Resounding sounds from the mystery grime merchant known to most as GHSTGHSTGHST as he makes his debut on Deekline's Hot Cakes Bass. The reese-fuelled "Anthemic" sets the scene with such devilish clarity you might lose your trousers, it's followed by the droning bass and ghettotech stomps and vocal samples of "Nova", the twisted disco stabs and grizzly bass of "Bae Drop" before the gun-shooting, amen-firing, bouncer-bouncing "Door Beef" shuts us all down. Anthems abound.
Jumping Jelly Beans! The JBF fam aren't messing around here. After two major compilation album releases they now dive deep into the EP oceans with this slick and stripped-back broken funk collection from Manchester's House Jacking affiliate Korzi. "Tempest" is a serpentine spell, slithering around in the sub low shadows while "Sound Freq" rolls out with icy synth blasts, intoxicating percussion and a downpitched vocal sample that's not dissimilar to Josh Wink during his golden age. "Primal" ups the pressure further with pneumatic kick/hi-hat combinations and a bassline so creepy it should come with a medical warning. For added dankness hit Cloaka's relentless techno twist remix. Feeling Jelly yet?
Forgotten Light man Leonce Nelson made his name by creating bespoke, off-kilter hip-hop and bass-heavy R&B remixes of Beyonce, Rihanna and Keyshia Cole. Here, he delivers his debut album, Insurgency. It's a pleasingly entertaining and varied affair that moves from the foreboding melodic motifs and bustling drums of "Snakes" to the UK funky influenced hustle of "Truffle Track", via a series of hard-to-pigeonhole cuts that draw inspiration from various hip-hop and electronica styles. Highlights include the booming, tropical influenced percussion and humid melodies of "Marimba Track", the undulating and bass heavy intensity of "Jungle" and the upbeat, carnival-friendly celebration that is "Apparition"
While some of his peers surround themselves by endless mountains of plug-ins and libraries, Mistabishi continues on his own mission of machine purity and true focus with the next instalment of his "Read/Write" series. Now in full-on album form, the concept remains consistent: to create everything from one machine and record in one take. Squeezing the Korg Electribe for everything its worth (and more) the full range here is incredible; from the nightmare soundtracking clunks and grizzles of "Declension" to the euphoric rocket thrusters of "Nominative" to the broken glass rhythm and pounding kicks of "Sortal", not only does this bang but shows how much just one machine can do when in the right hands. Ultimately timeless.
Producer from Brazil, Cesrv whose musical endeavours started back in 2006, he's an important figure in the Brazilian bass scene. He managed to score some fruitful collaborations outside his home country, with the likes of DJ Rashad and Taso to name a few. After his single "STRTZ", on the "Groove Sounds & Twisted Rhythms Vol. V" compilation, the artist shows us his arsenal of abilities and his musical maturity on his debut EP "HIGH". The tracks found on this record are rhythmically pulsating compositions pulling us closer to the climate of South America, fueled by the most recent sounds in the electronic music world of jungle and footwork.
18 months have passed since Bristol beatcamp Durkle Disco last compiled a "Definitions" EP. Once again the quality and levels of talent are high as Boycott busses up the best dynamics of trap, grime and dubstep for a lean, mean slaying machine they call "HK '87", Daffy & Gundam's "Bio Schematics" continues the stripped back prangish tones Durkle have made their signature with the equally alarming "Bio Schematics". Deeper into the EP we hit purring 808 soul from Denham Audio before getting the chop from Unkey on the icy stepper "Karate Club". Black belt business.
Sapyens Records out of Prague is a bass music label founded by Dj Alyaz. They now present local hero Freezer who is fresh off hot releases on 3000 Bass with another bomb entitled "Casper" exploring his unique take on bass driven future beats. There's some stellar remixes on offer too, by a who's who of local talent. Our favourites weren't limited to Chik & Kletis' remix which is a slow motion journey through the darklands in a similar vein to dBridge (or anything on Exit Records), the proper street sound of Dexxx's grime rendition or even Kob Squad member ResetedH's remix which is trap music for horror movie soundtracks: if we've ever heard such a darn thing!
We were fulsome in our praise for recent Clap! Clap! full-length A Thousand Skies, a superb set packed full of tropical instrumentation, tribal rhythms and "outernational" vibes. On this accompanying EP, two tracks from the album are given the remix treatment. Paleman and Jun Kamoda both tackle OY collaboration "Hope". While the former's 140 BPM translation - think UK funky gets tropical, and you're close - is undeniably excellent, we're preferring the rolling tribal drums, sliding fretless bass, trippy vocal samples and highlife flourishes of Kamoda's standout version. Arguably best of all, though, is Medlar's intoxicating Afro-house remix of "Ar-Raqis", which successfully adds dubbed-out, Tenaglia style motifs to guarantee trippy, late night thrills.
New transmissions from Dave Huismans - whether under the 2562 moniker or as A Made Up Sound - are seemingly all too rare, but are always guaranteed to cause the kind of excitement usually reserved for big budget summer blockbusters, albeit without the inevitable sense of disappointment. After Hours is a welcome return then and sees Huismans further muddy the waters of definition when it comes to A Made Up Sound; both tracks are characterised by a more steady approach than we're used to from Huismans, with the title track described as offering a "brooding alternative soundtrack to that most underrated of Scorsese movies" (complete with film dialogue samples), while "What Preset" provides an abstracted combination of confrontational bass stabs and broken kick drums that seem to explode like landmines. Like the recent output of the Livity Sound trio, it's a release that explores techno's slower possibilities without compromising on impact.
Slipping back onto the Decisions roster like a comfy pair of creps, Air Max '97 continues his firm-footed stance on the more experimental, risk-taking fringes of bass music in true style. "Reduct" says it all with its alarmingly warped and paranoid pads. The message is backed up all the way as cuts such as "Suede" trip out all senses with fractured drum rolls and humanised elements, "3YE" provides an insight into deconstructed grime, "Vessel" adds truck-loads of grainy dubspace and skippy beats and "Chalk" winds up the experience with broken glass groove of strange sounds and drum arrangements. Don't believe the proverbial hype - full "Vessels" make the best noise.
One could almost argue that the (Re)Sources imprint is just about the most resourceful UK indie to be jumping about in our charts as of late. The fledgling imprint has managed to carve its own path between post-dubstep antics and techno slashing over the years, and it's thanks to new talent such as Fatal Walima, the newcomer in question. Walima very much has his own strain of bass art going on here; tunes like "Azraq" or "War" have taken the heart of grime and placed it one something different, newer and more at the cutting-edge of UK bass experimentation. Stop and start dig riddims dominate this fiery EP, and it even branches out into a bit of 4/4 thanks to remixes from the likes of Joseph Marinetti, Tarquin and Douster. YESSS.