Together, they fuse the challenging sounds of gabber, footwork, grindcore, and noise with a number of uniquely Indonesian sounds such as jathilan (a trance dance in which a spirit possesses the body), dangdut koplo (a subgenre of a popular folk music), and funkot (reminiscent of both European happy hardcore as well as dangdut).

Their acclaimed records PUXXXIMAXXX (out via Yes No Wave / Danse Noir) and HOXXXYA (out via SVBKVLT) are chock full of tracks that are now international dancefloor staples. Their appearance at CTM 2020 was the focal point of DJ Mag's »Getting to Know« feature that followed: »With Kas behind the decks cueing up impossibly fast track after impossibly fast track, Ican is given the freedom to inflict a barrage of throat-shredding, screamo wails on unsuspecting audiences.«

Be it through solo works and performances, video productions or collaborations, Gabber Modus Operand’s love for energetic, intense sounds forms the foundation of their hyper-active, unprecedented output. With exuberant digital sarcasm, they straddle the line between the sacred and the banal.

A unique commission by Uganda’s Nyege Nyege Festival and CTM pairs Gabber Modus Operandi, DIVISI62's Wahono (also the mind behind Uwalmassa), and Uganda's Nakibembe Xylophone Troupe, one of the few remaining groups that sing and perform on a large ensemble instrument called the embaire: a large wooden xylophone performed by up to eight musicians simultaneously, who weave together polyrhythmic short melodic phrases. The celebrated premiere at CTM 2020 filled Berghain with ecstatic compositions that flow endlessly, and waves of coalescing grooves punctuated by eruptions from Gabber Modus Operandi.

During the pandemic in 2021, the duo teamed up with animator Rimbawan Gerilya and choreographer Siko Setyanto to premiere »MBELEDOSSS! (EXPLODE!)«, an epic 45 minute-long 3D animation video following a genetically modified humanoid envoy as it begins an exploration of planet Earth by landing at a textile market. The show has been described as »so eye-popping that even streaming over YouTube gave the same feeling of seeing the crew live.« (CDM)

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