BogglesWorth is an electronica music artist and producer, hailing
from Yucca Valley, CA, USA. He sees it as his musical mission to
bring originality to the EDM scene and his music is somewhat
difficult to categorise as just one genre. It is a blend of 80’s electronica,
90’s Hip Hop, as well as aspects of techno, house, trance, dubstep
and punk to create an innovative hybrid sound.
As you can tell from his chosen moniker, BogglesWorth thrives on
being unconventional, quirky and strange. His bio states: ‘From his
music to his life, this rebel is always pushing the limit. Society may
question his humanity and state of mind but normal is boring. BE
ODD! ‘. This EP, Nerve, consists of six instrumental tracks that
showcase his unique approach.
First track Beeper makes an impact straight away, starting with
short synth stabs of a melodic chord progression which is soon
joined by a pounding dubstep beat. I loved the way the beat enters
on the offbeat, and it’s these small details that immediately set this
music apart from the mass of generic electronica out there.
After adding a high end synth melody on top of this progression it
then enters a Skrillex-style ‘growl’ section. The beat drops
out and we hear an intricate melody on a bleepy synth sound that
combines with the original two melodies perfectly. The beat then
changes from half-time to full time, incorporating some highly
intricate and subtle drum fills. The rest of the track juggles with
this material, alternating half-time and full time, or the beat dropping
out for dynamic effect, as it does at the end. An impressive opener,
both in terms of arrangement and production.
The excellently named Scottie’s California Cornflakes comes next,
featuring another addictive synth riff and a punchy four to the floor
beat. The intro goes through a lo-pass filter sweep, a popular dance
music production technique. It gives the effect of sounding like
being outside a club, then hearing the music with clarity as you
This track is more commercial than the first, essentially
mainstream EDM, though it does have some quirky production
techniques thrown in. After a riser that I thought might blow my
speakers up, it breaks down to just kick and bass around the two
minute mark. The track is gradually built back up with a high end
synth melody providing movement. It then becomes Daft Punk
electro disco for the last minute, aided by some funky handicaps.
Another great tune.
Third track, the unusually titled Bill Clinton, starts out for the first
minute as chilled Balearic house, which made me feel like I was
sipping a cocktail on a beach in Ibiza. Around the minute mark
enters a five-note synth melody that sounds rather like a
saxophone (possibly wear the title arises from? Bill likes to
play…). Again, it breaks down in the middle and builds up the
elements of the music, though this is probably the most sparse and
laid back track here.
The title track comes next and it’s a different beast altogether, a
real melange of styles that perhaps exemplifies how Bogglesworth
stands out from the rest of the electronica crowd. It melds
atmospheric synth lines and swirling beeps with aggressive low-end
Prodigy-style riffs and a pounding dubstep beat. There is some stellar
drum programming once again as the beat becomes more intricate
in the middle (you can hear the 90’s hip-hop influence at this point)
before a spectral sounding breakdown. It then builds to a ferocious
end section. As ever, you never quite know where the music is going
to go, the polar opposite of the EDM by numbers that fills the charts.
Fifth track E.Z. carries on the dubstep vibe and is perhaps the
most wild one here (the most Bogglesworth?). It alternates
between a superb swirling synth melody and sections of Skrillex
growl taken to the max. This production effect is made by a
detuned saw wave put through distortion, but on this track a
vocoder or formants are used so that it almost sounds like a
Last on the E.P. is Blue Tuesday and it’s a nice way to finish. It
starts with a long, gradually building intro that creates tension before
bringing back the stripped-back Balearic house feel of Bill Clinton.
The moody, slowly morphing and pulsing synths create a spacious
atmosphere and momentum in the music to bring things to a blissed out
Overall, this is a fine E.P. by an electronica artist/producer who
ignores all the rules about how it should be done, and this is the key
to his originality. Defining your own sound in the world of
instrumental electronica is no mean feat, but Bogglesworth
achieves this through hybridizing several genres, sometimes within
the same track. He already has a large fanbase and this will
continue to grow with material of this quality.
Verdict: 8.4 out of 10