If there is anything we love more about musical endeavors, it’s risk-taking. When Corey King and Scott Donovan decided to depart from Bunk Buddha and join forces to seek more electronic ethers, they did just that.
Making a leap into a brand new project is never an easy decision, especially when it means closing the door on a different one. However, in the case of G-Type Star, Donovan and King’s newly formed duo, it was more so a matter of following what felt right and what they were truly passionate about.
Although G-Type Star originally leaned into higher tempos of drum and bass, they have recently been exploring new horizons with two brand new releases.
The first track in focus is a flip of the “Million Dollar Baby” track that is going viral across social media. In its essence, the track revolves around the 140 spectrum but carries influence from the club realm and beyond.
The second track, “No Time,” was released with The Gradient Perspective and features swinging halftime and gritty sound design from end-to-end.
Although it might be the first time G-Type Star has waded in these waters, they clearly have a grip for it. Recently, we spoke with the Baltimore-based duo to learn a little more about the project and their new direction.
RB: How and why did you start the G-Type Star project?
SD: Corey and I have been playing and producing music together for the last 10 years. We started G-Type Star in 2022 after spending 8 years playing together in Bunk Buddha. I was looking for a more refined and electronic sound and feel like we were able to explore that in the drum and bass world. After spending so many years playing and releasing an unpredictable catalog of music with so many iterations I was ready to find inspiration and innovation with more structure and direction.
CK: The short answer is because we are obsessed with bass and we are obsessed with space. The longer answer is that we are trying to find meteoric success and do the first Intergalactic tour including Red Rocks 2 on Mars, and the first laser show through the haze of gas planets like Jupiter and Saturn. Drum and bass was a great avenue for Scott’s desire for technical challenge and my desire to write more musically complex compositions.
RB: What do you hope to accomplish with your music?
SD: My goals in music have always been to gain friendships and shared experiences. I love being able to collaborate with and congregate as like minded people with the goal of having a great time. Music makes me happy and I hope our music is able to make other people happy.
CK: Ultimately, my goal in life is to make art that reaches people and makes them feel something. To make music that becomes an important part of someone’s life, helping them find joy, as much of the music that I love has done for me, is the number one thing I hope to do on this planet (and others). I also want to grow this project to be able to share this music together in live settings with large groups of people all together in a moment. So many of the most important moments of my life were in a crowd feeling at one with everyone in the beat. It is as ancient a practice as human society and leading that energetic exchange, with our music, from behind the decks is everything to me.
RB: How do you think social media influences production and creativity in the current age?
SD: Social media is a necessary evil. When we first started playing music social media was simple and effective. We were actually able to connect with everybody who wanted to connect with us on just Facebook alone. Our first project had a lot of success due to the early age of social media. We could write some words letting everybody know we had a show and people would just show up because the music was what they were looking to experience. Now we (mostly Corey) has to be a content creator and video editor as well as a producer and a DJ. We’ve historically put a lot of time and effort into our music and not so much the promotion of it. We’re looking forward to developing those skills and working with our management teams to maximize our reach in a way that represents the dedication and amount of work we put into our music.
CK: I really only think it affects production in that it has made songs shorter as short-form content has really taken hold culturally. Long songs used to be the absolute norm in dance music but now a 4 minute song is long. The need to make content I think is a time drain and emotional drain on a lot of people who would rather make music but it’s kind of the natural result of everyone having relatively very easy access to producing music and to marketing it through social media that the competition for messaging would demand more and more. I enjoy making the content whether it’s videos or graphics because it is just another way to create, express, and reach people, but the strategizing and administrative work that goes with it can be tiring. I do think social media should be regulated much more rigorously as its effects on society as they prioritize profits are out of balance with the benefits it offers to artists, business owners, and regular people.
RB: Can you tell us a little bit about these two recent releases?
