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Dboss: writer, performer and maker of the riddim of Come Here

Published October 20, 2026

Dboss is a bouyon artist and riddim maker whose name appears, in the opened sources consulted, on a single record, but with a triple credit: on “Come Here”, published as an official visualizer under a Bouyon 2027 billing with Skrazy and Ras B, he is credited as a writer, as a performer and as the maker of the riddim, under the signature Dboss (Riddimz). The record is produced by Bad Producer Ent, and its recording, mixing and mastering are handled by Yw3 Ent (DiYoute). His published handle is @dboss_h.o.s. No other record, no other riddim, no artist page and no biography of Dboss was found during this research. This profile publishes his three credits, the record that carries them and the workshop around it, and it states openly everything the file does not contain.

Who Dboss is: three credits on a single record

Let us start with the exact inventory, because the whole file fits inside it, and it is, for a one record file, unusually rich. Dboss is the second name in the official heading “Skrazy, Dboss, & Ras B - Come Here [Official Visualizer] (Bouyon 2027)”. In the description of the video, he appears in three distinct posts: writer, in the line “Written by Skrazy, Dboss, & Ras B”; performer, among the three artists of the record; and maker of the riddim, in the line “Riddim by Dboss (Riddimz)”. Neither of his two partners stacks those three posts: Dboss is at once a voice of the record, one of its pens and the author of its rhythm.

The signature of the riddim deserves a stop, because it is the distinctive fact of this profile. The credit line writes it in the form Dboss (Riddimz): the name of the artist, followed in parentheses by a workshop or production signature name, Riddimz. The description does not develop that signature any further, and this profile reports it as printed, without deciding whether Riddimz is a team name, a banner in the making or a simple credit label. What is certain is functional: when this record needs a rhythm, Dboss supplies it, and he signs it with a second name, as many riddim makers of the scene do.

His published handle is @dboss_h.o.s. It appears in the Instagram block of the visualizer description, in the middle of the handles of the whole team behind the record: the three artists, the production, the studio and the graphic designer. The form of the handle, dboss followed by the initials h.o.s separated by dots, is quoted here exactly as published, without any consulted source explaining its meaning. In line with the method of this site, the handle is a text credit: no profile was opened and verified directly, so no external link is carried in the structured data of this page.

What does not exist in the file must be stated with the same clarity. No source consulted gives a full name for Dboss, nor an age, nor a place of birth or residence, nor a catalog of riddims, nor an interview. Searches carried out across the platforms, Spotify, Apple Music, Shazam, SoundCloud and Audiomack, returned no artist page and no song page under his name: the riddims of close names that the searches return, among them older instrumentals from other banners, are unrelated to him and are not attributed to him here. The link of the record to Dominica rests on the opened page itself: its keywords name bouyon and dominica, and its credit block lines up handles in 767, the area code of the island, among them @nofacebeatz767.

“Come Here”: the record Dboss writes, sings and sets to rhythm

The record is titled “Come Here”, and its form of publication is an official visualizer, that is, an accompanying video published on YouTube, rather than a narrative music video. The full heading of the video gives, in order, the three artists, the title, the Official Visualizer mention in brackets, then the Bouyon 2027 billing in parentheses. The description opens with the production sentence: “Come Here, Produced by Bad Producer Ent.” The track is therefore carried by a named banner, Bad Producer Ent, whose handle @badproducerent also appears in the credit block, and the page invites viewers to follow and subscribe to Bad Producer.

The full credits of the record read like a small making sheet, and the name of Dboss returns in them more than any other. Written by Skrazy, Dboss and Ras B. Performed by Skrazy, Dboss and Ras B. Riddim by Dboss (Riddimz). Recorded and mixed by Yw3 Ent (DiYoute). Mastered by Yw3 Ent (DiYoute). Visualizer made by Graphart Designs. Production by Bad Producer Ent. Out of the seven lines of that credit roll, Dboss holds three, and the third of them, the riddim line, is the only line of musical making of the record that carries the name of one of the artists of the record itself: the rhythm does not come from an outside producer, it comes from one of the three singers.

