Review: Fresh from his super bad excursion with Too Greezey, Agro returns to Sub-Liminal with five more originals. "Ambush" compounds the dust of the wild west for a gun-toting shoot-out style banger, "That Time" is a stretched-bass jump-up affair where Too Greezey plays a cool cameo while "Deep Plot" does the stampy tripletty thing with the kicks over a 40-a-day chest-rattled bassline. Rounding up we have serious heads-down rolls on "Not Fools" and madcap Hazard-style riffage on "Watch Closely". Heavy.
Review: Having let off some serious stinkers on Hybrid's Audio Addict earlier this year Agro returns to his own imprint with five more blunt-nosed scudders. Once again, it's an understated affair which hits best with its low-swung technique - more rolling than jumpy, more grumbling that shouty, it's the type of tunes you'd expect to hear Randall play at 3am. Highlights come in the form of every track but don't sleep on the elastic bass stretches and sultry vocal on "All The Time" (with Raz), the ludicrously flabby bass on the brilliantly titled "Big Food Mover" and the epic, not to mention sandpapery, collabo between Aggers, Greezey and Kumarachi "AZR". Score settled.
Too Greezey - "Fled The Scene" (feat Thunda Banton) - (4:26) 58 BPM
Agro - "Shot To Bits" - (4:16) 180 BPM
Too Greezey - "Time Traveller" - (4:28) 175 BPM
Agro - "Dumpers" - (4:38) 179 BPM
Too Greezey - "The Chant" - (4:28) 58 BPM
Agro - "Simple" - (3:39) 175 BPM
Review: Representing the vibes and history of reggae culture except with a uniquely British urban twist, Agro & Too Greezey drop a five-track testament to his ability as producer here. We've featured his music in the past and every time we do it's a devilish concoction of force and finesse, an amalgamation of ability and acumen. 'Fled The Scene' is as big as it gets, both in terms of its steppy percussion and driving bassline; 'Shot To Bits' reminds of Kings of the Rollers with a bassline that roars out the stops; title tune 'Time Traveller' combines reggae atmospherics with a rolling finesse. Sick EP.
Review: Sub-liminal are one of those very prolific, very underground labels that tends to go unnoticed yet releases some absolute bangers. So, a tasty two-track VA single is only going to go one way - hard. The first tune - Mentah's remix of 'Eskiboy' - is an instant stand out, a wobbling riff of force and hurting energy, all tied up in a jump-up sized package. Guzi's remix of 'Mailout Moron' by Too Greezey is another top-level cut, a skippy drum line and menacing vocal samples sit above a fiercely minimal roller that clicks and clanks with satisfying precision. It's got a futuristic vibe and we're here for it, so you should be too.
Review: More fire from the south coast crew: two originals each and two collaborations, Agro and Too Greezey lay down the Sub-Liminal sermon. Highlights include the froggish wobbles on Agro's "The Genius", Greezey's Formation-style jungle roll-out "Lose Focus", the sun-kissed skank-packer "Don't Mek Me Get Dark" and the walloping classic early Playaz bass vibes on "It's Only Right". Bad to the bone.
Charlie Rotten - "The Myriad Part 3" (continuous DJ mix) - (16:49) 181 BPM
Review: Sub-liminal are one of those very prolific, very underground labels that tends to go unnoticed yet releases some absolute bangers. So, getting a whole compilation full of them from a variety of up and coming producers is only going to go one way - hard. The first tune - 'Iggy' - from Garry K & RV is an instant stand out, a wobbling riff of force and hurting energy, all tied up in a jump-up sized package. 'Vultures' by Zapya and MC Karter is another top-level cut, a skippy drum-line and menacing vocals sit above a fiercely minimal roller that clicks and clanks with satisfying precision. There are a bunch more excellent tunes on this release, so go check them out.
Review: One of the savviest axis-flexors in the D&B / jungle game, DJ Hybrid has an all seeing eye across the soundboy spectrum with his two labels and mixed-style signature. Here the full focus is on his flagship label Audio Addict with his first exclusive-powered mix album that covers all the crucial corners. Every track rattles and shakes with energy and subversion: the jungle chaos of his own "Mix & Blend", the iced-out atmos and toxic drop of Swerve's "Massive & Crew", the gunshot bass holes caused by Lost Dynamics "New Funk", the jaw-dropping ruthlessness of Ray Keith's take on "Badboy", the list goes on... DJ Hybrid levels up once more.
