Today, genre-blurring electronic producer DJazz unveils his sixth project – and first release of the year – “7AM In Bangkok”.
Landing via his own imprint All That DJazz, the four-track EP (23:34 minutes) is a vivid sonic postcard inspired by his travels across Thailand and Vietnam. Rooted in house, atmospheric electronica, electro, and acid house, the project captures a liminal state of mind: that hazy hour when night surrenders to dawn, memories blur into motion, and rhythm becomes reflection.
At its core, 7AM In Bangkok feels like both a travelogue and a transformation. DJazz’s first release of 2026 doesn’t just nod to Southeast Asia’s landscapes and cultural textures – it immerses listeners in them. The EP also hints at a deeply personal layer: his first psychedelic experience, which informs not only the sound design but also the artwork, said to reflect the visuals he encountered during that journey. The result is a rich melange of analog grit, spacious atmospheres, and dancefloor propulsion.
The EP opens with “Jazz Goes Bangkok,” a track born from spontaneity. Produced in just five minutes, the tune revolves around sampled vocals from Thai icon Angkanang Kunchai, specifically her 1975 release “Lsan Lam Plearn.” Often dubbed Thailand’s “Prodigy Singer,” Angkanang’s voice carries a soulful weight that DJazz reframes within a slow-burning electronic setting.
Here, raw synth textures brush against the emotive, almost meditative vocal lines. The track feels suspended in time – part sunrise reverie, part underground afterhours set. DJazz resists the urge to overproduce; instead, he allows space to do the heavy lifting. The restraint is powerful. Atmospheric pads expand and contract like breath, while subtle rhythmic cues keep the piece tethered to the dancefloor without overwhelming its reflective mood.
B. Poosanisa’s Story
If the opener sets the tone, “Poosanisa’s Story” deepens the journey. Conceived during DJazz’s psychedelic trip, the track attempts to translate a vivid internal sonic experience into structured form. The composition unfolds in three distinct movements, each revealing a different emotional shade.
The opening section glides in with a synthwave-inflected groove – dreamy, nostalgic, and slightly cinematic. It feels like neon lights reflected on wet pavement at dawn. Gradually, the second movement shifts into more grounded house territory, introducing a steady four-on-the-floor pulse that invites physical movement. Then comes the third act: an acid-tinged climax driven by a 303 bassline that writhes and bubbles beneath the surface.
The progression mirrors the arc of a psychedelic experience – anticipation, immersion, and intensity – yet DJazz keeps the transitions smooth, almost seamless. It’s a testament to his growing maturity as a producer that such structural ambition never feels indulgent.
C. Miss Saigon
The EP’s most expansive offering, “Miss Saigon,” is also DJazz’s longest track to date. A straight-forward yet immersive house and techno cut, it carries a hypnotic drive built upon acid basslines, crisp 808 drums, and delayed synth flourishes. But what elevates the piece is its incorporation of the monochord – a traditional Vietnamese string instrument.
The monochord’s resonant timbre weaves through the electronic framework, lending the track an organic undercurrent. Rather than treating it as a decorative sample, DJazz integrates the instrument into the rhythmic and harmonic architecture of the track. The result is a holistic sonic experience that bridges cultural reference and club functionality.
“Miss Saigon” thrives on subtle tension. Acid lines coil tightly around the percussion, while spacious effects create a sense of scale. It’s a track built equally for solitary headphone listening and dimly lit warehouse floors.
D. Jazz Goes Bangkok (Four on the Floor Mix)
Closing the EP is a reimagined “Jazz Goes Bangkok (Four on the Floor Mix).” Where the original leaned into ambient spaciousness, this version channels direct house energy. Old-school drum loops anchor the rhythm, evoking classic dancefloor sensibilities, before spatial pads wash in to preserve the EP’s atmospheric identity.
The remix underscores DJazz’s versatility. The core motif remains intact, yet its emotional register shifts – from introspective sunrise moment to peak-hour momentum. It’s a subtle reminder that a strong idea can thrive across contexts when handled with care.
Across its 23 minutes, 7AM In Bangkok feels cohesive without becoming predictable. DJazz balances experimentation with accessibility, weaving acid house textures, electro flourishes, and house grooves into a unified narrative. There’s a tactile quality to the production – analog basslines squelch, synths shimmer, drums punch with clarity – that reflects a producer confident in his tools and his vision.
More importantly, the EP captures movement – geographical, emotional, and psychological. Thailand and Vietnam serve not just as backdrops but as catalysts. The project channels their sonic heritage, ambient energy, and lived experiences into something deeply personal yet globally resonant.
As DJazz steps into 2026 with his sixth release, “7AM In Bangkok” signals an artist unafraid to blur borders – between genres, cultures, and states of consciousness. It’s music designed for liminal hours and open horizons, where memory meets motion and the dancefloor becomes a place of introspection.
With its February 18th release on All That DJazz, this four-track journey promises to soundtrack both sunrise reflections and late-night explorations alike.
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