The billing of the record also says something about the mechanics of this scene. The video classes the track as Bouyon 2027, although the research for this profile is carried out in October 2026: in Dominican bouyon, records of the end of the year are regularly billed to the following year, the one of the carnival season they aim at. This profile reports the billing as published, without converting it into a release date, all the more so as no precise release date for the record is published in the opened description. No duration, no tempo, no proper name given to the riddim itself and no listening figure is published either in the sources consulted, and none is invented here.

The social credit block of the description completes the picture of the team. It lines up, in the published order: @OfficialStickman_40, @nofacebeatz767, @s_k_r_a_z_y, @dboss_h.o.s, @badproducerent, @ras_b_4kdem and @graphart_designs. Three of those handles carry the three artists of the record, Skrazy, Dboss and Ras B, one carries the production banner, one the designer of the visualizer, and the other two, among them the 767 of @nofacebeatz767, belong to the production entourage without the description specifying their role. This profile quotes them as a published block, without assigning a function to those the source does not qualify, including within the immediate entourage of Dboss.

The post of riddim maker: what the credit of Dboss means

To measure the triple credit of Dboss, the place of the riddim in bouyon has to be recalled. Our bouyon riddim page documents it: the riddim is the rhythmic and melodic loop over which the voices are laid, the basic unit of the making of the genre in the studio. Whoever signs the riddim therefore signs the skeleton of the record, its tempo in fact, its energy and its colour, before the first line of singing. On “Come Here”, that founding post is held by Dboss, who then sings over his own rhythm, alongside two partners who co-wrote the record with him.

That position, a singer over his own riddim, is a classic configuration of small studio scenes, and it says something about the profile of Dboss that his two other credits do not say. It supposes an artist who works on both sides of the desk in fact, even if recording, mixing and mastering are here entrusted to an outside studio, Yw3 Ent (DiYoute): the rhythmic composition is his, the sound finishing is that of the studio. The sharing can be read in the credit roll alone, without any outside source, and it distinguishes Dboss from his partners on the record, Skrazy and Ras B, credited on vocals and writing only.

The Riddimz signature, in parentheses in his credit, opens a question this profile raises without settling it. In the scene, riddim makers often sign their rhythms with a workshop name distinct from their artist name, and one riddim can then carry several records by several voices. No source consulted documents another record built on the riddim of “Come Here”, nor another riddim signed Dboss (Riddimz), nor a series of riddims under that signature. This profile therefore writes that Riddimz is, to date, a signature attested on a single record, and not the name of a catalog nobody has published.

What the credit does not say must be stated as clearly. No opened source specifies the tools, the tempo or the construction of the riddim of “Come Here”, and no listening documented by a source describes the singing of Dboss on his own record. This profile therefore describes neither the sound of the riddim nor his performance: it establishes his three posts, writing, performing and riddim, and the full frame of the record, which are the facts the official page publishes. For a profile of an artist producer, that frame is the essential career information: it says that he makes, that he writes and that he sings, in that order of increasing rarity on a single credit roll.

Three voices, one workshop: Skrazy, Ras B, Bad Producer Ent and Yw3 Ent

“Come Here” is a record with three lead voices, and the profile of Dboss reads in comparison. Skrazy, the first name of the heading, holds the two vocal and writing credits, with no technical credit. Ras B, the third name, is a writer and performer, and he is the only one of the three to already have a profile of his own on this site, built on his other public traces, among them his place among the guests of the “Up Next Bouyon Cypher, Vol. 1” by Trilla-G. Dboss, the middle name, is the only one to add the post of the riddim to the two shared credits. In the economy of the record, he is therefore at once a third of the voices and the whole of the published rhythmic foundation.

