Murder Them All (feat Rubi Dan - original mix) - (4:13) 175 BPM
Murder Them All (instrumental mix) - (4:13) 175 BPM
Hold Up (original mix) - (3:44) 175 BPM
Review: Murderation! Deekline and Rubi Dan hook up for a blunderbuss skanker that hits more spots than you ever knew existed. With drums set to slam and bassline set to bounce, it's the perfect bed for Rubi to lay down his distinctive lyrical call to action. Dig deeper for a crisp instrumental version and a deeper, creepier dancehall denter in the form of "Hold Up". Slinking and groaning but shining with occasional flashes of a lush vocal sample, it'll do more than hold up a dancefloor... It'll knock them sideways too.
Review: For a banger that apparently doesn't smoke, Deekline's seminal "I Don't Smoke" has certainly been smouldering. At any point in the last 19 years, you can drop any version of this UK bass classic and expect it to cause riots in the dance. And now there's a whole new slew of refixes to cause chaos with: Vital Techniques' switchy, twitchy breakbeat flex, Deadbeats jaw-dropping bassline whip-up, DJ Spookz warped slug sesh, Lucent's fluttering beat tipped-out bashment roller, Fish's wonked-out technoid bassline twist and Majora's stripped back UK funky deep house hybrid. All exemplary updates on classic that's still sparking things up to this day. Do you smoke Paul? Yes, I most certainly do!
Review: Prolific bass peddler Deekline can't keep still for long, but whilst his back is currently turned (he's working a new single), his anthem "Gotta Believe" has been whisked out in remixed form. The original was no wallflower, but these two new mixes elevate the tune in the epic stakes. UFO Project deliver a piano-house fusion with absolutely demented drops and builds, but it's Left/Right's mesmerizing haunted breaks version that's the best track on here.
Review: Two brand new originals from the bass culture's cakiest crusader Deekline. "Pass Me The Rizla" features two of Jamaica's most iconic and versatile MCs; both Levy and Irie rattle their turbo-charged tongues with harmony as they pay homage to the skins over a skank-savvy beat. "Perfida", meanwhile, takes a more soulful route as Gala Osborn oozes charm over a horn-focused rhythm... Drop it and start missing the summer in seconds.
Review: Booty-bass badman Deekline delivers yet more low-end late-night luxury. Chiselled over a razor-sharp two-step swing, full focus is placed on the elastic bass that gurgles its own unique melody. Added drive is found in the short-but-sweet rave-referencing vocal sample that creates great balance between the darkness of the beats. And that's before we get to the piano drop midway - one to file under spine-melter.
Review: Some producers are all over shop, whilst some hit the mark every time. Deekline is very much of the latter variety: delivering unapologetic dancefloor dynamite on each release. Here he does it again - "Heartbreak" is all peaktime joy with an amazingly bouncy bassline, garage-style cut up vocal samples and a relentless electro-house drive (there's also some cheeky familiar funk samples thrown in for extra joy), "Not Forgotten" is gloriously melancholic piano house and finally "Better Than Before" manages to fuse the best elements of the other two tracks. Winner!
Review: The hills are alive with the "Sound Of Music"... When we say hills, we mean clubs. And when we say "Sound Of Music" we mean the latest banger from one of the breaks' scene's most prolific ambassadors - Deekline. Balancing his boldest rave palette with a cheeky big room soundset, he ably balances the most classic detuned synth sounds with the currently huge Garrix-ish tightly plucked drop style. Throw in some smouldering kicks and you have yourself yet another Deekline winner. And when we say winner we mean "essential release".
Review: Ever the generous sort, Deekline's "Sound Of Music" comes in two forms; one ravey/big room jam and this one - a massive ravey/trap jam. Rattling and shaking with blistering breakbeats and myriad motifs to the early '90s, the Hot Cakes maestro then shoves us into a gnarly trapist dynamic where vocals are chiselled so sharp you could shave your short and curlies from them. You'll be hard-pushed to find a better balance of old and new in one tune this month.
Review: Big bass bubbles, a chop-slapping 4/4 and a classic Wu Tang sample - Deekline only cooks with the finest ingredients, and the results are always delicious. Reining in his oft mischievous low-end tactics, Deekline has created a house gem that bites with the badness he's known for but rolls with subtlety that many modern house DJs will also get down to. Solid.
Review: You read it right - Jungle Cakes reaches its 28th instalment, this time led by the inimitable DJ Deekline. Catching up with the first track, "Alibaba" is a perfect jungle tune sampled from John Holt's reggae classic of the same name. Retro for the old heads but still vibing enough to lift the dancefloor up a level, this is something special. "Still Passin" is a fresh, more modern jungle approach featuring tons of flashy dancehall samples (and one from the charts a short way back - spot it) and breaks that just don't quit. Dust off your dancing shoes, this is gonna get messy.
Review: Deekline has always been good at blurring the boundaries between bass-friendly genres, be that breakbeat and garage, dubstep and UK funky, or - as is the case here - classic garage and jump-up D&B. Really, "Real Love" shouldn't work, but it has that irrepressibly fun vibe that's always been a hallmark of his productions. Think garage organs, a classic R&B vocal, a speed garage bassline and a relentless jungle rhythm, all finished off with his trademark production style. It has that anthem-in-waiting feel that suggests it could be a big tune this summer - certainly, it has all the makings of a hands-in-the-air festival anthem.
