ EP. Now, they have united once more to deliver a debut collaborative album that masterfully melds various club sounds including Chicago house, Detroit techno, electro, and juke, primarily inspired by their Midwestern roots. This unique soundscape marks a notable return for the Bristol-based artists, who are highly regarded in the UK underground scene for their willingness to transcend genre boundaries.
The resulting album, ‘BAGS INC,’ epitomizes this ethos by creating a refreshing collection of dancefloor-ready tracks. Each track encapsulates elements from their formative years in music while venturing into experimental territory. Taking the listener on a rhythmic journey, the album thrives in the 140 to 150 BPM range, delivering relentless energy through hardware-driven productions and innovative sound techniques.
Recorded over an intense 72 hours at Devon Analogue Studios, the duo’s creative process is deeply rooted in a shared passion for stripped-back, machine-led electronic music. The raw energy captured in this studio was first tested on the wild dancefloors at Outlook Origins Croatia 2025, generating quite the buzz before the duo’s recent debut at Fabric in April.
‘FKN SRS’ kicks off the album at full velocity. Featuring infectious vocal snippets and shimmering synth lines, it instantly transforms itself into an electrifying dancefloor anthem. The heritage of Chicago house is palpable, yet the production feels strikingly fresh, a testament to Addison and Sam’s innovative approaches. The dynamic flow continues into ‘TYP SHT,’ where morphing filters interact with evolving synth sequences, resulting in a more unpredictable auditory experience. This momentum seamlessly transitions into ‘REDPOINT,’ which balances crisp percussion and warped electronic tones, showcasing the duo’s ability to create compelling soundscapes without overwhelming the listener.
As the album progresses, ‘SACUDE’ emerges, featuring Mexican artist Sirius Soundz, pushing the intensity limits with pounding drums and tightly wound percussion. Following that, ‘FROM THE BACK’ brings a playful nod to early Chicago dance music, fusing deep sub-bass with minimalist vocal samples. By the time ‘HIT THE MOOSE’ makes its way into the tracklist, the album reaches its zenith—an uncompromising high-impact finish executed with jagged synth patterns and distorted vocal slices. ‘SQZME’ marks the album’s undeniable club focus, characterized by robust low-end pressure and infectious vocal snippets that collectively evoke a sense of rhythm and pulse.
Fresh off their live set at Fabric, which introduced their newfound live setup, the synergy between Addison Groove and Sam Binga has never been more dynamic. Their recent work has captivated audiences and garnered respect from fellow artists in the electronic music circle. In a candid conversation with the duo, they reflected on their journey as artists, revealing a treasure trove of insights into their processes and inspirations.
What were your early influences as budding producers?
Sam Binga: My initial foray into dance music was heavily influenced by early jungle and techno. I was captivated when I first heard ‘Valley of the Shadows’ by Origin Unknown. As I started collaborating with Tony back in 2012, I was immersed in the footwork explosion and there was this remarkable mix that altered my perspective on sound.
Addison Groove: I was deeply entrenched in dubstep during that time, releasing under my alias, Headhunter. The evolution of music and the emergence of footwork resonated with me, allowing me to create tracks that crossed multiple genres. This fusion laid the groundwork for our subsequent collaborations.
Can you share what the first project you worked on together was?
Sam Binga: Our collaboration kicked off with the BS3 EP. A funny anecdote is that shortly before we were scheduled to start working on it, I had a biking accident that left me with a broken collarbone—quite the memorable introduction to our creative process!
Addison Groove: The chemistry was instantaneous. We were blending unique production techniques that meshed well together. The mixture of my usage of rewire and Logic with Sam’s style propelled our tracks into new territories.
Do you remember the first time you met?
Addison Groove: Our first serious interaction was at the weekly Dubloaded nights hosted by Pinch. It was a local community gathering, and that’s where our paths finally converged.
Sam Binga: Yeah, it was a weekly social scene that provided a nurturing ground for relationships within the Bristol music community. Our interactions felt natural, like a friendly fusion of our burgeoning careers and inspirations.
How about the creation of the album? What was the experience like?
Sam Binga: Initially, we were eager to establish a fun project post-lockdown. We descended upon Devon Analogue Studios to sketch out ideas, and after those foundational days, the vision for the album materialized. Over the subsequent years, we honed our ideas based on our creative synergy.
Addison Groove: The hardware-rich environment at the studio was perfect for cultivating our raw ideas, allowing us to take our time to develop sketches without any time constraints. This creative journey kept the excitement alive.
What early inspirations drove the project?
Sam Binga: We aimed for something high-tempo without diving back into drum and bass. We were heavily influenced by the bubbling ghettotech scene, eager to explore those sounds more deeply.
Addison Groove: Synth modulation and uptempo beats were central to our creative focus. Our combined love for the genre has always inspired us to push boundaries.
Are there any intriguing stories behind the tracks?
Sam Binga: The ambient closing track emerged from a spontaneous, chaotic late-night session, exemplifying the joys of creative experimentation. The involvement of Sirius Soundz from Mexico added a unique flavor to the project, amplifying the collaborative spirit.
Addison Groove: We even have a visual component coming out featuring Sirius, showcasing a glimpse into his life in Salamanca, culminating in a unique blend of art and sound.
Regarding your live performance at Fabric—what was that experience like?
Addison Groove: I had previous experience with live sets, but this setup marked a significant evolution. We aimed to create a soundscape that excited us, pushing the boundaries of performance art.
Sam Binga: The live performance aspect was nerve-wracking, marked by a shared vision for the show. However, it turned out to be an unforgettable experience, highlighted by the positive reception from the audience.
What does the future hold for your live performances?
Sam Binga: Our follow-up performance in Bristol felt like a significant leap forward, allowing us to explore various genres seamlessly through extended set times. This evolution is something we want to keep pursuing.
Addison Groove: The growth and adaptability of our live set approach have been encouraging. The positive feedback has inspired us to refine our performances further and test new ideas as we move forward.
Looking ahead to your summer plans?
Addison Groove: I’m gearing up for shows at Bass Coast before teaming up with Sam in San Francisco for Northern Nights festival, followed by Groove & Bass festival in Canada.
Sam Binga: I’ll be jetting off to Japan before reuniting with Tony for the festivals, leading to what promises to be an exhilarating summer.
For aspiring DJs, which clubs do you cherish the most?
Sam Binga: Last year’s experience at The Warehouse Project was phenomenal. I also have fond memories of Strange Brew in Bristol and I must credit Fabric for allowing us space on their stage.
Addison Groove: Personally, Ormside Project was a standout for me. Strange Brew remains a personal favorite, and I’d also like to mention Hidden in Manchester for its unique vibe.
Who should electronic music enthusiasts be keeping an eye on?
Sam Binga: Definitely keep tabs on HLRTY; his unique blend of electro and club beats is impressive. DJ Sprinter is also crafting some noteworthy soundscapes, and Amy Kisnorbo is another artist worthy of attention.
Addison Groove: I find Identified Patient intriguing for his broken dub techno explorations, and Neida is mixing 130 and 160 sounds brilliantly. I see real potential in these artists.
