Five Years of Kindergarten Records: Ma Sha on Building NYC's Bass Music Playground [Q&A]

Few labels capture the chaotic, playful energy of New York’s underground quite like Kindergarten Records. Five years after launching into the uncertainty of the pandemic, the label has firmly carved out its own corner of the city’s underground. Founded by Ma Sha, Kindergarten has grown from backyard parties and tight-knit collaborations into one of the most vibrant hubs for forward-thinking bass music in the city, built around a playful, anything-goes philosophy that prizes experimentation and community above all else. 

That spirit is all over Fluo V, the label’s five-year anniversary compilation, which brings together key names from the extended Kindergarten universe including Drummy, Ayesha, Despina, Martini, Sobolik, Ziyiz, Soso Tharpa, and Stolen Velour, alongside newer contributors like georg-i, Slacker, and Train to Eltanin. Across the record, the crew’s genre-warped approach comes into focus through techno futurism, mutant club tools, trance-scrambled heat, and high-velocity rhythmic experiments that still feel tied together by a singular sense of fun.

At the center of it all is Ma Sha herself, whose tireless A&R vision and collaborative ethos have helped shape the project from day one. The DJ/producer, music industry professional, and proud alumni of the Beatport Next Class of 2025 continues to guide the label’s evolution while keeping its core spirit intact: a chosen family of artists pushing low-end club music into colorful, unpredictable new territory.

We caught up with Ma Sha to talk about the origins of Kindergarten, her move to New York, the label’s collaborative philosophy, and where the project is headed next.

You launched Kindergarten Records in 2020, but the idea actually started earlier as a party series. How did the label first come together?

Before the label existed, Kindergarten was already a party series. For a few years, we were throwing backyard parties where a lot of different people and genres came together. You’d hear house, techno, bass music, everything.

At the same time, I was working at !K7, a music distribution company, so I was learning a lot about labels and how releases work. Around 2020, I moved into the house I still live in now, and one of my roommates – Despina, one of the original crew members – was making amazing basslines in the room next to mine.

I was also producing music with my partner at the time under our Sha Ru moniker, and we had some tracks we wanted to release. So I thought, why not start a label and help push our music and our friends' music?

Of course, the first release ended up getting delayed and came out in April 2020, right when the pandemic hit, and record stores were closed. I still have two boxes of those records at home. But from there it all started growing.

Collaboration seems central to Kindergarten’s identity. Why was that so important to you?

I moved to New York alone when I was 18, so I had to build my own chosen family. Music was always the way I connected with people.

With Kindergarten, the connection between people has been important since day one. Whenever I sign someone new, I want them to meet the rest of the crew and make sure everyone really vibes together.

A lot of the artists are women or non-binary, which is especially important in the bass music realm. Over time, it became easier because friends introduced friends, and everything grew very naturally.

I always say we’ve been lucky because the connections are genuine. Everyone is kind, big-hearted people who also happen to make bangers.

You moved to New York at 18. What drew you to the city in the first place?

I grew up in Russia, and my second language is actually French. I originally planned to move to France, but during my final year of high school, I came to New York to improve my English.

The moment I arrived, I felt like the city had the same chaotic energy as Moscow. It just felt right.

I came back for college, and pretty quickly, I started going out and dancing. I’m a breakdancer, so music and movement were always part of my life. At first, I was more connected to the house and disco community.

Around that time, we started the Kindergarten backyard parties, and I also co-ran something called Home Social, which were free DJ workshops that I helped co-run for around two years. Every weekend, we would teach four people how to DJ for free.

Did anyone from those workshops go on to become part of the scene?

Yes, quite a few actually. Artists like Rose Kourts, Meilgaarden, Fever Dream, Theresa Serrian (who ran Earthly Delights), WTCHCRFT and several others all came through those workshops.

We had over 80 students in total, which is kind of crazy to think about now.

Kindergarten has become known for its explosive, genre-blurring bass sound. How did that direction develop?

The transition makes sense when I look back at my background. Growing up, I was listening to breaks, electro, and hip-hop because I was breakdancing a lot during my teenage years. 

When I first started DJing in New York, I was playing more house and disco, but I slowly started mixing in breakbeats. Then I discovered a lot of UK bass music and fell in love with the energy.

When I met other people in the crew who were making these experimental bass tracks, I thought: This doesn’t really fit into one genre, but it’s exciting. Let’s just follow that energy.

The whole philosophy of Kindergarten is that we don’t worry if something is “too much.” It’s playful, like fireworks. Sometimes people say it sits on the border of EDM or silly club music, but that’s the fun of it. We’re not afraid to play without rules.

That’s also where the name Kindergarten comes from.

This Fluo V - 5 Year Anniversary compilation is a good example of how we all came together as a crew and found ourselves in the same sonic playground. I did not particularly ask anyone who sent in tracks for specific BPMs, vibes, or moods. That's why the compilation feels like “firework energy” for me. Everyone is doing their thing, exploding and all sorts of different directions, but at the same time, if you listen to it in one go, it all makes sense. It’s cohesive and it's all from the same Kindergarten universe.

Speaking of the name, how did it originate?

It literally came from the backyard parties. We were in a garden, and we were basically kids.

From there, the playful identity stuck. The artwork also reflects that energy – colorful, explosive, very plant-inspired.

I always loved record labels with strong visual identities, where you could recognize a release just by looking at the cover. So we’ve worked with the same designer since day one to keep that consistent world.

Kindergarten has also organized fundraising projects over the years. Why is that important for the label?

Community has always been central to what we do, so it felt natural to support causes we care about.

Last year, we released a compilation supporting Palestine, and everyone in the crew contributed quickly. We were able to raise a good amount of money.

Outside of the label, I’ve also organized fundraisers for Ukraine and Palestine over the past few years, especially at Jupiter Disco in New York. I think it’s important to stay proactive and use music as a platform when we can.

Looking back on the label’s recent showcases, what stands out to you?

One highlight was our showcase at Nowadays in New York. The final set was a big B2B with everyone on the lineup, which turned into two hours of jungle and drum & bass.

It was also exciting because several artists performed live sets, including myself. A lot of the Kindergarten artists are pushing themselves creatively and trying new things, and it’s amazing to watch everyone grow.

I always say I’m grateful the artists trust me with their music. Even without the label, their tracks would reach people because they’re so good. I’m just happy to play a small role in helping it happen.

Five years into Kindergarten, what’s next for the label?

Over the past few years, we have focused a lot on compilations and split EPs, which have been a great way to welcome new people into our crew. I’m constantly on the lookout for new faces to join Kindergarten. But moving forward, I’d like to sign more solo EPs from brand new artists.

That was one of the most exciting things at the beginning of the label — discovering new people and taking risks.

I also want to keep building the community in real life. The bass scene in New York has grown so much since the pandemic, and there are so many talented artists here now.

So the goal is to keep expanding the family, keep collaborating, and most importantly, keep having fun.