The other music I have been listening to and will most likely discuss in my audio paper is my friend Kasimyn’s record BUNYI BUNYI TUMBAL, released recently. When ideating on the audio paper, I immediately thought of him, as our discussions always centered around music’s relationship to society, geography, and political history. In this record, he uses club music structures to reflect on the Dutch colonization of Indonesia, specifically on a collection of photographs during the era, which depicts nameless victims caught in the crossfire. Sonically, the stretched drums and distorted samples are meant to reflect the spirits of people forever caught within this space. As a project, its strong conceptual foundation within a specific act of violence can demonstrate the deeper, more meditative nature of this type of sound and its ability to mourn and bring catharsis around such atrocities. While it does not focus as much on a club environment specifically, the fact that the structure of club music can transcend partying and provide a rich examination of history and oppression can become a strong argument for the genre as a reflection of anxiety in modern society.