This is some big dog business, a new Butterz special that'll please the bass and grime crews alike. Swindle is the producer, a UK badman who has appeared on labels like Mala's Deep Medi Musik, and he's accompanied by the creme de la creme of grime vocalism. "Lemon Trees" is a fast, choppy bass swinger powered by funky synth melodies and D Double E's inimitable swagger, while UK hip-hop rapper Ghetts spills some truth over "Works Haffi Run". Flava D and JME go for a head-to-head battle on the house-driven dubstep hybrid that is "Mad Ting", and to cap it all of you got an instrumental each of "Lemon Trees" and Works Haffi Run". BAD.
It's safe to say that Kry Wolf now has a rather impressive catalogue behind him, and nothing but quality under his belt. The man behind the Sounds Of Sumo label drops his latest release for Night Bass and it seems like the perfect place for his wondrous bass cuts. "Temper" is a slow, shape-shifting beast with a rattling percussion hook that wraps perfectly around the tune's knotted swarms of swamp bass, whereas "Flashlight" unleashes a bit of four-to-the-floor beneath a sea of rave sirens and purring bass tones. "Wavvves" feels like the last piece of hardcore continuum, a break-heavy, pseudo jungle killer to tie this man's bass experimentalism in the best possible way. Hot!
It's been a year since Slime's second instalment of their leading compilation Future Sound Of Garage series. Now the follow-up has finally arrived boasting 28 examples of what they to be consider music of the future. There are too many to name, but highlights include the ethereal and sensual future-step opener "Return" by Monoblue, the seductive, delicate chimes of the shimmering "Ever Feel" by Just Breathe, the sparse and raw 2-step of Pavv's "Let It Go" and even the uber commercial Ibiza-friendly anthem "Stone" by Project X is a (guilty) pleasure.
The inlay art on this release says it all. Featuring a female face peeking through clouds and a blissed out heavenly body floating above her, it mimics the early utopian states imagined on early 90s dance music covers. The accompanying music also wears its influences openly. Daze, an Australian producer, previously released a trio of records for Lobster Theremin, but for this outing ditches much of the gritty tape noise that he had shrouded his previous work in. The title track is all wide-eyed synths and hyper-speed jungle breaks while on "Centuries Later" he slows down the pace to emulate Nexus 21 and Detroit techno. However, the main narrative on this release is the pre-jungle period and as "Xx" shows, Daze manages to capture the mixture of musical depth and high-speed rhythms that defined that period.
The Prjkts imprint is only on its third outing but, they're already on a tight roll, and they've invited the prolific Arma offer some bass truth. The producer starts of with "Safari", a rollercoaster of a tune that takes us from flute-led grime all the way to Berlin techno, which is a similar state of affairs for the tribalistic patterns and intricate percussion licks of "Jungle Drums". "Space Raider", as the name implies, is an intergalactic bass-house trip guided by a warm, woozing bassline and a whole heap of starry melodics, followed by a Foxmrnd remix of Safari, where the original is deconstructed magnificently thanks to a newer, looser drum pattern that rattle side to side instead of banging up and down.
Thomas Heckmann's Drax project spans way beyond the confinements of dubstep. The artist has appeared on techno imprints like Perc Trax, and that's precisely why we love his particular strain of hybrid-like bass. Southpoint have managed to secure his services with these five curbside bangers, and the lead track "Frostie" draws the first weapon with a classic sort of grime approach, which allows "Leave" and "Locked" to both work on the same sort of aesthetic with a deeper focus on the half-step beats and additional harmonics. There's a couple of remixes, to boot; Beanzo turns "Frostie" into an even icier affair thanks to the help of a more penetrative beat shuffle, and JFO morphs "Leave" into an early-days Skepta kinda flex. Big.
The UK's Patten duo have already appeared on London's timeless Warp stable, but this latest album truly feels like their most accomplished work to date. That's because this particular style of experimentalism is full of direction, nothing is used for the sake of it, and all their sounds are perfectly balanced with another. It almost feels like a mathematical ride through the deepest, most convoluted corners of UK bass music, an aspect of these tunes that we love. Moreover, they make total sense as one whole unit of sound and, rather than being disparate slices of leftfield, they move and evolve with each other for the whole duration of the album. We won't go into details because this is music to be interpreted freely, much like the majority of this label's never-ending pit of goodness. Recommended.
Serious grime business from long-standing Enfield roadman. Fresh from his adventures on Project Allout, here he brings clutch of war jams, each one riddled with dark energy and heavily coded drama. "Chestplate" looks towards the dubstep side of the game with its epic warbles popping on every chiselled snare, "Immortal" features a slick spar between Nico Lindsay, Capo Lee, Merky Ace and Blay while the instrumental reveals the powerful synth horn funk they're spitting over. Further into the EP we wade to find gold at the end of the gloomy, pensive "Dartford" tunnel before taking more of a chiller approach on his warped and wonderful remix of "Drunk".
