Review: Tengu and Nina Wilde are on some mad flex right here, bursting through the charts like a pair of dementors on speed; this new collaboration on Illegal Bass feels like exactly the right territory for their pair in hazy, summery 2017 gust. "Loop Machine" is part house, part grime monster, whereas "Go" focusses particularly on the latter thanks to its pulsating flow of grizzly bass and sharp, jump-up drums for the head-nodding souljahs. Big, big tunage right here!
Review: Much like squashing a fly with a sledgehammer, Sheffield's Project Allout, counter Bristol's bass supremacy with this mammoth compilation. Yes, the second instalment in their eponymous series boasts a frankly absurd 39 new fresh bass cuts. It may take a while to get through it all, but that's half the fun. Inititial highlights include the speedy claps, fizzy hats and taut wobble vibes of "Manners" by 1Thirty, the horror move trap thrills of "Black Missile" by "Familiar Face" and the voluptuous house bass of Mooney's "At The Top".
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: Inspired by the lack of pigeonholing in today's bassline scene, the much respected Low Pitched have rustled up their first album, Low Pitched Presents: Resonate, which aims to capture this aforementioned musical diversity. They haven't held back either, packing a whopping 23 new jams on this album, truly laying claim to having all bases covered. Highlights include the juddering low-end juggernaut "Patterns" by Clexx, the crisp, floating in space 2-stepper "Rowdy" and the truly next level, otherworldly rhythms of "Swedger" by Sketchman. A snapshot of a scene in full bloom.
Review: Nina Wilde has had an impressive run of form in 2015, and the young Wolverhampton bass head has landed herself a spot on the UK's excellent Formula imprint after a series of magnetic EP for the likes of Bass=Win and Low Pitched, among others. "Living Dead" is a deadly, slithering bass stormer that sits somewhere between dubstep and house - you can surely imagine what it sounds like. "Hustler", on the other hand, ditches the house and drops in the garage drums, making for another heavy-loaded but of mutant four-to-the-floor. Deadly.
Review: It was only a matter of time before bass heads Nina Wilde and Abeyance collaborated and now the resulting explosion has produced the Pretty Girls EP. They've warned us not to be misled by the title and they're right - it's tough beat city with "You're Cute" featuring hard, skippy 4x4 beats and a metallic bassline and the killer hip-house/wobble hybrid "Nose Up" giving it some serious attitude.
Review: Nina Wilde is a rising bass star who already owns her hometown of Wolverhampton and is likely bound for great things further afield too. "Adios Amigo" is her latest missive, a lean and mean slice of Latin-themed break-house. "Lights", on the hand, draws on dubstep influences mixed with just the right amount of wobble.
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