︎



eoobe : ︎︎  ︎
EP Review

eoobe

EP Review

Dubblack closed its 2025 vinyl series with DBB010, a rare 10” edition limited to only 50 copies:
25 black, 25 transparent.



Dubblack’s DBB010: A Quiet Finale with eoobe


Dubblack, founded by Gianmaria Coccoluto—aka GNMR—is a Rome-based label that thrived on the details. It wasn’t about carving out a niche or dominating the scene; it was about the music, the design, the packaging—everything crafted with intention. GNMR’s own releases, like the first release of his label, with the hypnotic Self Control EP, set the tone: deep, reduced, and emotionally resonant techno that felt built for the dance floor, but not only—it carried a warmth and mystery that lingered across the different releases.

Dubblack’s 2025 vinyl series closed not with a grand statement, but with something far more intimate. DBB010, a 10” limited to just 50 copies—25 black, 25 transparent—felt less like a release and more like a relic.

Eoobe crafted two tracks that unfolded like rituals, recorded live with analog synths, stomp boxes, and drum machines. The result was something tactile, almost alive—music that didn’t just play, but breathed.

The B-side introduced Louis Bataille’s voice, drifting through the mix like a half-remembered dream. It wasn’t a feature; it was a haunting, a spectral presence that transformed the EP into something deeper. DBB010 didn’t demand attention—it invited you into a moment, a private ceremony that felt accidental, like stumbling upon something sacred.

Conversation with eeobe 

How did DBB010 come together? Was there a specific moment—a jam, a live set, or even an accident—that made you realize this was something special?

This EP was recorded around the time when we first got our hands on the Erica Synth Syntrx II, which at this point has taken quite a presence in our productions. The main synth parts were recorded with this synthesizer, and the tracks were built around the interesting ideas that came out of time spent patching and experimenting.



At that time, it felt more like a “fuck around and find out” approach to what that instrument could do, so these tracks remind us of a fun exploratory stage together. In general, most of our tracks are recorded with hardware, leaning mostly into analog but also using digital synthesizers and effects, like the Haken Audio Continuumini or Eventide H9.


It feels lively to make electronic music that way, interacting with a few machines, a mixer, and effects. There’s no obvious sound we’re trying to achieve when we initially start creating something new. At some point, things just start going in the right direction when we jam together — and luckily, we have quite similar ideas of what we think sounds interesting.

These recordings slowly manifested into a release once we realized there was a strong stylistic connection between the two tracks, which gave us good motivation to finish them.

There’s a tactile, almost physical quality to these tracks. Is that something you consciously pursue in your productions? Repetition also plays a big role in DBB010. How do you approach repetitive structures when recording and shaping your sound?

The tactile nature of sound is an aesthetic that continues to follow us in most of what we do: music that feels sensual, unpredictable, and feverish at times, but still melodic. Plenty of elements we record are repetitive and looping by nature, but we focus our energy on intense modulation of effects and other parameters while recording (it’s quite nice to have four hands for this at times).

It’s not in our style to want elements to sound too ‘clean’ either, which is often achieved through heavy use of feedback and distortion. This approach brings evolving textures to the forefront of what we do, more so than other musical structures. It’s what we like to lean into, since our personal tastes really meet at an entrancing and uncanny aesthetic.

We do make stylistically different music sometimes, for sure, but our baseline for artistic expression always comes from an otherworldly enchantment with visceral frequencies.

Louis Bataille—known for his work as Low Bat—added his voice to the B-side of DBB010. His contribution doesn’t just complement the track; it adds a layer of humanity to eoobe’s hypnotic, machine-driven soundscapes. It’s a collaboration that feels less like a planned feature and more like an alchemical reaction—something that emerged naturally from the process.

 How did the collaboration with Louis Bataille come about, and how did his contribution shape the final track?

One summer day (in mid-July), Louis wrote some poetry on his way to Amsterdam and wanted to record it. We were very happy to come together for this. The collaboration was impromptu and not something we planned very intentionally.

Louis spent an afternoon with Marco at our home studio recording the vocals for the B-side track, which was still very much in a draft phase. His contribution led to the formation of what that track would become; it’s his words, his style, in his own terms, that we welcomed into the music.