Bisweed's output for the Paradise Lost label has been among his very best and, alongside the likes of the big boy such as Deep Medi Muzik, the label is also gaining traction as home to some of the best meditative dubstep around. He's back with the second volume of the Steampunk series, and the dreamy harmonic folds of "Aurora Borealis" are the perfect opener to what is one long, spiritual bass journey of an EP. "The Perfect Knowledge" is darker, moodier, and represents the doorway to a much more ominous stratosphere on "Magnetic Field VIP", a missile guided by just the right amount of 'wobble'. "Impedance" is the final piece of the puzzle and, it too, ups the tempo and drives proudly into more stepping motions. Illness
Moderat's third album, simply tagged as III for the purpose of continuity with their previous two albums on the Monkeytown imprint, took us by the scruff or necks when it was released earlier this year, and we knew it was only a matter of time before see some remixes to spring up off the back of it. However, this particular number isn't quite a remix, but an edit of a remix. Yes, very much in line with the label's improvisational vibe. Tech house specialist Solomun remoulds Siriusmo's remix of the track, now a sleek and DJ-ready house anthem with a progressive tone at its core, and drenched in poppy vocals to make it an instant hit beyond the ones in control of the decks.
Never underestimate the power of Moveltraxx. And that applies to pretty much any musical genre that contains repetitive beats and significant levels of low frequencies. The French imprint returns with the fifth chapter of their Street Bangers Factory series and, once again, we're faced with a sublime collection of everything that falls somewhere along the hardcore continuum. Feadz turns up with an old school banger that brings back the spirit of the late 80's M25 parties, Big Dope P offers a jazzy view of trap, Dudley Slang's "The Embush" is a glorious house banger with a dope selection of piano keys and, among other certified killers, Lockah proceeds to deliver some pure hip-house for good measure. Recommended!
Last time Jam City released an album on Night Slugs we left it on repeat for a few months here on the Juno HQ stereo, and we've been waiting for a new one with plenty of anticipation. We have to be honest here and say that Jam City might well be our favourite Night Slugs member, mainly because tunes like the opening "Send", or even "Cowboy", and pretty much every other tune on here just sound so fresh and compelling. No other artist can mash up house, techno, bass and R&B with the same style or elegance as this producer, and even more leftfield jams such as "Wet GT", which verges onto ambient corners, are so full and rich in movement. "Boundry" the sort of house-not-house track that could be enjoyed by anyone depending on their tastes of sounds, and this is a recurring pattern throughout this whole album. Jam City, we love ya. Warmly recommended.
You can always rely on London's Blank Mind imprint to deliver the freshest, most gloriously noxious bass twists around. After a short hiatus, the label returns with four slithering licks of beats and low frequencies from South Africa's AudioBoyz, Durban's collaborative project consisting of Fatonic, Motion, Mudpunk and Njeh. Now, this particular strain of tribal dance music has been coined 'Gqom', and it's the perfect balance between urban and rural, modern and ancient. "Danger" and "Gibbon5", although different in their choices of sounds and aesthetic, are both made up of the same sort of ritualistic outlook that has been missing from the bass world for a while. "Insomnia" slices its sharp percussion stabs over a thin layer of bass and an even more stripped-down sonic landscape, leaving "The Legendary" to deliver the most musical content on this single, a dark and alluring wormhole of sonics.
Things With Wings got all the top marks from us thanks to a debut earlier this year on Skrufix, and the artist has decided to return to the label with an equally inspired two-tracker. This isn't just any sort of bass, it's minimal glitch at its percussive finest. "Naija Beat 3.2" never fully takes off and, instead, remains slow and contained, but its sampled vocal swagger fits ever so well with the tune's claps and gentle drumming. "Yoruba Lesson", perhaps an ode to the infamous label, is a punchier, more driving sort of house charmer fit for any set, and likely to appeal to any sort of DJ. Lovely stuff.
Rastronaut has already appeared on the Enchufada label with several remixes but, this is his first full EP for the imprint, a two-tracker that'll satisfy all of your bass needs. Rastronaut isn't exactly someone to pigeon-hole himself into specific genres, he likes to keep things loose and diverse, and "Furnas" is a pure hybrid track, a masterful blend of bassline house, tribal, and subtle grime. He does like a good are drum on all his productions, though, which is also heard on "Fontes", another curb-side rudely anthem tailor made for the dance floor, and totally suitable for some good old head-nodding for the corner-dwellers.