Review: Bisweed's output for the Paradise Lost label has been among his very best and, alongside the likes of the big boy such as Deep Medi Muzik, the label is also gaining traction as home to some of the best meditative dubstep around. He's back with the second volume of the Steampunk series, and the dreamy harmonic folds of "Aurora Borealis" are the perfect opener to what is one long, spiritual bass journey of an EP. "The Perfect Knowledge" is darker, moodier, and represents the doorway to a much more ominous stratosphere on "Magnetic Field VIP", a missile guided by just the right amount of 'wobble'. "Impedance" is the final piece of the puzzle and, it too, ups the tempo and drives proudly into more stepping motions. Illness
Review: What a cool way to celebrate half a decade of dark dance dynamics. Not just a cool reminder of Paradise Lost's contribution and dedication to the scene, but a subtle way of showing that their b-sides are just as important, timeless and essential as their A-sides. Highlights can be found in every direction across the 26 tracks but here are a few for starters: the demonic guitar chugs on "Titanium" (which actually sound like they could be from the metal band Paradise Lost!), the thick dream-weaving atmospheres and trippiness of "Elephant Walk", the jugular-slicing riff of "Cuttin" and the loopy vocal insanity of "Guardian"... we could go on all day here. Dig deep and you'll find many more highlights. Here's to another five years!
Review: Responsible for launching the first ever dubstep label in the South Pacific, Olie Bassweight's repped the sub-soaked genre since it first emerged almost 10 years ago. You can almost smell his heritage and knowledge as it seeps from every element on this EP. From the rampant, double-up kick dynamics and rhythm twists on "False Idols" to the darker, subverted vocal processes and abyss-levels of space on "Question Freedom" via the undiluted evil creepiness of "Misanthropy", Olie conveys a clear understand of production and groove mechanics. Not to be missed.
Review: Swift on the shadows of his killer "Metaphysic" on FKOF, German dubster TKR jumps back on the Paradise Lost juggernaut with this feisty selection of genre-smelters. "Locked" jitters and bubbles with raw dark funk thanks to its tightly weaved kicks and bulbous bass while "Like Fury" flips the grime switch with a rifle-like vocal from Amon Bay. "The Machinist", meanwhile, reminds us of TKR's original mission statement with the thick, sludgy halfstepper that's rich in latent riddim energy. Complete with a mindblowing VIP of previous track "Breathe" and an instrumental of "Like Fury", this is one extensive package.
Review: It's been a while since the young Estonian Bisweed last appeared on Paradise Lost - "Ghosts & Ghouls" in the summer of 2012 to be precise -but he's made up for lost time with this far-reaching six-tracker. Ranging from the off-beat clicks, whirrs and bubbling, aquatic sound design of "Ghosts VIP" to the spacious low-end screams and harrowed groove of "Magnetic Field" via the Mancini-like cinematic samples of the title track, it's Bisweed at his deepest, darkest and most devious. Complete with a step-heavy tripped out remix of "Ghosts" by Ax Farel, this is a very dangerous package indeed. Drop the bomba!
Review: Five years fly by, but make no mistake: it's a long time in the label game. Especially a game as crowded and competitive as dubstep. Paradise Lost's success can be attributed to their constant hunt for brand new talent and an ever-developing remit that embraces melody, emotion and organic elements. If you've missed out on any of their half-decade highlights, here's a great place to catch up. Highlights include the blissed out shimmers of Vesicle's "We Are Lost", Rrkk's LFO-style angular amen ruck-out "Treish" and the somnambulant sub sludge on Dubtek & The SubDivision's oppressive stomper "Mecca". Here's to another five years.
Review: Destination down under: Sydney-based Commit reps a bold sound that refuses to sit still. While each of these four tracks are in-keeping with Paradise Lost's spacious, deep remit, there's a fine-tuned sense of titanic drama throughout. The elastic bass on "Southern Promise" is undeniably funky. The breezing synth licks on "Saturn Return" cause rushes on a Sasha & Digweed level. "Take Me Home" is all steppy and paranoid while "The Void" is your classic first class ticket on the dungeon express. Four tracks, four reasons why Paradise Lost are at the top of the dub game. You'd be wise to commit to this...
Review: Finnish bass addicts Vesicle return to Paradise Lost with a feisty fiver of ghetto shock-outs. "Inconvenient Truth" is just as much hip-hop as it is dubstep; eerie, mean and paranoid, its stark slams are the ideal bed for Kansas rappers The Cyclops. "Cropkets" is a glitchier affair with a trappy vocal loop that's down-pitched and demonic. "White Light" sees them pay homage to Paradise Lost's more traditional sound with a deep, woozy halfstep swagger with groaning bass and moaning distorted tones. All reverb and trippiness, "Rebellion" takes things deeper again with nod towards classic space-bound dub. There's nothing inconvenient about this at all. And that's truth street.
Review: If you're in the market for woozy, slurring dubstep then you're in the market for Ill K... Taking the UK dungeon sound and adding more of a low-fi distorted techno twist to proceedings, he's mastered an applause-worthy level of weight and depth. Highlights include the strange squelching squeak-riff and foot-flipping riddim-switches of "Time Machine", the King Tubby style 4/4 dub thrash of "Lighter" (classic sample!) and, of course, the industrial level slouch of the title track.
Review: Having flirted with various on-point labels over the last six months, Aussie dark-stepper Droid Sector (real name Tom) has found his spiritual home on Paradise Lost; a label known for subverting the deep formula with altogether beefier, more confrontational jams. "Slenderman" is a rough-housing riddim-chomper that purrs with all the gusto and precision of a fine-tuned combustion engine. "Lifesigns" is more your classic dungeon affair but with great attention paid to the haunted vocal loop that adds a twisted, insane flavour to the trip. "Cleanse The Universe" takes more influence from classic electro with an android breakbeat and chilling synths while "Obscured" ends us on an almost jazzy skank, and wheezes and pleases with some paranoid minor key swoops.
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