As oh so many of its purveyors attest, the term “bass music” is hard to define. After all, bass is nothing more than the lower range of frequencies. Everything from a human voice to a revving engine uses them. So if an artist is going to adopt this term for their music and still stand out, they have to morph the bass into something digestible and enjoyable.
That is what Eprom has done yet again on his latest single, “Hope.” Once again being released on Deadbeats, label bosses Zeds Dead give free rein to Eprom to insert a wide variety of feelings and emotions into his generally grueling style. White-hot flashes of vocals and drum breaks are aligned alongside kick hits that would rumble the foundation of any venue lucky enough to hose Eprom for a show.
It’s not just about the sounds themselves on this track either. Eprom also displays his understanding of restraint, incorporating space that allows sonic ideas to evolve and diminish, making for truly standout piece of music.
Minneapolis’ snow-capped NYE festival is back, returning this year for its fourth annual installment. Snowta 2018 featured Skrillex in his return to the festival circuit alongside acts like NGHTMRE, Chief Keef, Subtronics, EPROM and to name a few. With a stacked lineup, the festival’s third production was packaged with an array of extreme sports, including Snowboard Rail Jam and Freestyle Motorcross.
However, midwestern bass heads are in for a real treat this time around, as the full NYE 2019 roster includes a rumbling concoction of 1788-L, Big Wild, Dion Timmer, Zomboy, Juice WRLD, and more. Other festival ammenities have yet to be announced, but if attendees are looking to hit the slopes for a bit, there’s a variety of options in the Minneapolis area.
Since its launch, Zeds Dead‘s label, Deadbeats, has been driving the conversation on bass music. Rather than adhering to a specific sub-genre in the low-end umbrella, the label focuses on an overall sound and energy in its releases.
Zeke Beats is a mainstay on this label, and his diversity as a producer makes him a perfect fit. Now, he has brought another talented bass-wizard into the fold who goes by the name of G-Rex for a new, heavy single entitled “Purple Haze.”
“Purple Haze” alludes to Zeds Dead’s love of dubstep, but maintains a level of originality that can only be produced the first time two artists work together. Hopefully there will be more to come in the future of this duo.
Mike Guard, the procurer of tunes under the alias Blunts & Blondes, has a new release out on Deadbeats that’s nothing short of a filthy heater.
Relatively new to the scene, the artist is inspired by the likes of Boogie T, Subtronics, and of course the godfather of bass, Skrillex. Guard stays true to his passion for bass, and his new track, “Run the City,” is a passionate expression example of this.
With firm footing in both the dubstep and trap genre, “Run the City” captures a music style that the headbangers of the world so fervently chase. The song is dirty, wavy, bass-heavy, and calls to action those who intend to take over the dance floor. With some rap elements, the track can make anybody feel like the HBIC, and it’s the kind of nasty expected from a young inspired dub artist.
Stream it below and peep his debut EP, Smoking with Friends.
GRiZ returns with a three-piece Bangers.Zip EP via Zeds Dead‘s Deadbeats imprint, which is a sequel to his Bangers.Zip from earlier this year. While the first edition had more of the electro-sax man’s funk and reggae leanings, this one runs in a heavier, more contemporary direction. The first track is a collaboration with up-and-coming bass standout Subtronics, cleverly named “Griztronics,”— it’s a trap brass construction with a drop that will move even the most stubborn of dance fans.
“Freak The Method” is the funkiest track on the project, with a unique heavy bass swing on the hook that rides along tantalizing synths and groovy verses. “Push The Vibe” is carries a complex percussive attitude with crescendoing synths and hyphy-inspired vocal play.
GRiZ is set for the second season of his Ride Waves tour run across 18 cities in the US this fall, touching down in DC, Nashville, LA, SF, Chicago, double nights in Atlanta and more. At the end of August he’ll be returning to the iconic Red Rocks Amphitheater for his fifth sold-out double-header, performing fan favorites from his 2010-2017 catalog on August 30 and a special Ride Waves / new music showcase on August 31.
DUCKY has had an explosive 2019 so far on the release front. After her full EP materialized earlier this year, she is now back in the mix with a new single titled “A Place to Rest.” The producer is known for the diversity of her productions, which range anywhere from dubstep, to hardcore, all the way to melodic pop.
“A Place to Rest” opens with heavily synthesized female vocals that pave the way for a kicking build. The listener could easily expect the track to fall into a melodic bass drop, but instead the song features an ethereal and chaotic collection of synths with retro dubstep undertones. In addition to the new music, DUCKY debuted a brand new live show setup at Lollapalooza this past weekend in front of thousands of fans. “A Place to Rest” is out now via Zeds Dead‘s imprint, Deadbeats.
Rising artists WHIPPED CREAM and LICK collaborated for a deliciously dark release on Zeds Dead’s own Deadbeats imprint. “The Greatest,” is moody, sinister dubstep—gripping and explosive in nature.
“The Greatest” begins with ominous trumpet-like synths and works into a drum line drop, not before a chillingly deep vocal chop claims, ‘I’m the greatest.” The track only intensifies as it progresses, an irresistible trait of a headbanger’s delight. Primal and electrifying, LICK and WHIPPED CREAM’s joint effort is a declaration from both artists, staking their claim in dirty dub game.
Moody Good (real name Eddie Jefferys) has spent the better part of the last decade coming up with deliciously wicked ways to approach dubstep, to considerable avail. After stepping outside his tenure with his former duo, 16bit, in 2014, he soon found a new home for his pernicious productions with the likes of OWSLA, wherein he released his self-titled debut album that same year.
Now he’s emerged from his low-lit dubstep den for another intuitive pairing, this time with the Zeds Dead-championed Deadbeats, for his latest track, “Bite Your Lip.” Jeffery’s debut on the flourishing imprint is a dastardly dub/trap one-two punch. “Bite Your Lip” makes its audacious aural attack with snarling synths, warped extraterrestrial-status bass, and a harrowing chorus of distorted vocals. If the track had teeth, they’d be full-on fangs.
Los Angeles-based electronic sweetheart DUCKY returns with her fourth release of 2019, “Addicted to Your Distance.” Debuting on Zeds Dead‘s Deadbeats imprint, the single follows her four-track EP, I Still Believe in Love, aligning thematically with the EP’s personal heartbreak backstory. “Addicted to Your Distance” is undeniably the next chapter in DUCKY’s growth, with lyricism centered on moving on from a past relationship and unforgiving bass packed into the production.
The track employs signature DUCKY elements, from her synthesized vocals to her eclectic fusion of dubstep and happy hardcore-inspired sound. Speedy vocal chops serve as buildup to a heavy drop that packages frenetic synths and punchy bass into a classic dubstep production. DUCKY’s angelic voice juxtaposes the thrashing sound design, ultimately delivering a melodic ensemble of bass-infused stylings. Echoing her self-molded genre of music, “Addicted to Your Distance” capitalizes on DUCKY’s ability to put a gaming-inspired twist on heavy-hitters.
Zeds Dead have teamed up with Dutch duo DROELOE for a new release, “Stars Tonight,” which DROELOE debuted at their recent Spring Awakening performance. The two groups have been teasing the track on their social media channels, and the unlikely combination has led to a melodic bass-fused release that showcases the best of both production duos.
The track begins with pounding synths and light accents that build as a vocal weaves in and out of the notes. “Stars Tonight” then drops into what the listener would perceive to be the drop, until another build falls into extended bass themes. The track takes the listener through sonic twists and turns, and the multiple drops within the release all show live performance potential.
The track is out now via Zeds Dead’s own imprint, Deadbeats.