One of the most exciting developments in the world of dance music over the past five years has undoubtedly been witnessing the transformation of Shaquille O’Neil as he carves out a vibrant post-NBA career within the bass music scene. This journey has not only showcased his passion but has also allowed fans to see a different side of the legendary player, who has become a well-respected figure in the electronic music domain.
DJ Diesel, as he is famously known, has proven that this endeavor is far from a mere vanity project; instead, it is a dedicated pursuit that has solidified the four-time NBA champion as a significant presence in both live performances and music releases. His events, including Shaq’s Fun House and the Shaq’s Bass All Stars Festival, have established themselves as essential fixtures within the bass music circuit. Additionally, he regularly graces renowned genre festivals like Lost Lands, with summer appearances at acclaimed events such as Elements Music & Arts Festival, two iterations of the traveling festival Breakaway, and the lively Miami club E11even, among countless others.
This month marks a special milestone, as it commemorates the six-year anniversary of the memorable moment when O’Neil was spotted enthusiastically moshing in the crowd at Tomorrowland 2019. In a candid interview with Billboard, he expressed his genuine love for the “game seven energy” that permeates the bass music experience, emphasizing the passion and excitement that fuels his artistic journey.
O’Neil’s latest artistic venture is encapsulated in his new M.D.E. EP, which stands for “most dominant ever.” Released on July 18 under the Monstercat label, this nine-track collection features collaborations with a lineup of hard-hitting bass music artists, including Virtual Riot and Ivory. In this piece, O’Neil takes the time to shed light on the inspiration behind each track and the creative process with his collaborators, offering fans a deeper understanding of his artistic vision.
“M.D.E.” (with Rzrkt)
The inception of this track occurred when I approached Rzrkt with the idea of producing a compelling show intro. My vision was for it to be cinematic, reminiscent of an epic war film. I wanted the audience to feel as though they were entering a battleground, starting slow with melodic plucks before building to an intense climax. After witnessing the crowd’s electrifying reaction during a live performance, I realized it was ideal for my EP’s intro. The underlying female vocal adds a layer of depth that I find particularly captivating. This track is undoubtedly the most powerful entry on the project.
“Animal” (with SampliFire and Ivory)
Over the years, Andy and I have collaborated on some of my most successful tracks, such as “Run It” and “Moshpit,” and now we can add “Animal” to that impressive list. We have been consistently creating new music, ranging from work-in-progress tracks to live edits, and even a joint sample pack which is in the pipeline. During our time at Lost Lands, I suggested that we all needed to get into the studio together. Fast forward two years, and “Animal” has emerged on this EP. If you think Ivory and SampliFire excel in bass production, you should definitely check out their new hip-hop beats; they are equally impressive.
“Damage” (with Virtual Riot)
It’s common knowledge that Virtual Riot is a legendary figure in the bass music scene. After our initial meeting at Electric Forest, we stayed connected and began sharing our new music with one another. It wasn’t long before Virtual Riot approached me with the idea of creating a drum n’ bass track, a genre I had yet to explore. To my surprise, we created something truly magical, resulting in one of the most sonically diverse records in my discography. Although this track has already been released, we continue to share new music and collaborate regularly.
“Run It” (with Ivory)
Ivory stands out as the only collaborator with multiple tracks featured on my EP. This is largely due to the fact that he frequently sends me his IDs, and he never misses the mark. I liken him to the Steph Curry of bass music, and I have immense admiration for Steph. “Run It” came to life after I was inspired by one of Ivory’s drum n’ bass IDs, which had a nostalgic hip-hop intro. It resonated with me, leading me to jump on this instrumental—hence the first lyric of the song, “Hop on the instrumental with ease.” This track features an absolutely insane second drop, showcasing remarkable sound design that is a signature element of all Ivory’s creations.
“Pay Respect” (with GorillaT and Fraxure)
From the moment I encountered GorillaT, I recognized his unique talent. His distinctive sound and infectious energy set him apart. GorillaT also introduced me to Fraxure at Red Rocks, and I can confidently say that he is an exceptional producer. It became evident that we needed to collaborate on a track together. I aimed to create something aggressively wonky, blending our sounds seamlessly. I believe “Pay Respect” achieves that goal perfectly, and during the second drop, we even experimented with elements of UKG.
“Bring the Pain” (with Layz)
Layz, also known as the “bass meteorologist,” has been a dear friend since I entered the bass music world. She has always been a passionate supporter of the DJ Diesel brand. When we realized we had yet to collaborate, we decided to produce the hardest track possible, aiming to unleash a storm in the moshpit. I believe we succeeded in that mission. Additionally, Layz is the only person bold enough to pour a bag of chips on my head without facing any repercussions. For those curious about this anecdote, check out my Instagram @DJDiesel.
“Fadeaway” (with Benda)
Benda’s music has been a fundamental part of my sets since the very beginning. In my view, he is among the best producers in the industry. As demonstrated in “Fadeaway,” he excels as a songwriter as well. This track made me feel like a superstar, akin to Travis Scott. Benda is one of my closest collaborators, which is why we incorporated the line about being ride-or-dies into the lyrics. He also has a knack for creating hip-hop vibes, so we wanted to infuse that essence into our song. Despite my busy schedule, I prioritize what matters to me, as reflected in the lyric, “I got time today.”
“Throwin’ Bows” (with Perry Wayne)
Collaborating with Perry Wayne on “Throwin’ Bows” has been a long time coming. Initially, this track began as a remix of my record “Moshpit,” but after hearing the initial version, I felt compelled to collaborate with Perry to transform it into an original piece. He has a distinct brand and produces exceptionally aggressive music, which I absolutely love. I chose to keep the vocals minimal so that the raw energy of the song could shine through. Perry frequently joins me at my shows, including Shaq’s Bass All Stars Festival, and I can attest that he brings the same intensity in the studio as he does on stage.
“Show Em” (with Neotek)
“Show Em” is another track that has been in development for quite a while. In my opinion, Neotek is one of the most talented emerging artists in the scene. His ambition and drive are truly inspiring. He relocated all the way from Australia to Denver, the heart of the bass music movement, to chase his dreams—now that’s dedication! This track has garnered support from some of the biggest names in bass music, such as Excision and Sullivan King. Neotek possesses a treasure trove of unreleased tracks, and I feel fortunate to have access to these bangers that I can incorporate into my sets regularly.
