CULT CHROME II by OOTORO is a must listen EP for UKG enjoyers

If you have ever wanted a new EP with bass that growls and drums that bang, here is your chance. 

CULT CHROME II is the latest from Indonesian producer OOTORO, released October 23 through NIGHTMODE (a DMCA-free label). The five-track project is a follow-up to his 2024 CULT CHROME EP, and I can only describe it as UK garage++. 

The EP is only 15 minutes long but it pulls from all corners of dance to bring a collection of sounds that only a genius could think of. It's clear that OOTORO loves to make music that hits hard. 

The opener “SHAKEUP,” quickly establishes what we are here for: going crazy. It's got deep bass, plucky synths, and trap inspired production that perfectly underscores the dancehall influenced vocals. It’s punchy and reminds me a lot of Skrillex’s Quest for Fire (in the best way possible). 

“CHANEL” keeps the energy high. It has longer, warped bass riffs that are very UKG and a flute lead that is the perfect juxtaposition. The real driver here in this song is the breaks and drums filling the space. 

And the dancing doesn’t end with “​​MOVELIKEUS.” The whisper vocals saying “You can’t move like us” makes me want to prove them wrong. Meanwhile, “MY MIND” returns us to warbling bass riffs and bouncy drums. The mid-song build up is the ultimate tease (slow down, rise, and a false drop). 

The closing track, “CHAINSAW,” brings French producer Basstrick into the mix. If the title didn't already give it away, this one is aggressive. Booming bass drums, eerie textures, and a rising tension that just creeps up your spine. This is heavy bass house music at its finest. 

I don’t normally give ratings here but if I could this is a 10/10 EP. The only problem is I wish it was a full album. OOTORO released some of the coolest, bassiest bangers that still feel approachable for non-entrenched EDM heads. It feels like the natural next stop in music. 

OOTORO seems disinterested in following any one sound. There are moments on the EP that feel like they belong in a sweaty UKG club and there are others that feel like they should be rattling the speakers at a mainline festival show. But not once does it sound like OOTORO is just throwing sounds at a wall and seeing what sticks. It all sounds intentional and it still manages to feel cohesive. 

I think that's what makes it work. You don’t need to know the differences between the house, garage, or the trap influences. You just need to get up and move your body. If you want more OOTORO after this, I highly suggest CLUB OOTORO from last year.