You'd think with hectic DJ schedules and production commitments, dubstep producers wouldn't have much time to do any housework. But you'd be wrong; here we find Californian bass scoundrel Imperium sweeping up his sector with pride. There's more than a touch of neuro to his graft, all doubling kicks and psychedelic twists in the heavily textured bass. Sweeping done, Imperium hits the Gulf course with the deadly "Desert Storm". The epitome of the term 'growler', there's an underlying sense of dread programmed into every chest-pressing kick and every detailed sub grizzle. Get sweeping today...
New Zealand-based Sick Cycle have a sterling pedigree in the bass game now. Switching from D&B to dubstep at the flick of a VST, these guys know their sine language intuitively. Both "Genocide" and "Edward Bad Man Bernays" are no exception. The former is all stark and spikey, with cinematic string plucks and thunderous kicks. The latter is a metallic, industrial strength groove with just the right amount of slinkiness and, strangely, a reference to an American propaganda pioneer. Truly unique!
Industrial and heavy is the way this Russian duo rolls. Taking no prisoners, their style is a full-on back to basics neuro assault on the ears from the world go. Slammed percussion smashes and growls around techy breaks and samples, as the two play with hard-hitting beats, tweaking and ramping up the pressure to some serious hardcore breakdowns. Clearly influenced by the hardcore and gabber scenes, there's more than a touch of 90s hard house to the opening track, but as "Wake Up" proves, neuro and industrial are the order of the day here. If you like your beats brutal, you can't get much more up your street than this.
A deeply disturbing contribution from Denver-based production duo Goreteks provides some insight into the dark underbelly of American drum and bass. Not content with frat party soundsystems and bass-driven beer pong, DJs Baloo and Strode bashed their heads together to create "Bad Poetry", an old-school roundhouse smash to the face with added horror movie atmospherics. "Blesser Au L'Esprit" tricks out tense, minimal atmospherics with some seriously impressive severe breaks again with that same old-school spirit. Keep your eyes on these two, with a kick starter like this they are surely destined for big things.
04 Mar 13
Aggression - (3:17) 140 BPM
Badman - (4:08) 140 BPM
Hooligans - (4:14) 139 BPM
Too Mutch Power - (5:51)
Raw Ukrainian bass vibes via Denver right here as Section 8 continue to represent the US's oft-overlooked non-brostep faction. It's a game of two halves. Fans of the harder dubstep sound will enjoy "Aggression" as it does a 'cockney thug' with a curt two-word phrase from Alan Ford, and the title track that samples cult indie film Green Street Hooligans. For a much deeper, more spacious flavour head to "Badman" and "Too Much Power"; armed with penetrative subs and alien echoes, they're the perfect complement to the naughtiness elsewhere on the release.
Section 8's Filthy Rhythms series has been a reliable source of furiously dirty D&B since 2011, and now it's back for a third installment which may well provide its nastiest collection of tracks to date. Hardlogik's remix of Proton's "No Sleep" kicks things off with an unrelenting barrage of 175bpm snares and compressed bass, and provides no let up from there; everything here will excite those who like their D&B filthy, but highlights include the screwface basslines of Unsub's "Hudson Grimes", the irregular halfstep of Snyde & Krieg's searing "Scar The Soul", and the slightly more restrained, but percussively intricate D&B of Taos' "Dark Power".
Sometimes, the sheer power and heaviness of a tune takes you by surprise. This is certainly the case with Flat T's "Machines". Kicking off as a murky, half-time groover - all moody chords and distant vocal samples - it surprisingly bursts into life 45 seconds in and charges off on an industrial dubstep tip. Think bowel-destroying bass and eyewatering riffs. Virtual flipside "Gut Wrench" goes for a more traditional D&B approach, layering distorted riffs, basslines and angular stabs over a rolling dancefloor break. While it lacks the surprise factor of its predecessor, it's no less powerful.
Coresplittaz present a couple of killer cuts with a heavy, industrial feel that will have fans of the darker and harder side of D&B pricking up their ears. First up is title track "The Forgotten Hope" which begins with drifting SFX, light cymbals and spidery, acerbic beats; progressing into a heavy piece with bleepy, raw sounds in abundance and a steady, pulsing bassline throughout. The accompanying "Gravity" starts with a spaced out, sci-fi inspired intro and develops into another gnarly roller with crunchy drums and plenty of irksome menace. Excellent stuff here.