Review: Nuke fire off another cannon of monthly scuds and it's chaos once again as Uncle Grav takes the controls for four blistering work-outs. "Don't You Wanna Dance" hits with a steel-melting bassline that cuts through the mix with alarming clarity, "Get It On" dims the lights for a little rolling healing in a rumpy pumpy bumpy bassline way while "Bath Salts" takes us deep down the wobble tunnel with trippy results. Finally "Atomic Blast" celebrates Nuke's spirit with an outrageous bassline punch-up that's reminiscent of a young Taxman. Boom.
Review: Nuke fire off another volatile release with new-gen soundboy Just Eden. "Rudeboy" is an ageless roller powered by bulbous subs and peppered with dubby system-primed FX and textures while "Meditation" sees him teaming up with the label bossman for another military level skank up. Both low swinging, understated and slipperier and chubbier than a week on the takeaways, Just Eden is most definitely one to keep locked on your radar.
Konz & Too Greezey - "Die Like A Tiger" - (4:31) 175 BPM
Konz - "Rango" - (4:27) 58 BPM
Review: Fresh from his sonic scraps on Brawlin Beatz, Konz teams up with the unstoppable Too Greezey for this chop-walloping Nuke release. "Die Like A Tiger" is a biggup to all the risk takers and rule breakers out there with its snarling Serum & Voltage style bass growls while "Rango" is all about the menacing toxic bass wobbling around the stark and spacious drum arrangement. Gnarly and destructive - just as we've come to expect from Too Greezey.
Review: Wobble Infectious Digital is a jump up label based in Antwerp, you can hear it's Belgian influence in the tracks which very much cherry pick elements form the full dnb spectrum to create something of a superior quality. Here we have a killer collection of collaborations which delve into the deeper, darker side of the dancefloor style. 'Garon' sets the president for the calibre of the EP, a glitchy shuffling break makes the body of the track which is fleshed out with a pulsating wobble the dirtiest of floors can get down too. 'Rickity Wrekt' is packed with metalic clashes and broken beeps but the stand out section is the bubbling low end. 'Wait Till' warns you of the long, almost vertical drop with its wild horn, akin to a run away ghost train, with understated jungle samples and pounding sub this one is a banger. 'Drop Top' mixes a slow, hip hop break with freaky sci-fi elements, and a deafeningly high pitch.
Review: The currently unavoidable Too Greezy steps over from Sub-Liminal to Samy Nicks' fledgling Amusement imprint. True to previous form, the lubricious lad ensures the broadest sonics are smeared across the release. "Side Splitter" is a rumbling, low-bass riff workout with traces of early-to-mid 2000s Full Cycle while "Now What" is one of the breeziest bassline shakers you'll hear all season. Simple, times, authentic - this will work in any style of D&B set.
Review: Pure bounce: Too Greezey reminds us of his funkier side with crucial Urban Takeover-flavoured bassline funk. Simple, effective and guaranteed to get some monkey moves on the dancefloor, "Sloshpot" pays homage to the sound that inspired a whole generation while remaining top of the class on production dynamics. His remix of long-time collaborator Agro's "The Genius" is equally lean and supple but with more of a mechanical turn of the century twist.
Review: Unabashed D&B funk from one of 2016's most exciting D&B success stories, Too Greezey continues to showcase a slippery, sub-funked style of underground D&B that taps into the mid 90s core while looking confidently into the future. "Mysterons" is a devilish stepper with enough chewy funk to kneed ten tonnes of dough while "Analogue Visions" is so low-swung it could swipe your trousers. "Be Mine" showcases his flipside with a slammer that nods at a classic Ram style with its brutal Trilogy style fills while "Darkest Day" rattles and rolls with a classically trained Q&A funk. "Just Wanna Love You" shuts down this particular chapter on a jazzy liquid flex that takes you back to High Contrast's or Logistics' early work. Show some love.
Review: If you can't beat it, Nuke it... Too Greezey comes correct with his own label and it's looking like damage from the off. "Steady Blazing" flips between grumbling lows and grizzly mids in a mean, restrained fashion while "FortyFive" tricks us into a dreamlike state with its twinkling intro that suddenly switches into pure trash talking sandpaper bassline backchat. An explosive launch, Too Greezey's gone nuclear.
Review: Greezey by name, successful producer by nature: this slick-haired south coast hero continues to demolish in every direction as he makes his EP debut on Elsta's Murky Digital. Four tracks in total, each one primed for different corners of the dance "Most Wanted" slaps down straight in the centre of jump and tech with a subtly twisted wobble on the bassline, "My Way" is the rumbler of the set with a groaning bassline that murmurs ominously beneath the surface while "Love Dem Style" takes a disco dodo and slaps it back into existence with a barbed soul focus. "Headache" closes the show on a deeper, slinkier flex with lilting keys, a tightly-coiled two-step and a stern message in the sample. Most wanted by name, essential by nature...
