Review: Midst is a prolific jump-up producer and Audio Overload have released that side of his productions before, but this Sleepless Nights EP is something different, something a bit more brooding and stripped back. There are some wicked minimal vibes here, especially on 'Sleepless Nights', which combines a double kick, a diving sub bass and eerie shimmers to foment a tapestry of minimalistic depth, one which gradually gets bigger and bigger. 'Good Body Gyal' combines the two sounds in a really cool way that reminds us of Simula, whilst 'Whine Pon Mi' has a foreboding air to its stabby synthetic construction. Top work.
Review: Just one kiss is all it takes. Where does it take you? Well that's your responsibility pal, you can keep your private life to yourself, but we can tell you where Midst's kiss takes you... Goosebump town. Those ravey pianos, that vocal and then that sudden plummet into bassline anarchy - you'll be puckering up before the second drop. The van keeps rocking throughout the EP; 'Asylum Party' is Midst on a deeper Kyrist-style tip, all slinky and taut with suspense while 'My Whine' finishes this little love session with a smidgeon of afrobeat flavour in the chainsaw mix. Kiss kiss bang banger.
Review: Show love for Pruf, he don't take no guff! Mostly spotted on DS2B, the prominent Russian newcomer returns to Audio Overload with two brazen peaktimers. 'Tomorrow Day' ignites with emotion piano chords but soon flips into chaos the minute the chainsaw bassline cuts into the mix. 'Vacuum' ups the theatre by 100 with its savage neuro charm. Think Audio or Ed Rush levels of fury. Buff!
Review: Audio Overload are back on their usual wagon, one which is powered not by boats but by the sheer force of the music this label releases on a near-weekly basis. We're especially big fans of the title tune, as an eerie set of pads lays the groundwork for its relentlessly pounding percussion and deep, wallowing back end, a bassline that stretches into the distance and far over the horizon. 'Funky Switch' is snapping and sharp, its warmth cut away on the drop and replaced by a wobbling, chopping array of basslines that move through each other with a surprising amount of grace. One of the proper heads.
Review: Call the emergency services! Jedi returns with a 'Blazing Fire' and it's getting out of control! 'Hear Me Talking' is the accelerant he poured liberally over the blaze by way of savage staccato bass hits. The weirdo wobbles of 'Do Some Damage' is the sonic equivalent of whole XXXL box of matches he's thrown into the blend just for the lols while the switchy wriggles and stripped back funk of 'Badguy' is him admitting to his arson but smiling giving zero effs about it. Finally we reach the inferno itself; 'Blazing Fire' hits with fat horn-based bass burps and more heat, brazen audacity and naughtiness than a shamed celeb caught frolicking out of lockdown rules. Heaters for your tweeters.
Review: Audio Overload regular Flaco kick starts the new year with his first solo release for the label since 2019's 'Perspective' EP. Two tracks, two trips; 'Technology' does the luddite lambada with its grizzled bass and tongue in cheek sample while 'Unbalanced' is a little deeper with its dubby synth echoes and rubber ball bassline. Once again the spoken word sample is precision business. A very smart release to commence 2021.
Review: Next up from the Audio Overload gang we jump into this well thought out four track selection from Jedi & Instag8, who deliver a range of flavours with some very well welcomed guests. We begin our journey with Instag8's 'Angels', a sizzling system smashing bounce, combining angelic vocal lines with lethal bass processing and high energy breaks, before Jedi brings a much more jump up-inspired synthetic approach with his remix. Following this, Jedi joins forces with Licks Latore for 'One Girl', an LFO driven ball of bassy madness, topped with euphoric pad lines and well processed rhythmic ideas. To round off, Instag8 sends this one to the chopping block with his mash up remix, layering in numerous lazer-like synthesizer lines to add an extra layer of intensity throughout.
Review: Audio Overload who have developed a reputation for going in all guns blazing, having released a string of releases over many years which don't play nice with your feelings. Now, they're launching the second part of their Jacked compilations series and it's top quality, with sounds that span a wide variety of styles, from rolling stuff to dirty naughtiness. 'Nuclear Inspectors' by Falco is definitely in the latter category and it's definitely one of the best on the release, with a cavernous bassline of spinning twirls and a pulsating epicentre that pushes out the rest of the track in a slick fashion. One to cop, this.
Review: Man like Jedi returns with another batch of high octane party pieces and it's vibes from the off as 'Sounds Falling' takes a classic house sample and flips it into a riffy chainsaw party. Nothing but positivity, it sets us up for the rest of the EP: the strident euphoria of 'Sleepless Nights', the star-gazing, trance-like synth arpeggios of 'Shake Money Make' and the prize piece of the feast; 'Spiritwalker'. If you like raising your hands really high and feeling goosebumps, or you're a spiritwalker yourself, or you just adore sudden trippy bass drops, this one's for you. Don't walk away from this.
