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Japanese producer Goth Trad is an interesting character. Some years ago, he single-handedly tried to introduce a form of music called "mad rave" - an intense and really quite insane fusion of D&B, hardcore, break core and dubstep. There are occasional echoes of that period on New Epoch - his first full-length for bass music hipsters Deep Medi - but for the most part it's a fairly careful and considered set. Mostly built around variants of dubstep rhythms, it fuses chiming melodies and clanking industrial sounds with hand-picked samples, skittering percussion and subdued, sub-shaking grooves. In parts, it has more in common with IDM than hardcore, but that's no bad thing. It's certainly his most grown-up album to date - highly recommended.
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All that time conversing with the likes of Marcus Mixx and DJ Stingray must have rubbed off on Unknown To The Unknown's DJ Haus. Despite his Hot City project (alongside Ben Keen) being known for its bass-heavy 2-step productions, this EP, in collaboration with the LA/Montreal pair LOL Boys, consists of a pair of tweaking acid-house jackers. The title track opens with a flurry of swung 808 kicks and neon stabs, before giving way to a rough and ready 303 line, with the rhythm straightened out in the second half into a tough 4/4 house rhythm. "Whitney (Jus Some Shit)" is another winning piece of Chicago inspired house, with a gnarled bassline, driven by furious cowbells and detuned ghetto vocal samples, all with a grimy undercurrent that keeps its feet firmly entrenched in the underground of contemporary London club music. If you're worried that the new direction will cause some of Hot Ciy and LOL Boys energy to be lost in translation, don't be - this is some their best output to date.
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This collaboration between producers Funkystepz and vocalist Lily McKenzie has the feel of an unlikely radio hit. Although primarily a UK funky/UKG release, its catchy vocal and bubbling electronic elements - particularly the bass and melodic hooks - suggest a strong electro-house influence and an understanding of the mechanics of pop music. Those searching for more underground flavours would be advised to check out the Roska remix, which laces the vocal over a murky, low-end heavy chunk of steppy, almost tropical percussion, and the gorgeous, piano laden rework from Exemen. There's also a bombastic, wobble-tastic dubstep remix from Unison Elite for those who like their grooves a little more on the aggressive side.
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A brand new entry from Killawatt & Ipman here as they kick off Boka Artillery Vol 1 with two amazing Deep Medhi meets Tempa sounding cuts which will have old skool dubstep heads quaking in their boots. It's half-stepping vibes a-plenty here, as "Xilbaba" gets things started with a gigantic swagger. A dark, oleaginous bassline sits below snapping snares and festers in a deep, weighty soundscape and SFX echo in the vast expanse of space. Next, Ipman goes solo in the equally as superb "Mob Mentality" - a track full of ominous strings, booming sub bass, menacing synths and laboured, hollow clapping beats.
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After moonlighting on Exit, Synkro takes the lead with a track perfectly suited to the doe-eyed melancholia of the label. "Progression" also neatly fits Synkro's own emotionally rich back catalogue, as swathes of pads and tones blur into one rising and falling suite, while the beat remains crisp and rigid, gently breaking over the half-step kick pattern. Regular sparring partner Indigo steps up for the remix, bringing with him a walloping sub bass line and some seriously crafty jungle breaks. Breaking up the elegant original to become something much ruder, his reimagining is the perfect foil to complete the EP.
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Japanese producer Makoto is most known for his D&B output and work with Good Lookin' but that hasn't stopped him venturing outside these realms and foraging in new musical territory. This release on 7even Recordings brings together many aspects of his influence to great success. "Different Rhythm" is all percussive shuffle, weighty bass and shimmying rhythms wich are deeply enticing. "What Do You Want" starts with a flurry of clips and claps and muffled vocal but progresses into a sublime tune full of gorgeous synths and beautiful harmonies. Dreamy.
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Undoubtedly one of the best artist names to have arisen in modern music, Schlachthofbronx come straight outta Munich with some punishing basslines, chopped up vocals and oodles of production prowess to bring us this single on Disko B. First up is "Slowine", which is full of belching bass, hollow drum kicks, grinding synths and disorientating vocas which echo amongst the piece with a narcotic twist. "Dickie Riddim (feat. Warrior Queen)" continues this musical journey into the unknown with feisty, funky vocals from Warrior Queen adding an extra punch to the swaggering tune. A big release - get to know!