Review: Sub-liminal Recordings are sick little imprint that push out a wicked, diverse range of stuff from more sultry cuts to harder hitting numbers. The latest release on the label from Too Greezey is certainly in the latter category and Mailout Moron is a biting four-tracker, each slice adding up to one seriously tasty pie. The title track is the highlight, with a pretty funny intro playing on the stereotype of the bedroom producer we all know, who thinks they're the bees knees after a single set. The track itself is spacious but penetrating, with a set of pointed, techy basses that expand out into a shuddering wave of ghostly force. It sets the tone with style and the next 3 tunes don't disappoint.
Review: Two longstanding Sub-Liminal soldiers collide with hair-raising results... Too Greezey takes the lead with a brilliantly wobbly-bottomed funk-licked viber "Cutting Shapes" while Agro taps in Chats MC for a diamond dynamic sub-driven stepper. Both fully focused on the dancefloor with a real nod to the mid 90s Playaz and Full Cycle sounds, this is a seriously strong release.
Review: It's not just dangerous world leaders with their fingers on the nuke triggers right now; Too Greezey's firing them off in the form of his new label, too. Having launched earlier this summer, he's back now with Erbman with two more ballistic warheads; "Rollers Rights" hits with a real groaning bassline, anvil kicks and dreamy harp plucks while Erbman goes solo for "Zubr" with a swollen bassline that flops either side of the basslines in a style that's not dissimilar to Benny L. Explosive.
Review: Remix time... Sub-Liminal look back over the last few years of releases, pick some of their many great rolling moments and get the artists to remix swap. It's gully grooves from the off as Hybrid adds a much darker dynamic to "Super Bad" and breaks up the reggae sample while Too Greezey injects serious drum muscle and switches out Hybrid's signature junglized basslines on "Kung Fu Master". Leaf follows with a darkened, clipped and steppy twist of Agro & Too Greezey's dubwise "Don't Mek Me Get Dark" and finally Agro smooths out the angular attitude of Leaf's "New Life" with a lower swung, funkier perspective. Great concept, killer versions.
Review: Get that radar of yours and whack Dutty Bass Audio on it. A brand new jungle label from Toronto who are launching with this serious statement of V/A intent. Featuring some of the most exciting names to come through in the last few years, K Jah vamps up the force with a brutal homage to the old school, RMS lets us loose with a groaning ode to the mid 90s (with added 22nd century bass groans) and Too Greezey slaps us silly with a widescreen break and expert reverse wobble sitting obesely underneath. Other highlights include Konz' stripped back slinker "Breathe", Brockout's breezy cosmic roller "The Note" and the savage neuro finale that is Skaylz & The Junk-e's "Off The Grid"
Review: Three things are certain in life: death, taxes and Taxman smashing your sensory organs with every remix he ever delivers. Here we find him in fierce form on last year's mischievous one-note dungeon hummer "Mysterons". Adding that signature scratchy high pitched grainy texture to the A of every bassline Q, this is Taxman at his most savage and playful. Elsewhere we find Professor Greezey cooling us down with "Heroes". A much more stripped back bassline shaker with subtle-but-strong jazz undertones and blissful keys, it's the perfect foil to Taxman's obscene remix.
Review: Elsta's Murky Digital look back over five years of uncompromised murk-mastery and handpick 15 of their favourite moments. A great way for us to fill any holes in our collection and a timely reminder of the label's timeless weight and sense of dark groove; highlights and power points rattle and slap from every corner. Key cuts include T>I's humungous subbed-out roller VIP of "The Gorgon", Zero's twisted orchestral cascades on "Corrupt Cop", Fena & Barbarix's urgent vocal-looping sizzler "Devoted" and Too Greezey's husky dusty dark jazz charm on "Take My Hand". Here's to the next five years.
Review: DJ Hybrid looks back over another successful and hugely prolific year with this massive 31 track compendium of Audio Addict slammers, bangers and a few cheeky exclusives. A great opportunity to get up to speed on the 170BPM clarity DJ Hybrid operates the label at, every single track guarantees heat. Notable shouts go out to Kumurachi's various inclusions (especially Octo-Pi's brand new remix of "Phatty"), RMS & Dcision's low-riding bumper "One Ting", Epicentre's slinky soul-touched roller "infamous", Agro's skank-slapped "Bust Dis Ting" and Swerve's maximum-boosting twist of Hybrid's "What Else". But that really is the tip of the double-A iceberg. It's been an exceptional year for the label, and this is proof.