Review: Since their inception as a label entity, The Wub Club have been incredibly impressive in their maneuvers, constantly dropping exciting new bass, garage, grime and drum and bass originals with a seriously colourful feel. This latest collection is special as they unveil the first edition of their new 'Wub Club World' compilation series. The artist roster involved is pretty staggering, with the likes of Mikey B, Jack Junior, Deadbeat UK, Dr Oscillator, Event Horizon and a bag more more all getting involved, plus a highly anticipated appearance from label-owner Forca alongside the legendary Phatworld, This project captivates everything the label represents on a grand scale, that being energetic, original underground dance music, a wide range of styles and a top quality showcasing of artists from around the world. The whole project screams quality, but if we were to pick our highlights, we would have to include the outstanding melodic and vocal arrangements of Hans Glader's beautiful 'Autumn' original, next to the high energy drum and bass flavours and catchy synthetic energies of 'Say That Ur Ready' from Mr Dubz. If you are looking for a complete look into underground dance music in the UK, look no further.
Review: Project Allout are well known within both the grime and bass scenes for their outstanding compilation work, including their highly respected 'Krampus' series, which here enters its third season. We see a line up absolutely bristling with power as PAR regulars such as Deadbeat UK, Juzlo, Mr Dubz, JG, Dubzta and more all return with some seriously weighty contributions, along with newer faces such as Smodi, Rollsie and more. For us, the highlights include LJ & G1's super skippy 'Bullseye' original, alongside Sir Pixalot's corking melodic composition named 'Transparency'.
Review: Project Allout are back with their second release of the weekend as they unveil yet another powerful compilation project in 'Krampus Volume 1'. This project plays home to a number of PAR regulars, including Mr Dubz, J69 and DSL, as well as introducing some newer faces such as Ethan Ryan and Ste W. For us the highlights of the project have to include the wobbling broken garage themes of Mella Dee's 'Tighten Up', along with the super grimey textures and enigmatic strings of 'Mardy' from Mister Marf.
Review: As one of the grime and bass scene's standout label projects over the last 5 years, Project Allout have conquered much, constantly alternating between grime, dubstep, bass and garage, all with a real touch of finesse. This latest compilation sees the gang assemble in force as the likes of Sammy Virji, Killjoy, Palize, Deadbeat UK, Daze Prism and more heavyweight names bring their heat to the table. For us the standout tracks have to be Dunman's grimey roller in 'Chip On The Block' and of course Moony's amazonian funky ride out on 'M', a subby mover, designed to take the dance real low.
Review: If this isn't already in your collection you don't know how lucky you are... Given away two years ago for a limited amount of time, this bass-meets-grime collection was a blink-and-miss affair. Until now... Back all it's 21 track glory, it's ablaze with fusion fire from Creep N00m & Ronin's itchy-trigger finger banger "Kill", Pelikann's 4x4 Dizzee-twisted widow maker "Stand Up Tall" and Mr Dubz's planet-bouncing "Spaceman". And that's not even touching the sides. Serious heat that's still sounding future two years later; don't miss this one again.
Review: Mr Dubz is back y'all, coming right at you with some sleazy strip club booty shakin' bass for urban freaks, as clearly demonstrated on the bombastic "The Dragon". Next up "Shadow" is a far more serious affair; this kind of dubstep rolls not just deep but pretty dark as well. There's no more kush inspired nightmares again, rest assured; "Twister" crosses over from bass music into trance with its rapid arpeggios and uplifting brass section with an undeniable gangsta feel about it which we thought was tight!
Review: Sheffield's Project Allout don't mess about, having developed a reputation for championing all directions in the ways of bass. Every take on that three letter word is important to this label and that's why they cram so many hot jams onto their comps. Basically they're the Ferrero Rocher am-bass-adors and they are really spoiling us with 49(!) lengerz. Highlights include AT's bleepy 8-bit hip-hop groove "Flash Bang", the epic, symphonic trap of Dubzta's "Lord Of War" and the almost disco tech grooves of "Murkers' by King Hydra. All killer, no filler!
Review: Bristol's bass supremacy is under threat from Sheffield's formidable Project Allout, who have literally gone all out by rounding up 21 heavyweight jams to prove it. With such heavy ammo who is foolish enough to try and resist? Not us, and if we really had to pick, some of our favourites would be Adam Mac's doomy, empty rainy street vibes on the haunting "Cold Side", the accelerated, pinged up, soulful 4 x 4 banger "Deep" by Deadbeat UK and the percussive dancehall infused synth bass monster, "Likkie Vibez" by Juzlo. The Allout revolution, don't fight it, feel it!
Review: Cardiff's Dubzta meets Sheffields Mr Dubz; these guys are brothers from different mothers if we've ever seen it! This is dark and dirty street level UK underground music."Ganjaman" is the ultimate party starter with its pitch shifted vocals, hands in the air chant and that killer bassline, but the Dubzta remix takes it down a notch in a more grimy fashion. "The Realm" ventures deeper into the darkside on this deep dupstep joint; not for the faint of heart (is that an Anne Clark sample?) and finally Dubzta's remake goes for the jugular on this dark and grimy exploration for the true heads.
Review: Thirty Three nuggets of serious UKG gullyness; Project Allout have already developed a serious reputation for generous dispatches, but this is whole new level. Uniting their many lengmen for a deep exploration of the pastures between bassline house, instrumental grime and the broader realms of bass music, every area is covered. Highlights include the eski angst of Chemist RNS' "Stare", the violin-snapping, post-dubstep darkness of Deadbeat UK's "Graveyard", the outrageous VIP muscles of Hoax and Dubzta's "Twilight Zone" and the sassy vocal flexery of Pavv's "You Got Me". This is just the tip of the bassline iceberg, though. Dig deep and grab your own lenger; there are enough here for everyone.
Review: A relative newcomer, Dubzta has already scared the pants of folk with his fiercely fresh take on bassline driven music. Now, following his debut, White Dee, Dubzta squares up to fellow beat maverick Mr Dubz for the action-packed Round 1. "Maybe" has a furious electro-bassline with multiple vocals jabs and synth washes, while "Still Got Love" is speedy garage house with a wobbly uppercut. In Dubzta's hands, the former becomes musclebound two-step and the latter is a brutal 4x4 assault with a mercilessly bassy low blow for good measure. A total knock out!
Review: An absolute leviathan of a compilation from Project Allout here, and it's just in time for some Christmas cheer from one of the fastest growing UK bass hubs in the game! A tad packed for us to go through it all, but this is guaranteed quality, especially given the fact that the release features plenty of label regulars, new faces and even some pretty incredible cameo appearances from the likes of Caspa, Deadbeat and Dubzta. Each puts in a fine performance, particularly Deadbeat with his "Street Life" cut, a glorious mashup of funky house breaks and wobbled low-end. Be sure to check the licks from Spooky, Mr Dubzta and Tuff Culture, too. Badman vibes and another stunner from Project Allout.
Review: UK beat maverick Mr Dubz touches down once again on the Project Allout imprint with four new slices of penetrating speed garage. "Losing It", as the name suggests, is a nutty blend of shuffling percussion and raucous, twisted basslines, while "Sekkle" is tough little grime monster for the head-nodders. "Bwoi Fi Dead" is another heavy half-time monster complete with all sorts of dread vocal shops, while "Ready Fi War" takes us back to the early-to-mid noughties when grime and hard-hitting wobble-step were being mashed up left, right and centre.