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At its best, UK funky can be one of the most joyously uplifting forms of electronic music. The key to great UK Funky tracks is always the grooves, which at their best offer a knock-'em-dead combination of addictive, almost tropical rhythms and heavy bassline pressure. This new single from Major Notes -accompanied by soulful vocalist Koni - boasts a fantastic groove. Combined with Koni's excellent vocal and some neat melodic touches, it sounds both grown up and markedly energetic - like soulful house given a massive boot up the backside. The accompanying Notesy Remix is great, too, and offers a deeper, less hurried alternative that gives the vocal more room to breathe.
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Get your head down and your hood up for these excellent couple of tunes from Yin Yang Audio on Soulstep. First up is "Synergy" - a tense piece, full of uncertain chimes, haunting synth sweeps and chiming below a deep, punishing b-line, which sets the tone for the piece. "Scared", on the other hand, pushes the experimentalism the other way, building from a sparse intro into a gently rattling, lonely main part full of groans and curious SFX. Unnerving yet thought-provoking music here.
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A couple of monsters here from the enchantingly entitled Megalodon, on the Second To None label, which hark back to a mid-noughties Caspa sound, whilst retaining a unique edge. "Goblin Shark" is all ribbiting bass, tripping metallic breaks and occasional barking SFX, with a weighty bassline adding pressure from below. "West Coast" adds a bit more Skream into the proceedings, with a bubbling, raucous b-line, low-slung sweeping atmospherics and razor sharp snares.
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Otherwise known as the man behind the excellent Nottingham based Wigflex label, Spam Chop is now making a name for himself as a producer, and if this excellent debut EP on Mimm Recordings is anything to go by, he has a very bright future ahead. Taking in elements of garage, funky, techno and house, his debut pulls you in many directions whilst maintaining an impressive hold on his own very singular, rhythmic sound. The title track for instance is propelled forward by an incisive 2-step drum pattern, with a bright percussive synth melody twisted and detuned out of recognisable shape, while "Blergz" sounds like caffeinated basement techno, with a convulsive rhythm and tough clattering drums reminiscent of Blawan, given density with a seismic bass rumble underneath, tunneling through the mix like a pneumatic drill. "Frames" is the darkest track of the bunch, as droning low end is offset by strobing, reverb heavy, almost verging on industrial rhythms. Highly recommended.
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While consistently being a haven for upcoming future garage producers, L2S hadn't actually dropped any new material from head honcho Whistla. Step forward these brand spanking new tracks from the Sub FM man: firstly "Knosis", a dark and twisted bass fantasy complete with hyped old school drums and trippy mangled vocals layered over epic strings, and, secondly, "Coconut Udder" which is simply brilliant. A simple yet jacking dry beat with some chopped and soulful guitar stabs and more blurry acapella work sets it off perfectly. Great to hear Whistla on such effortlessly funky form.
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Tech sounds like the bastard son of juke and rude ass ragga. Over a detuned, rumbling bassline, Soulja Man drops insanely pacey claps, pseudo-horror riffs and the sound of a gun firing and reloading. It's like a sonic expression of every concerned parent's worst nightmare. The DJ Dodger remix is more upfront but straighter and more DJ-friendly: based on a slamming rhythm and pounding beats, the arrangement supports jarring riffs. The hilariously titled No Pulse No Heartbeat remix by Massacooramaan provides a further surprise, as it veers into low-slung break beat territory with a focus on the gun reload samples.
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Glorious, melting pot electronica, which can loosely - but not accurately - be described as dubstep, from Stay+ on Ramp Recordings. This five-track EP takes us from the muffled rhythms, pulsating groove and haunting lyrics of "Stay Positive", through the lucid, chiming, ice-cold tones of "Young Luv" and the jittering, bleepy melodies of "Scum" to deep, distorted bass weight of "Protection" and the upbeat, Rustie style tones of concluding cut "Fever", which rounds things off in style.
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This extraordinary nine-track package from Mexico's Mekha compromises four original tracks and five remixes. First of all is two minute outing "Process" - a minimal, haunting intro with almost painful humming, which introduces us to the sparse experimentalism that will ensue. "Aneurism" is a deep, dubbed out piece with deftly placed beats, occasional bleeps and quirky SFX. Dsve remixes this, adding in a swishing vocal and booming bass, whilst Kupas Vampire Slaya mix is an exercise in disorientating 8-bit bleeps. "Cortex Feedback" is a more menacing piece with remixes from DMR, MHV and The Raging Sea Unconscious mix, with the original rounding things off.
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