Review: Disco Cakes' sugar-sweet edible audio series continues with label boss Deekline. "Good Life" is a bouncy retake on the Inner City classic with added breakbeats, and "Feelin" is a slinky two-step whirling dervish. "Scootch", meanwhile, takes the peaktime route with added electro attitude while "Need U" takes Disclosure by the scruff of their necks and gives them a boost of booty steroids.
Taking It Back (Better Than Before) (88 House mix) - (4:51) 122 BPM
Taking It Back (Better Than Before) (X-5 Dubs remix) - (5:37) 125 BPM
Review: Deekline was once the undisputed master of roughneck breakbeat garage, but his sound is harder to pin down these days. Take this latest single on his Gutter Gutter imprint, for example. While undeniably big, bold and bass-heavy, "Taking It Back (Better Than Before)" doffs a cap to the piano-heavy Chicago house sound of the '80s, the British bass-heavy techno sound that followed it, and of course UK garage (represented by MC PSG and vocalist Asha Rae). Fast-rising Midlands-based producer X5 Dubs provides the remix, turning in a slamming, warehouse-friendly interpretation that layers twinkling synth arpeggios over a killer bassline and skippy, garage-influenced percussion.
Review: London booty-bass pirate Deekline and Detroit ghetto-tek boss DJ Assault... Now there's a unique meeting of like-minds. The result is a concentrated brew of everything that's great about both players' music; butt-shifting beats, sinewy acid licks, your-mamma-sized low end and a breakdown that will melt the iciest of the floors. Clap your hands? Standing ovation more like.
Review: Bass hero Deekline is back with more dancefloor ammo courtesy of the raucous "Flute Ting" on his Hot Cakes label. It's a beast of a thing with eccentric Asian flutes samples getting freaky with stark ghetto bass rhythms, crazy breakdowns and hypey vocals from RTKAL. If that doesn't satisfy, Tim Healey unites with Atomic Drop to provide a blistering fidget house rework (is it too early for a revival?). Boss sounds.
Review: Deekline, of the guys behind the prolific Jungle Cakes, is back on his own imprint with Brian Brainstorm, Specimen A, Sweetie Irie and KIlla P, an all-star lineup that have produced a ferocious blend of crashing jungle and menacing vocals. The structure they've concocted makes this tune so sick, with stepping halftime sections that utilize Sweetie Irie and Killa P's wicked vocal talent to build suspense, creating rhythmic diversity that then falls away on the drop into punishing breaks and warped out basslines. Proper club friendly weapon from the Jungle Cakes crew.
Review: "We're sure there's absolutely no need to introduce Deekline and Ed Solo to you rowdy lot," say the liner notes on this double act of D&B madness, "so we'll save ourselves and you the bother..." With that unceremonious intro, we crash straight into the badboys of jungle's latest package of riddims. "Hot This Year" harks back to the sunny yesteryear of summer 2013, where the rain clouds had parted ways, and the sun shone. Ragga jungle MCs were bibbydibbying about London, and good vibes were all that anyone could hear. "Remember" was inspired not only by the lovely sampled vocals here, but also because Deekline really wanted to remind Ed Solo about the time he lent him a fiver...apparently. Grab 'em while they're hot!
Review: Originally released on Ed Solo and Deekline's Jungle Cakes booty-brand, both Inner Circle's "Bad Boys" Dawn Penn's "No No No" were previously super-charged and sprinkled with D&B powder to great effect. Now massaged down to a much more stately nu-funk tempo, both cuts still smash it. Ed and Stickybuds' rub of "Bad Boys" struts and swaggers over the top of a well-rounded hollow-tone bass note. "No No No", meanwhile, gets a much more robust bass treatment with a hip-punishing live drum swing. Essential.
Review: And so we reach the 19th volume of the Jungle Cakes saga, placing Deekline and Ed Solo together to create the dancefloor sensation that is "Zunga" with classic ragga vocals from the one and only Rubi Dan. A big rolling bass and funky horns take pride of place in that seriously infectious hook - add the tight punchy drums and you've got yourself the ultimate party track. Track two sees another jungle smasher take charge with the unmistakeable classic sample of "No No No" featuring the silky smooth vocals of Dawn Penn. Remixed by Serial Killaz the bass bursts straight out of the speakers, punching though hard steppy breakbeats to get any crowd moving. Skanking crew, get your kicks here.
Review: Bang! There'd been hushed tones of this opus for well over a year, and at a whopping 29 tracks, it's been well worth the wait. Showcasing their widest repertoire, within the first trio of tracks we're already treated to Latino swing breaks, new jungle jiggery and dramatic dubstep. This wide-eared vibe embracement runs throughout consistently; "Hey Mr DJ" rattles a few electro-hop cages, "Countdown" is quintessential booty-bass heaven complete with delectable UK hip-hop rhymage, while "You Can Be My Night" shoots us up to planet D&B on a floaty carpet of rave heritage. A solid calling card to every party in town, it's time to get bouncing...
Review: Two heart-warming jungle-tastic dollops of loveliness here from the Jungle Cakes label. Deekline and Ed Solo are the sumptuous cooks of these two delights and what a treat they are. First up is "Bad Boys" with the iconic vocal hook "Bad boys, bad boys, what you gonna do, what you gonna do when they come for you?" and insistent, pattering drums which are paired with jungle sirens and weighty bass beneath. Accompanying this is the equally as fun "You Can Be My Night" which continues the madness with massive builds, plenty of bass stabs with tearing drums and oodles of dancefloor potential.