Review: Dread Or Dead have been on a real roll of late, pumping out some seriously top quality dubstep creations for us all to enjoy, with this latest helping from the super-consistent B-Say being the latest scorcher to land. We begin with the aquatic percussive plucks and bubbling bass infusions of 'Drips', before 'Sabotage' delivers a more stripped back approach focussing on lingering chord stabs and dissonant harmonic flutters. From here, the hypnotic percussive circulations and bouncy drum rhythms of 'Fabric Stairs' wade into view with an instant impact before the project rounds of with Lampa's gnarly, sub-heavy rework of 'Sabotage' which takes a much darker route, focussing on crunchy bass tones and a much more spacey feel. Wicked work!
Review: Next up from the team over at Dread Or Dead, we have a seriously gnarly selection from the one and only Duckem, who unleashes four tracks of pure dirt for us all to enjoy. We begin with a look at the dystopian harmonics and cleaning percussive lines of the title track 'Spinal's Army', which through its haunted arrangement sets the tone perfectly. From here we are greeted by more stunning soundscaping as the sweeping vocal layerings and demonic harmonies of 'Dyson Swarm' give us something a little different. We also see two top quality remixes land alongside the originals with this one as Saraphim firstly sends 'Spinal's Army' to an emotional blender, followed by B-Say's stripped back yet super-potent overhaul of 'Dyson Swarm' for good measure.
Review: Dread Or Dead are back in action again as they this time welcome BeatsForBeaches into the roster for a three-tracker jam-packed with explosive steppers energy, kicking off with the incredibly eerie 'Have Mercy', sampling a soulful yet haunting vocal line atop punchy bass LFO's and spooky atmospheric soundscape. Next, the unnerving flavours continue as the high pitched melodic taps and moody basslines of 'Whoo' deliver another subby punch to proceedings, before Zygos joins the party for it's finale as 'The Spirit' unleashes a choppy arrangement of half-time rhythms and string-lead harmonics. It's an interesting EP to say the least!
Review: Next up from the fabulous Dread Or Dead imprint we see yet another top quality addition to the catalogue, following on from recent heaters alongside the likes of Shinobi Yurei, Ivo, Cyrax and more. Nova makes his return with a vengeance as we first dive into the original mix of 'Noughts & Crosses', a sub-heavy steppers sizzler, destined to cause incredible amounts of damage in any 140 dance through it's wavy bass slides and overall haunted vibe. The remixes for this one also add an entirely new dimension to the release, with Repulsion firstly sending the track to the electro blender with his outrageous recreation. On the flip, Dayzero delivers an aquatic rethink of the track, complete with bubbling synthesizer pulses and an unusual percussive line to keep it as unpredictable as ever. Lovely stuff from all involved.
Review: Next up from the Dread or Dead team we take a peek at a fantastic compilation project as 'Dread Rising' pulls a wicked selection of producers together to showcase their evident skill sets. This project showcases the weird and wonderful, from the unorthodox radio sweeps of Qant's 'Puzzlism' to the awesome melodic expansions of 'Luminescence' from Hundo.Our stand outs for this one however have to be 1137's stunning harmonic exploration within 'Tactical' alongside the super choppy rhythms and warbling synth designs of Mental Medication's 'Toybox'. This is a project that we feel really encapsulates a full spectrum of 140BPM music.
Review: We are very excited to have this wicked selection from Dread Or Dead available in the store now, as they unveil three originals from Shinobi Yurei. We kick off this project with a look as the haunted harmonies and unusual drum designs of the title track 'Rain Dub', before switching swampy for straight distortion as the reesey writhings of 'Deep Valley' swing into play next. Finally, we unleash the powerful percussive persuasions of 'Haunted Taiko', which again uses gnarly bass instrumentation to put a touch of serious finesse onto the last track.