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Few artists have done more to break out of dubstep’s strictures than the reclusive London producer known simply as Zomby. Like Zorro, he signals his fondness for sparring right there in the zigzagging first letter of his name: over skunked-out dub, erratic arpeggios tapping into a secret world of vectors and folded space; half-step skanking like a game of Chutes and Ladders designed by M.C. Escher. Dubbed “wonky,” “aquacrunk,” or (per Joker) “purple wow sound,” his hyper-colored moiré music sounds like a synesthetic translation of Merriweather Post Pavilion‘s mushroom-popping Op Art sleeve.

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