Into the Arcology: genesys1.0’s ‘Abyssal Core’ Is a Trance Ritual from the Future-Myth

What if the rave was sacred? What if descent into the depths—of self, of sound, of myth—was not collapse but communion? Enter Abyssal Core, the debut EP from genesys1.0, a London-based cybernetic-spiritual club-collective founded by Rain Paul Müller and Anam Maclean, now stepping forward as artists with a sonic scripture for the end-times, released on YEAR0001.

More than music, Abyssal Core is initiation. A sonic descent through biomechanical corridors, Bantu mythology, hardstyle breakdowns, and trance-state revelations. Born from a dense mesh of references—Tsutomu Nihei’s dystopian manga, Gule Wamkulu ceremonies of the Chewa people, CRISPR-coded megastructures, and the euphoria of UK hardcore—the EP is set within the imagined world of the Nyambe Arcology: a sentient structure burrowing through the Earth’s crust, worshipped, fought, and celebrated by tribes whose lives revolve around a continuous downward journey.

This is music that doesn’t just play—it transforms. Invocations become breakdowns. Rituals become rave. Dive in the full interview below!

‘Abyssal Core’ isn’t just an EP—it feels like scripture for a future myth. Where did
the first spark of this world comes from? Was it a sound, a story, a sensation?

The basis of our worldbuilding is always afrogenic, in this instance we were enamoured by the nyau mask cult of the Malawian Chewa tribe. They put on these masks and connect to ancestors, deities, spirits etc. and become vessels for trance and euphoria, we spliced a lot of chewa/bantu mythology with seinen animanga & JRPG references.

You call it the Nyambe Arcology. A god. A building. A biomechanical maze. What
does it mean to create a world that breathes, bleeds, and resists you?

We see Earth itself as a sentient macro-organism, so nyambe being a conscious, ever metamorphosing megastructure is supposed to be allegorical for that.

The descent is everything. Ritual. Survival. Euphoria. How do you translate that
spiral—spiritual and sonic—into music?

Bantu polyrhythms & hardstyle synths.

Each track feels like a phase shift: invocation, trance, rupture, mourning. How did
you map the emotional architecture of the EP to the arcology’s narrative layers?

A good DJ set is a microcosmic soundtrack of a hero’s journey, beginning in primordial chaos, building in intensity and glory, then culminating in bittersweet revelation, we essentially tried to distill a genesys1.0 DJ set into 4 tracks.

“Extasys” and “All The Tears I’ve Cried” remix trance states in opposite
directions—one divine, one disintegrating. Where does your fascination with ecstasy
and collapse come from?

Just observing nature and biology

Your references span from Tsutomu Nihei to the Gule Wamkulu, Hideaki Anno to
Hardcore Tano C. How do you filter such a wide constellation of influences into something cohesive and now?

We are not honestly sure that we do- our desires, references and ambitions are still all over the place, it's still early days.

genesys1.0 events are more than raves—they’re initiation sites. What does it mean to you to build a mythology through nightlife, and what are you asking the audience to become?

Their pre-mirror stage selves.

The EP closes with a remix of a UK hardcore classic. A goodbye, or a rebirth? Where does the abyss take you next—and who or what do you want to meet down there?

HP Baxxter.

Interview by @danielface_

Photography: @prosienta (Benjamin Gogolin) & @belmorli (Bella Morley)

Drone operator:@waxdenimstore @yungf9,@jasmine.asia, @huntedxrkMarat

Edit: Rain Paul Muller Anam Maclean

Styling: Rain Paul Muller

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