Around the three voices, the workshop of the record is complete and every post is named. Production is by Bad Producer Ent, the banner whose page publishes the visualizer and whose handle, @badproducerent, appears in the credits. The sound, from recording to mastering, is handled by a single signature: Yw3 Ent, with the precision DiYoute in parentheses. The name of DiYoute is a signature readers of this site already know: it appears in the credit rolls of other records of the bouyon new wave documented here, among them records of the Up Next Cypher circuit. This profile lends Yw3 Ent no credit other than those of “Come Here”, but it flags the recurrence, which places the record inside a real studio circuit. The image, finally, is by Graphart Designs, credited as the maker of the visualizer.

The keywords published under the video also draw that circuit. The page associates with the record the words bouyon and dominica, then a series of names of the scene: djtaffy, tafary, caution beats, dca, reo, keks, trillag, tk, triple kay, ridge, more sewo, riddim, rnb and rab. Those keywords are publishing choices of the page itself, and this profile reports them as such: they show in which search neighbourhood the banner places its record, at the heart of the established names of Dominican bouyon, without constituting a collaboration with any of them. None of those names is credited on the record, and the word riddim, which appears there as a generic keyword, must not be confused with the precise credit of the record, Riddim by Dboss (Riddimz).

Our bouyon playlist follows the releases of this circuit through the seasons, and the neighbouring profiles to this one, Skrazy and Ras B, document the two other names of the same heading. Read together, the three profiles describe a complete studio record, its three voices, its riddim maker and its workshop, and show how an island scene of this size is documented record by record, credit by credit. The case of Dboss holds a special place in it: it is the only one of the three profiles where the same name answers the question of who made the rhythm, who wrote and who sings.

The context: bouyon, its lineage and the 2027 season

The record of Dboss appears in a genre that already has its generations and its lines. Bouyon is born in Dominica in the late 1980s, and its bouyon soca branch, documented on this site, has a precise starting point: according to the first hand testimony of Sean “Smokiller” Francis, a Dominican-born producer who lived the scene from inside, bouyon soca was started by Dada in 2003 in Dominica, then popularized by Triple Kay, whose name also appears in the keywords of the “Come Here” page. The post of riddim maker, which Dboss holds on his record, is one of the founding trades of that line: before the visualizers, already, the genre was made rhythm first, voices next.

The format matters as much as the genre in this file. The visualizer has become, for the bouyon new wave, the standard form of publication: cheaper than a music video, it puts the record in images, publishes the full credits in the description, and lines up the handles of the whole team so the public can follow each actor. The “Come Here” page is a model of the format, and for profiles of riddim makers it has a particular virtue: it is the description of the visualizer, and it alone, that makes the riddim credit public. Without that line, “Riddim by Dboss (Riddimz)”, the rhythmic work of Dboss would stay anonymous, like so many rhythms of the scene whose makers are never printed.

The season aimed at by the record is that of carnival 2027, according to its Bouyon 2027 billing. In the Dominican calendar, records published at the end of the year contend for the fetes of the following season, and riddim makers play an upstream role in it: a rhythm that catches can carry several voices and several records over a whole season. No source consulted documents such a reuse for the riddim of “Come Here”, nor any stage billing or presence of Dboss on a festival artist list, and none is stated here. His 2027 season, to date, fits entirely inside this record, its three credits and the team that signs it.

There remains to place this profile among those of the rhythm makers this site documents. Other pages here are devoted to producers and sound craftsmen of bouyon, whose files rest on catalogs of credits spread over years. That of Dboss rests on a single credit roll, but that credit roll shows him in the three posts at once, which is, at an equal catalog of one record, the fullest file of the three voices of “Come Here”. This profile publishes it at that exact measure: neither an invented catalog, nor a simple feature name, but an artist producer attested on one record, with the documentary rarity that supposes.

The limits of the file: one record, one riddim, no biography

The file of Dboss fits into a single verified recording, and this profile counts it without adding any. “Come Here”, with Skrazy and Ras B, published as an official visualizer under a Bouyon 2027 billing, produced by Bad Producer Ent, built on his own riddim, recorded, mixed and mastered by Yw3 Ent (DiYoute). No other record, under his lead name or as a feature, and no other riddim signed with his name or his Riddimz signature, was found during this research across the platforms and in the sources consulted. The structured data of this page therefore carries exactly that single recording, and nothing else.

