Ghozt : BAUTISMO
What club music generally offers is an exhilarating release of movement, yet as time progresses, producers are increasingly willing to test the mantle of how experimental dance music can be. Visionary beatmakers will carry the fundamental points of bringing in the grooves that make the body shake, but they’re willing to take the step further, pulling those grooves into darker, atmospheric soundscapes and paint-splatter textures that push the motion of the body into sweaty extremes.
Through the lens of Ghozt, New York City-based producer Markus Cabrera—who has been dabbling in dance music since 2022—eventually found himself stepping into its avant-garde niches. Glitches, saturation, and noise become important elements, adding more to their sound that works within an exhilarating, queer-centric club rave. All of this builds up to BAUTISMO, the debut album that offers a coherent vision from this embarking producer. “ARANA” introduces the stage, with JHL’s vocals stretched apart across rampant rhythm stomps. It’s exceedingly volatile, yet exciting all the same.
Through JHL’s prominent presence across the album, they become the amorphous shepherd that leads the flock from start to finish; the guiding hand from the heavy dramatics to the intimate ambience. They embody this role well, as they effortlessly vamp upon Ghozt and Alparr’s electric production of “WORK IT” on one hand, and then powerfully sing around the distorted blasts of “KYS” on the other.
Collaborations provide an added versatility to Ghozt’s repertoire throughout the album. Khx05 and SiNNY NOVA sound terrific as they exude bruising confidence and deadpan snark on “GET BUCK” and “S&G” respectively, while princess xixi holds her own on “SICKO” and its steamrolling breakbeats and metallic bass shudders. A delightful surprise comes from Dom McLennon in “MURKY”; his sharp flows finding him bucking against those who can’t get on his level, a weighty stride that’s balanced out with Ghozt and Blood of Aza’s ghostly atmosphere and shambling trap drums.
As much emphasis as there is in the album’s progression toward the heavy and the meditative, the latter becomes more of an afterthought rather than a fully fleshed-out component. Despite “SHOULD I” and “MIDHEAVEN” showing that brighter harmony in spades with the use of vocalizers and pianos, the other tracks in the latter half do still burst at the seams. It results in the overall structure starting strong, but losing its intended tone by the closing mark.
Nevertheless, there is a strong promise that Ghozt delivers on BAUTISMO. It’s a riveting presentation of their sonic worldbuilding and engrossing compositions, alongside a synthesis with an equally impressive lineup of collaborators. It hits best when it quakes, but flickers out when it aims to dive into solemn places. If this is what death and rebirth feels like, then Ghozt’s newfound second wind should be a journey worth observing.
Label: xlx
Year: 2026
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