Electric Hawk is here with a brand new EP to soothe your ears. The “In Harmony” EP features a bunch of underground producers and is curated in such a way where it really reflects the beauty and uniqueness of the rising artists we see in the bass music scene today. The EP is filled to
Veteran UK producer Skream just released his most recent single “Ectogazm”, which was also named both Pete Tong‘s Essential New Tune and Annie Mac‘s Hottest Record. Released on Ministry of Sound‘s label, the track is reminiscent of UK house and the earlier years of dance music.
The UK producer and DJ captures the feeling of old-school rave tunes with a catchy piano progression but also manages to make something that feels fresh and new. With a driving bassline, shuffling shakers and percussion, the track is one that Skream has been rinsing out on dance floors in many of his recent sets. He continues on his current tour, where he’s playing sets open to close across Europe through the end of 2019. Check “Ectogazm” below.
A staple in the bass music scene, Zomboy is known and loved for his consistently innovative sound design and wildly powerful drops. 2019 has already been an amazing year for fans, with the release of EPs Rott N’ Roll: Part 2 and Rott N’ Roll Part 2: Remixed, as well as DJ Snake collaboration “Quiet Storm.” With the year quickly coming to a close, the world has received another coveted Zomboy original, courtesy of dubstep super-label Never Say Die.
After opening with a series of eerie individual synths, “Archangel” expands into a full cinematic intro before quickly moving into a tense buildup. The drop begins with Zomboy’s signature vocal tag, followed by utter chaos as deep growls and high-pitched screeches intertwine. Sure to edge its way into major festivals and shows around the world, take a listen now before it inevitably makes its way into countless DJ sets.
The bass demon Kai Wachi has officially dropped his brand new EP “All my Demons” and it is an energetic, fast-paced whirlwind of tracks that is sure to hit you hard. A compilation of tunes that clearly represent Kai Wachi and his musical talents, it is no wonder this artist has been a staple in
Eddie Jefferys, known now musically as Moody Good, has been disseminating his dastardly dubstep earmark for years—both on his own and formerly, as one half of the bass outfit, 16bit. Since launching his solo project, he’s released with NGHTMRE and SLANDER‘s Gud Vibrations, Skrillex‘s OWSLA imprint, and most recently, Zeds Dead’s Deadbeats label.
The “Hotplate” producer’s return to Deadbeats is marked by “Kush,” an aural nod to the island-y dominion of rhythmic dub, all the while employing melodic sensibilities to its audacious approach. The track’s bass grinds alongside bubbly, video-game reminiscent synth lines pack an enticing punch for bass consumers on any side of the dubstep continuum.
Moody Good is currently executing his Sunny Side Up headlining tour. Tickets are available here.
Ever since Excision brought out “the biggest DJ in the world” as a Lost Lands special guest in 2018, Shaquille O’Neal (DJ Diesel) has taken the bass music scene by storm, hosting his own events and performing at massive festivals across the world. Now, Shaq is leaping into original production, teaming up with recent Latin Grammy Award-winning producer, Nitti Gritti.
Shaq has been teasing this elusive ID at festival performances for months now, leaving fans anxiously awaiting its release. With its arrival, it’s evident the winnings were worth the wait. “Takin’ Over” opens with a series of ominous growls topped with aggressive shouts from Shaq himself, preparing the listener for the bass destruction to come. The drop hits hard and fast, and showcases the leaves-nothing-to-be-desired production style embodied by Nitti Gritti. The combination of the track itself and the reputation of the names attached to it is certainty enough that the offering will be a fixture in the bass dominion for months to come. Catch Nitti Gritti on his upcoming Asian tour dates with Space Yacht, including stops in Taipei and Shanghai.
Fresh off the fall cresting of his Ride Waves Season 2 Tour, saxophone sensei GRiZ has released the fourth installment of his Bangers.Zip EP series. GRiZ started the collection with the first arm this past June, followed closely by Bangers.Zip in August, and Bangers.Zip in September. Each release has served in showcasing GRiZ’s fine-tuned production skills in a variety of musical styles. Bangers.Zip features funky beats and high-energy wobbles that old and new fans of the perennially get-down-friendly producer ought to enjoy.
Kicking off the three-track EP, house tune “Gonna Get Funky” is exactly what you’d expect from the title: a feel-good funky rhythm that’s concocted to get crowds moving. Following closely behind are ad lib-abundant tracks “Let’s Get Weird” and “Tiger Kingdom Space Camp,” two wildly creative tracks that highlight GRiZ’s signature big brass and wonky wobble sounds.
For six consecutive weeks, Kai Wachi showed consistency to be one of his strong suits, releasing a new single each week from his latest EP, All My Demons. The eighth week culminates in the grand finale: the project’s full-fledged debut.
The All My Demons preview that Kai Wachi afforded listeners in the time leading up to the EP’s arrival was hearty, but there’s still unheard Wachi sound to be sought on the full production. Streamers will find it in the form of “Vapula” and the eponymous “All My Demons.”
Wachi seizes streamers’ speakers with his visceral style of dubstep. All My Demons’ title track provides a kinetic kickstart to the electronic endeavor. Across the EP, eerie samples (note the alarm in “ASMODEUS”) intermingle with stabbing synths and anchored bass lines situated in the darkest of tonal depths. There’s a devilish allure to all the low-end activity on All My Demons. It distinguishes the effort as another no-holds-barred approach to bass from the producer—his hardcore listeners wouldn’t have it any other way.
As dubstep enters a new echelon with entire festivals dedicated to its deep, wobbling kiss of death, it’s high time to remember that dubstep arrived at the helm of the EDM explosion in the US.
Skrillex released the Kraken with Scary Monsters and Nice Sprites in 2010, just as the term “EDM” was starting to take shape. At that point, the raw, sometimes island-evocative, minimalist sound known as “riddim” didn’t boast anything near the earnest following it enjoys today. The popular dubstep in the states at the time, commonly referred to as “brostep,” was flashy and rather outlandish. It was raucous. It was huge in both form and function. And MUST DIE! was undoubtedly one of the biggest proponents of the sound, signing on with Skrillex’s OWSLA, where he produced some of the most irreverent and influential cuts of the moment, (i.e., “Gem Shards”). Though, as time went on, once the compositional visionary began regularly releasing with dubstep dominion Never Say Die records, his catalog became riddled with tracks imbuing more riddim-ready sensibilities.
On “Funeral Zone,” his latest Never Say Die release, MUST DIE! aligns himself with the sonic trends of the current dubstep epoch, employing harsh, undulating, riddim accents alongside a series of floaty mid-range synths that would, oddly enough, feel at home in a buildup by the late great Avicii. Don’t fret though, when the drop comes in there is no mistaking this is a MUST DIE! track that belongs in 2019.
There’s no slowing down for these two beatmakers. Vulgatron is back – and this time he’s bringing with him dubstep heavyweight Oddprophet for hard-hitting new collaboration ‘Blind’. Released today on SKisM’s Never Say Die Records, ‘Blind’ is Vulgatron’s third release on the label since he launched the project earlier this year. Following on from previous