Review: Introducing the sounds of L Motive, a radical attempt to create jump-up so splintered and broken you'll barely recognise it. This is pure party music, there's no time for sophisticated conversations about its merits because you'll be too busy dancing to it. 'Sheets of Metal' epitomizes the extent of the madness here, with a punched-out percussive line that underpins a grating force of progression and anger, perfectly crafted to give you goosebumps in the dance. The metallic quality to 'Ghost' is another highlight, and it's safe to say that these four tunes are all unmissable additions to any collection.
Review: Absolute agginess! Lowlife returns to Audio Overload and he's brought fellow rising murk monster Mudlark with him for the four track ride. Armed to the teeth with bolshy basslines and elephantine kicks, each cut hits hard; 'Contact' is savage hurricane with housey risers twisting and spiralling over the toxic bass swagger, 'Optomistic' is a Hazard-style high frequency tear-up, 'Navigator' takes a deeper approach with its depth plunge bass hits and roomier production, 'No Heroes' brings us to a halt with its harmonic bass hums and addictive Q&A riff. Hero tier.
Review: Dubstomp 2 Bass alumni Midst has been on an impressive roll this year. Despite the curse of lockdown, he's dropped a whole slew of generous EPs on the likes of Nuclear Bass, DS2B and, one of his most consistent homes, Audio Overload where we find him getting low, slinky and stripped back with "Eastern Ways". Each cut off-grid in the drums and lewd in the bassline department, we range from the sparse twangs and hip-shaking funk of the title track to the left-sided bassline mischief of "Nancy On Drugs" by way of the turbulent, gritty-assed space trip "My Mule" and the dark, horn-tooting finale "Bigotry & Discrimination". Heavy stuff.
Review: Jack it up, jack it in, let us begin... DS2B's Audio Overload deliver their first VA collection and it's an absolute banger-fest. Representing many of the label's exciting new-gen artists, and even more off the label's far-reaching sounds and styles, across the set expect to be KO'd by the sound rampant sounds of Lowlife, anticipate high levels of energy from man like Jedi (especially the reverse mindwarper "Popcorn Playa"), enjoy some feisty VIP action from Midst and plenty more chaos from the likes of Pruf, DEEb and Falco. Jack it on, jacket off - let's get to work.
Review: The dust has barely settled from his Instig8 collabs and Jedi is back on Raw Motion. This time he's packing a whole brace of bangers of his own. As always, it's a broadsword selection that runs the whole gully gamut. "Mark Of Shame" is a subversive, slightly deeper jam from the young producer while "Masters Of Death" is pure mid 2000s riot flavours. Elsewhere "Magic Lamp" rubs you up the right way with its epic dancefloor-style intro and drop into vicious staccato riffage before "Mechanical Psychopath" closes the show on a wonky stripped back ruffhouse tip. Masterful.
Review: Audio Overload are back doing what they do best, and if you think some jump-up naughtiness is exactly what you need as the lockdowns begin to ease off. This time it's a four-tracker courtesy of Midst and the album art is a prelude to just how dark and eerie this one gets, with sonic gore very much the order of the day. The title track is definitely the highlight because it's just so solid, as rolling percussive lines crash underneath a stabbing oscillation of basses and tangled low frequencies. It will make you scared of clowns, that's for sure, and the other three tunes all deliver just as tightly. Big ups.
Review: With some seriously spooky artwork, L Motive has landed on Audio Overload with a hard-hitting four-tracker which combines a penetrating sense of attitude with a non-nonsense approach to musical arrangements. 'Bring the HYpe' has an 8-bit, Souped Up vibe in its arrangement that is perfect for a crowded dancefloor, especially with its underpinning in some weighty percussion. 'Ruff' is the heaviest of the four and grounded in glitchy atmospherics and a sense of space which makes it a pleasure to listen to, its snapping drum line providing the ground rock underneath. Yes boys.
Review: Every now and then, you just want a release that slams start to finish. No frills, no pretence of trying to be something that it isn't, just solidly banging D&B that gets your head nodding and your feet moving. Lymitless has done that here and this single is a run of attitude-packed jump up, all of which would sound fat through a sound system. 'No Animation' is a highlight, vocal samples leading you in into a fluttering array of jagged synth-lines and boom-bap drum hits, a vibe that's quickly transferred across into 'Requirement (VIP' - snapping percussive hits, moody bass notes and melody that oozes power.
Review: Instag8 has landed on Audio Overload, with a sick little double sider that represents several parts of the dnb scene. 'Dont Hurt Me' opens with steppy drums that pan out underneath a peng sense of ambience, but the serenity of the opener gives way on the drop to something a lot more expansive and dark, tying the knot on a quality. Classic jump up vibes abound on the B-side - 'For You Mind' - but their upbeat nature doesn't stop the guys from sneaking in a naughty, pitched-up back end and loads of wobbly goodness in there that underpins the track and gives it a nice weight. Solid single.