We were lucky to have the stars align for working together on this. Louis is such a unique vocalist and lyricist, with an unmatchable energy in his persona and performance.

Compared to the rest of the Dubblack catalogue, how would you situate this release sonically?
If you had to describe the EP in one word, what would it be?

This release sounds more raw and distorted compared to the rest of the catalogue. Nevertheless, it aims to bring out an emotionally resonant aesthetic amidst the harsher tones of the production style.

If we had to describe it in one word, it would be “impassioned.”

Conversation with Gianmaria:

Why did you choose to close the 2025 Dubblack series with DBB010 and eoobe? What made this release feel like the right conclusion?

I chose to close the 2025 Dubblack series with DBB010 and eoobe because I believe it’s an extremely high-level musical proposal from an ultra-sensitive duo, from people who are ultra-sensitive, with ultra-sensitive music.

I needed that. And the sound is a sound I love, a sound that represents avant-garde and research, and they interpreted it in a way that is more than wonderful.

This record is limited to 50 copies. What’s behind that decision—was it a philosophical choice, or more of a practical strategy for the label?

The limited run of 50 copies is also, honestly, a small practical strategy. Without over-philosophizing it, Dubblack still can’t reach the sales numbers I expect and that I can consistently sustain with the kind of production I do. I’ve had experiences where what remained in stock ended up weighing heavily on the development of the catalog and the label. So I’m trying to work more around micro communities, around my micro community, especially for certain titles. I avoid jumping into big pressings and instead I press the quantities that are necessary to meet requests, or slightly less than what would fully meet requests. It’s a small strategy to keep the product desired.

At the same time, Dubblack releases everything digitally as well, so anyone following the label can purchase the music without having to spend more on vinyl. Of course, I hope the label will grow stronger, that we’ll find the force to sell more and expand distribution, so these artists can be properly rewarded and reach the right crowd for their music.

How does DBB010 reflect the artistic direction and philosophy of Dubblack? And beyond the music itself, Dubblack has always paid close attention to curation, design, and the overall presentation of each release. How important is that broader artistic dimension to the label?

Yes, this EP continues exactly on those territories. It continues the work we try to do with music that involves research, commitment, and a certain structural intention. Every artist we’ve released so far has created an EP specifically for the label. We’ve never really had to do a “cut and sew” job across different tracks, and I think that’s very important both for labels and producers. It pushes producers to deliver something truly tailor-made: personal, made to communicate with the label, with the label’s ideals, with the artists’ ideals, and made to inspire something new.

I would keep defining this sound in the same way, and Dubblack’s approach throughout 2026 will be the same. We have a series of releases ahead of us that we care deeply about, and we hope we can keep doing more and more with the label, always with the same spirit.

What I love about the curatorial, graphic, and creative side is building a beautiful flow in the catalog, so that if someone follows and collects the releases, they can move through our creative journeys. And that’s part of the desire, and part of why we invest so much: it’s another artistic language. Sometimes a simple white label is perfect, but it’s also beautiful to use a release like a canvas to tell something.


Looking ahead, what direction do you see Dubblack taking in the coming year?

For 2026, we’re trying to strengthen our legacy with the micro communities connected to the label. We’re continuing the research work, structured around talented artists with something personal to say.

After eoobe there is Brillante. We’re on the same line in terms of world and speeds, but Brillante moves toward more organic, more tribal horizons, coming from the South and North Africa, into an organic psychedelic trance kind of approach.


There will also be an EP by a Rome-based producer who wants to remain anonymous. He’s been producing electronic music for 25 years, has released very little, and has never officially published anything. He’ll do it independently and anonymously.

We’re working on different fronts. What I would love is to build a Dubblack structure able to put out as many releases as possible. In my head, I dream of a relationship with the community where people can expect one release a month from the label. We’re still far from that. It takes a huge amount of work and it can sound like an imposition, but it actually comes from necessity: there is so much beautiful unreleased music out there, so many talented unknown artists, and what I want is to give as much space as possible to these personalities.