SD: From a producer standpoint both tracks were made in my favorite way. Quickly. To me all the best music happens fast and just sort of falls out of me. We made “No Time” in one afternoon. One mix, one master and it’s ready to roll. I was actually shopping some of our more traditional DNB tracks to Jared (The Gradient Perspective) and none of them were landing. We had made “No Time” the day before and I was like well what about this? Turns out it was perfect. it really embodies a simple and effective strategy. It has a lot of space for interpretation and is really all about the details and textures of the sounds. A lot of subtle distortion and crispy bits to fill the whole spectrum without having to add too many other elements. I used to listen to electronic music and play guitar over it for hours when I was young and I wish more tracks like this had that space to jam on. I’m really looking forward to hearing how DJs and musicians are able to perform the song in a way that makes it their own.
The Million Dollar Baby edit just felt natural. While it’s a 140 tune it really has a Baltimore club feel to it with the break and kick pattern. A sound a lot of the country probably isn’t very familiar with but is only natural around here. It’s definitely still more of a festival track but I could see it doing well in some of the local venues around Baltimore too. I originally wanted to make it more of a jungle track but I couldn’t be happier with how it ended up. This week has been a time of firsts for us. First halftime tune with “No Time” and our first 140 jawn with the MDB Edit.
RB: What’s next for G-Type Star?
SD: We have a lot of music stashed away. We’re looking forward to building new relationships with labels and collectives and getting these songs out there. We have more original music coming out on Aspire Higher in July and are currently working with a couple of MCs to hopefully get some vocal tracks out there. I’d expect a monthly stream of both original music and edits coming from us over the next couple of years while we are growing the project and finding our new footing in the drum and bass world.
CK: Releasing a bunch of music we are sitting on, finishing collabs we have going with Beat Kitty and Illexxandra (shout out to 2 of the baddest women in the biz) and getting lots more collabs going. Also obviously that intergalactic tour I talked about. Start saving for ticket packages with Space Shuttle travel and space pod glamping.
Keep up with everything G-Type Star has going on in the links below.
Follow G-Type Star:
Facebook | Instagram | Twitter | SoundCloud
If there is anything we love more about musical endeavors, it’s risk-taking. When Corey King and Scott Donovan decided to depart from Bunk Buddha and join forces to seek more electronic ethers, they did just that.
Making a leap into a brand new project is never an easy decision, especially when it means closing the door on a different one. However, in the case of G-Type Star, Donovan and King’s newly formed duo, it was more so a matter of following what felt right and what they were truly passionate about.
Although G-Type Star originally leaned into higher tempos of drum and bass, they have recently been exploring new horizons with two brand new releases.
The first track in focus is a flip of the “Million Dollar Baby” track that is going viral across social media. In its essence, the track revolves around the 140 spectrum but carries influence from the club realm and beyond.
The second track, “No Time,” was released with The Gradient Perspective and features swinging halftime and gritty sound design from end-to-end.
Although it might be the first time G-Type Star has waded in these waters, they clearly have a grip for it. Recently, we spoke with the Baltimore-based duo to learn a little more about the project and their new direction.
RB: How and why did you start the G-Type Star project?
SD: Corey and I have been playing and producing music together for the last 10 years. We started G-Type Star in 2022 after spending 8 years playing together in Bunk Buddha. I was looking for a more refined and electronic sound and feel like we were able to explore that in the drum and bass world. After spending so many years playing and releasing an unpredictable catalog of music with so many iterations I was ready to find inspiration and innovation with more structure and direction.
CK: The short answer is because we are obsessed with bass and we are obsessed with space. The longer answer is that we are trying to find meteoric success and do the first Intergalactic tour including Red Rocks 2 on Mars, and the first laser show through the haze of gas planets like Jupiter and Saturn. Drum and bass was a great avenue for Scott’s desire for technical challenge and my desire to write more musically complex compositions.
RB: What do you hope to accomplish with your music?
SD: My goals in music have always been to gain friendships and shared experiences. I love being able to collaborate with and congregate as like minded people with the goal of having a great time. Music makes me happy and I hope our music is able to make other people happy.