Review: Jedi is back, once again, onto Audio Overload and this time it's with the Bass Defiler, a four-track exemplification of his production ability, as well as that of the A&R people over at Birmingham's Audio Overload. He's a regular feature both on Juno and on the Audio Overload family and you can see why, his ability to craft hard-hitting jump-up beats reflecting well the new primacy of jump-up within the D&B scene. 'Bass Defiler' is a highlight, it's snapping, steppy drums supporting a rough, gargled bassline that chokes its way down the range. Nice one.
Review: We're not quite sure how Chilly manages to put out so many releases, to be honest, because they're just always on it. Always on a mix of labels, this time it's Audio Overload. The title track is refreshingly futuristic, creative synth work and stepping drum smacks forming archways of diving bass force, a joy to listen to and we'd imagine pretty devastating on the dancefloor. 'You' sees Chilly on more familiar territory - naughty jump up that makes you want to hit your nan. 'Forget Me' is different again, a pummelling, fluid back end laid out beneath a rolling set of drums. Yes mate!
Review: Jedi has been on a bit of a roll recently and he's back on Audio Overload, joined by Midst, for a stripped back, roughshod EP which showcases an interesting blend of the minimal sound with the jump-up side of the scene. This is a style that's been taking off recently and we're very much into it, it's a bit less full-on that jump-up and not as screechy, yet still has the wicked attitude and urban-edged toughness of jump-up . 'Werewolf' is an excellent example, with multiple criss-crossing strands of reverberating bass and an amalgamation of low-frequency textures which just roll out the whole way through. Sick stuff here and the rest of the EP pops off just as hard.
Review: Midst has handed a big release to fans of the dirty jump-up sound over on Audio Overload. From the beginning, you can tell 'Shirley' is going to be heavy and as menacing bass strabs build up into preparatory drum skits, your feelings are confirmed. A growling hurry rushes out to meet you; powerful and more than willing to shove you around. 'Toga' is the next offering, a glitchy mash of jump-up, permeated by rattling arrays of bassy synths and an ever-present sense of movement. Nice and solid, this release is a statement of intent from Midst.
Review: We're not quite sure how Jedi manages to put out so many releases, to be honest, because the man is just always on it. Always on a mix of labels, this time it's Audio Overload. The title track is refreshingly futuristic, creative synth work and stepping drum smacks forming archways of diving bass force, a joy to listen to and we'd imagine pretty devastating on the dancefloor. 'My Nuts' sees Jedi on more familiar territory - naughty jump up that makes you want to hit your nan. 'Ain't Got It Like Me' is different again, a pummelling, fluid back end laid out beneath a rolling set of drums. Yes Jedi!
Review: For this latest slice of D&B action, we head up to Birmingham for a very enjoyable look at the latest gift from Audio Overload, a record label that have been causing quite the stir with their hard hitting EP drops. For this latest outing they employ the high energy production methods of Phoroptic, who lands four weighty originals, kicking off with the subby bass power and spacey atmospheric introduction of 'Close Your Eyes', followed by more low end efficiency in 'Ras Kitchen'. Next, we hear more spooky drones as 'Instant' deploys an array of LFO wildfire, before finishing up with 'Jungle', a spicy stomper providing a fantastic end to the project.
Review: Jedi is back, once again, onto Audio Overload and this time it's with the Family Jewels EP, a four-track exemplification of his production ability, as well as that of the A&R people over at Birmingham's Audio Overload. He's a regular feature both on Juno and on the Audio Overload family and you can see why, his ability to craft hard-hitting jump-up beats reflecting well the new primacy of jump-up within the D&B scene. 'Family Jewels' is a highlight, it's snapping, steppy drums supporting a rough, gargled bassline that chokes its way down the range. 'Wig Flew Back' is another highlight, if only because the bright, vibrant introduction sounds more like a liquid track than Jedi's usual territory, and the build-up is exquisitely put together. Top stuff.
Review: With some seriously cool artwork, Kendrick (not the rapper) has landed on Audio Overload with a hard-hitting double tracker which combines a penetrating sense of attitude with a non-nonsense approach to musical arrangements. 'One Billion Years' has an 8-bit, Souped Up vibe in its arrangement that feels slightly cheap but is perfect for a crowded dancefloor, especially with its underpinning in some weighty percussion. 'Under Pressure' is the heavier of the two and grounded in glitchy atmospherics and a sense of space which makes it a pleasure to listen to, its snapping drum line providing the ground rock underneath. Yes boys.
Review: Jedi is back, once again, onto Audio Overload and this time it's with his Hello DJ EP, a four-track exemplification of his production ability, as well as that of the A&R people over at Birmingham's Audio Overload and vocalist Missy G. He's a regular feature both on Juno and on the Audio Overload family and you can see why, his ability to craft hard-hitting jump-up beats reflecting well the new primacy of jump-up within the D&B scene. 'Fader' is a highlight, it's snapping, steppy drums supporting a rough, gargled bassline that chokes its way down the range. Nice one.