Robotaki - Limbo

Future beat producer Robotaki chronicles the infinity and shifting identities with intricate beats and glowing bass on "Limbo."



Transitional periods in life are hard. And exciting. As well as confusing. Achieving your dreams and goals gives a sense of pride and accomplishment, which is simultaneously marred by the sadness of losing what's come before. The contradiction creates some complicated emotions for musicians, where the biggest stars end up worshipping and referencing the times before they're famous, when they're still fighting their way to the top.

Robotaki provides a soundtrack for this transitional phase, casting it as a non-changing eternity. This is heaven's waiting room decked in blue and red neon. Robotaki's bass is simply too filthy to qualify for Muzak The Good Place's waiting room. Instead, Robotaki's “Limbo” sounds like an eternity of getting down in $10 nightclubs, a sprawling constellation of underground clubs and basement parties, a galaxy of beats and sweat and catching a buzz.

That doesn't sound like a half-bad way to spend forever. It could also get pretty stale, after a time. Robotaki reminds us that we should always keep an eye on the horizon, especially if we hope to keep music raw and vital. "Limbo" is just that. We Are: The Guard couldn't be more excited to see where this beatsmith turns his gaze next.


J. Simpson occupies the intersection between criticism, creativity, and academia. Based out of Portland, Or., he is the author of Forestpunk, an online journal/brand studying the traces of horror, supernatural, and the occult through music, fashion and culture. He plays in the dreamfolk band Meta-Pinnacle with his partner Lily H. Valentine, with whom he also co-founded Bitstar Productions, a visual arts collective focused on elevating Pop Culture to High Art.