CK: Ultimately, my goal in life is to make art that reaches people and makes them feel something. To make music that becomes an important part of someone’s life, helping them find joy, as much of the music that I love has done for me, is the number one thing I hope to do on this planet (and others). I also want to grow this project to be able to share this music together in live settings with large groups of people all together in a moment. So many of the most important moments of my life were in a crowd feeling at one with everyone in the beat. It is as ancient a practice as human society and leading that energetic exchange, with our music, from behind the decks is everything to me.
RB: How do you think social media influences production and creativity in the current age?
SD: Social media is a necessary evil. When we first started playing music social media was simple and effective. We were actually able to connect with everybody who wanted to connect with us on just Facebook alone. Our first project had a lot of success due to the early age of social media. We could write some words letting everybody know we had a show and people would just show up because the music was what they were looking to experience. Now we (mostly Corey) has to be a content creator and video editor as well as a producer and a DJ. We’ve historically put a lot of time and effort into our music and not so much the promotion of it. We’re looking forward to developing those skills and working with our management teams to maximize our reach in a way that represents the dedication and amount of work we put into our music.
CK: I really only think it affects production in that it has made songs shorter as short-form content has really taken hold culturally. Long songs used to be the absolute norm in dance music but now a 4 minute song is long. The need to make content I think is a time drain and emotional drain on a lot of people who would rather make music but it’s kind of the natural result of everyone having relatively very easy access to producing music and to marketing it through social media that the competition for messaging would demand more and more. I enjoy making the content whether it’s videos or graphics because it is just another way to create, express, and reach people, but the strategizing and administrative work that goes with it can be tiring. I do think social media should be regulated much more rigorously as its effects on society as they prioritize profits are out of balance with the benefits it offers to artists, business owners, and regular people.
RB: Can you tell us a little bit about these two recent releases?
SD: From a producer standpoint both tracks were made in my favorite way. Quickly. To me all the best music happens fast and just sort of falls out of me. We made “No Time” in one afternoon. One mix, one master and it’s ready to roll. I was actually shopping some of our more traditional DNB tracks to Jared (The Gradient Perspective) and none of them were landing. We had made “No Time” the day before and I was like well what about this? Turns out it was perfect. it really embodies a simple and effective strategy. It has a lot of space for interpretation and is really all about the details and textures of the sounds. A lot of subtle distortion and crispy bits to fill the whole spectrum without having to add too many other elements. I used to listen to electronic music and play guitar over it for hours when I was young and I wish more tracks like this had that space to jam on. I’m really looking forward to hearing how DJs and musicians are able to perform the song in a way that makes it their own.
The Million Dollar Baby edit just felt natural. While it’s a 140 tune it really has a Baltimore club feel to it with the break and kick pattern. A sound a lot of the country probably isn’t very familiar with but is only natural around here. It’s definitely still more of a festival track but I could see it doing well in some of the local venues around Baltimore too. I originally wanted to make it more of a jungle track but I couldn’t be happier with how it ended up. This week has been a time of firsts for us. First halftime tune with “No Time” and our first 140 jawn with the MDB Edit.
RB: What’s next for G-Type Star?
SD: We have a lot of music stashed away. We’re looking forward to building new relationships with labels and collectives and getting these songs out there. We have more original music coming out on Aspire Higher in July and are currently working with a couple of MCs to hopefully get some vocal tracks out there. I’d expect a monthly stream of both original music and edits coming from us over the next couple of years while we are growing the project and finding our new footing in the drum and bass world.
CK: Releasing a bunch of music we are sitting on, finishing collabs we have going with Beat Kitty and Illexxandra (shout out to 2 of the baddest women in the biz) and getting lots more collabs going. Also obviously that intergalactic tour I talked about. Start saving for ticket packages with Space Shuttle travel and space pod glamping.
Keep up with everything G-Type Star has going on in the links below.
Follow G-Type Star:
Facebook | Instagram | Twitter | SoundCloud
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