No opened artist page on a streaming platform was verified for Dboss during this research: no Spotify page, no Apple Music page, no Shazam entry, no SoundCloud or Audiomack account opened under his name. Searches on those platforms and on the web return artists and riddims of close or apparently identical names, among them older instrumentals published by other banners, unrelated to the Dominican bouyon of this record, and this profile takes care not to confuse them with him nor to attribute their catalogs to him. Likewise, no precise release date, no duration, no tempo and no listening figure for the record is published in the opened sources, and the only dated elements of the file are the Bouyon 2027 billing of the record and the research date of this profile, October 20, 2026.

No biography exists in the sources: no full name, no place of birth or residence, no age, no declared influences, no interview, no verified official photograph, and no published explanation either of the meaning of the handle @dboss_h.o.s or of that of the Riddimz signature. This profile therefore does not turn either the “Come Here” title or those signatures into an interpretation of his life or his intentions: they are credit and publishing elements, reported as such. Even his status is worded with care: artist and riddim maker are the two functions his credit roll attests, and no source says which of the two he practises the most, nor since when.

If Dboss publishes a second record, a new riddim, an artist page or an interview, this profile will be completed and dated like every page on this site, and his credits will be rechecked on that occasion, including the question of whether other voices one day lay parts over the riddim of “Come Here”. In the meantime, his listening fits into a single object: a studio visualizer where he writes, sings and supplies the rhythm, alongside Skrazy and Ras B, in the sound of the Yw3 Ent studio. That is the real file of a bouyon artist producer in October 2026, no more, no less, and it is published as such, with its limits on the first page rather than in a footnote.

Frequently asked questions

Who is Dboss?

Dboss is a bouyon artist and riddim maker credited three times on “Come Here”, published as an official visualizer under a Bouyon 2027 billing with Skrazy and Ras B: as a writer, as a performer and as the maker of the riddim, under the signature Dboss (Riddimz). His handle published in the credits of the record is @dboss_h.o.s. No other record and no biography of him was found during the research for this profile, carried out on October 20, 2026.

What is “Come Here” for Dboss?

“Come Here” is a bouyon record with three lead voices, Skrazy, Dboss and Ras B, published as an official visualizer under a Bouyon 2027 billing and produced by Bad Producer Ent. For Dboss, it is a triple credit: he co-writes the record, he sings it and he signs its riddim. The record is recorded, mixed and mastered by Yw3 Ent (DiYoute), with a visualizer by Graphart Designs. No precise release date is published in the sources.

What does the credit Dboss (Riddimz) mean?

It is the printed form of his riddim credit in the description of the official visualizer: “Riddim by Dboss (Riddimz)”. The name of the artist is followed there, in parentheses, by a workshop or production signature, Riddimz. No source consulted develops that signature nor documents another riddim under that name: this profile reports it as published, as a signature attested on a single record to date.

Has Dboss produced other riddims or records?

No other riddim and no other record by Dboss was verified during this research, carried out on October 20, 2026 on YouTube and across the Spotify, Apple Music, Shazam, SoundCloud and Audiomack platforms. The artists and riddims of close names returned by the searches, among them older instrumentals from other banners, are unrelated to him and are not attributed to him. This profile states that openly and will be completed if a new credit appears.

Where does Dboss come from?

No source consulted publishes his place of birth or residence, and this profile does not invent it. What is documented is the circuit of his single record: the visualizer page associates the track with Dominica in its keywords, bouyon and dominica, its credit block lines up handles in 767, the area code of the island, and the record comes out on Bad Producer Ent, in the sound of the Yw3 Ent (DiYoute) studio. Dboss is therefore placed through his record and his team, with no personal origin stated.

Where can I hear Dboss and follow his partners on the record?

On the official visualizer of “Come Here” on YouTube, the only primary page opened for this profile. His handle published in the credits is @dboss_h.o.s, quoted here without a link verified by direct opening. The profiles of his partners, Skrazy, first name of the record, and Ras B, are published on this site, and our bouyon playlist follows the releases of this new wave.

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