Review: One of the regular labels we feature are Sub-Liminal, a wicked little imprint that puts out a diverse sound ranging from techy rollers to jump-up steppers and even liquidy numbers. This week they've arrived with an EP from A N F M, who, across five tracks, spans various tones and styles, all of them rooted in a sense of dancefloor aggressiveness and all of them top-notch. 'Hitman' is a highlight, its rolling percussive line isn't the paciest but is loping and satisfying, whilst a gargling bass and sweeping reeces sit just above and inject all the force. Top stuff.
Review: Agro is back on Sub-Liminal for a six-track EP that is Sofa Sound-esque in its emphasis on rough, vibrant percussion and rolling, dastardly basses. Every track on here is perfectly crafted for the dancefloor and it's all rooted in that wicked UK D&B sound that we know and love. The title track features Killa P on vocals, his tones wafting above a wobbly and pummelling back end which switches up into jungle for extra damage. 'The Cut' is similar but even heavier, with the obligatory Wu-Tang Clan sample that grounds it in a sense of history and nostalgia. Banging stuff.
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.
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: Agro a-go-go.. The Sub-liminal bossman breaks down the doors of 2017 with four absolute flatteners. The story starts with "The Music" where a crisp, warm skank and vocal are soon shoved into a murky pool of low-end riffage, jump-up with added funk in the groove, this will spark up any dance in any corner. "Vengeance" follows on a meaner tip as stern bass and sudden amen flurries lick upside your senses and "Cold Roads" has one of the coldest drops Agro's ever created - sinister, moody and tubular, it is 1997 all over again. "Crush" concludes this fearful tale with the help of equally rising Leaf. Slapping and buzzing with a mild nod towards the Bristol sound and Clipz in his early prime - there's mischief in the moodiness. We'll let the music do the talking from here on.
Review: Sub-liminal Recordings are a regular presence on these pages, their music is precise and damaging and they're back this week with a single from Agro. Timbuk 4 is a two-tracker that relies on its wavey concoctions of low-frequency movement to impress, with hard percussive knocks resting nicely underneath. 'Fair Trade' is the B-side and probably our favourite, with Chats MC doing some serious work over a very creative back end. Lovely stuff.
Review: Agro is on Sub-Liminal with an EP that's full of, well, agro. He's roped in some of his friends for the release, including NV & Mentah, Leaf, Charlie Rotten and Toxinate in what is a full-throttle release from start to finish. This is clear from the off, as 'Don't Play' dives down deep into murky sonics and minimalist force for session that'll appeal to the real heads. 'Godfather' feat Lead has a unique percussive line that lends it an almost halftime quality; 'Gorgon Sound' is a naughty roller with a disturbingly scary sub bass & reece bass combination and 'Thinking Bout U' ties up the release with more dark atmospherics - quality stuff.
Review: Agro returns to Sub-Liminal with his fattest EP stack since last summer's "Settle The Score" and the word murderation springs to mind. The stench of deadliness is high the moment the stripped back kicks leave room for blessed sub wobbles on "Step Back" and the stank remains thick throughout; the slimy bass melts on "Silver Lining", the pungent jungle rolls on "It Came From Under Me" and the neck-snap steps and harmonic grunts on "Tank" are just some of the many highlights. Stinking.
Review: First there was dark... Then Agro came along with some disgusting gully riddims and the light was so strong man invented shades. Seriously; this man has yet to release a duff tune and here are two more examples of his scorching illuminations. The title track is understated, low slung and weighted in rich treacle bass while "Crazy Game" (with young upstart Guzi) sheds more light on the darkest, dankest of corners with a vicious fog horn Q&A and a breakdown that opens the gates to Hades itself. Time to get lit.
Settle The Score (Too Greezey remix) - (3:42) 175 BPM
Silver Lining (Guzi remix) - (4:30) 174 BPM
Step Back (Warhead remix) - (4:26) 178 BPM
Review: Agro goes under the knife from four heavyweight bass fiddlers and it's a not a pretty sight... Tyke gives "Tank" a whole new harmonic body of armour, Too Greezey pumps the dickens out of "Settle The Score", Guzi gets his sharpest sheet metal out and adds some shred aesthetics to "Silver Lining" while Warhead soups up "Step Back" with added variations on the bass riff and proper barbed wire drummage. Blood everywhere.
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: Smashing down the doors of 2018 with a cheeky multi-artist EP: Sub-Liminal start business for the year with two deadly amazement sessions. Firstly Subzero takes Agro's 2016 smasher "Dub Fi Dub" and tears it a new one with a whole new layer of diesel powered bass while Version runs point with "Plissken", a scuffed-knuckle sandpaper funk roller that's loaded with electrified sizzled bassline and rattled drums. Pure power jams.
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.
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: "If You Can't Beat Em" demands you raise your lighters. Bad news for non-smokers. Good news for skankers thanks to the swaggering, well-measured dub hook that really digs in on the breakdown. Incredible news for the mandem who love a gully riff. "Jazz Hands" puckers up with more of a classical smooch thanks its majestic swooning piano intro before going all-out sloppy snog with its butt-grunting bass tones on the drop. Two killer tracks loaded with contrast... These are hard to beat.
Review: DJ Hybrid just won't let up. Consistently smashing 2016 to pieces with crusher after crusher, his sense of classic rudiments and contemporary dynamics is nothing short of precision. As proved once again on Sub-Liminal: "Murder Soundboy" rolls with the understated grit of a mid 90s 31 cut. "Kung Fu Masters" retains this foundation feel with a mid 90s grizzler vibe that Serum executes on the regular while "Know Your Enemy" is all reese bass and sirens with moody ominous results. Remix-wise Benny L plays the consummate edge lord with steroid drum twists. Murderation.
Review: Barrelling around the corner and into deep town is Ghxsty, whose newest EP on Sub-liminal Recordings excels in a gnarly, minimal and over the top fashion. The first cut - Isolate - smacks of the recent scene takeover by the likes of Serum and Benny L, it's rambunctious bassline swirling round in huge, naughty sub-bass pulses that'll leave you delighted by their length and scope. 'Simmer' is even more in your face and arguably the better of the two, a delicate balance being struck between percussive weight and the sensitive delineation of its elements. A proper smasher that will give you a naughty bass face and will definitely get your head nodding, a pattern carried across to the other four tunes here.
Review: If you're looking for twisted brass-textured bass designs then look no further than Guzi and this walloping four-track chop-slap sesh for Sub-liminal. "Stamp" goes all-in with the widescreen bassline that licks up and down the spectrum with mischief while "Game" takes a similar bass texture and thrusts its into a deeper rolling groove and "Take Your Time" jumps sideways for more of a hornets nest style buzzing bassline, all sinewy and electrified. Finally "Crazy" lives up to its name with groaning fog horn bass and a tripped-out cascading riff. Watch out for the key-change!
Review: Guzi, with the speed of an Uzi and the glamour of Gucci, is landing on Sub-Liminal Recordings with an unsophisticated but incredibly fun release, one which, if you hear out live, is certain to get you moving. There's a carelessness and a freedom to these tracks and it's a tangible sense of kinetics. The title track kicks things off in style but it's 'Shadow' feat. BP MC that really takes the cake, a winding, subby track that flips between wobbiling shimmers and jump-up stabs. It's a wicked track and definitely the highlight of the release. 'Shroud' feat. Peggy Sewage - great name - is another absolute banger but one that's deep and wispy in all the right ways. Sick release.
Review: Guzi is landing on Sub-Liminal Recordings once again this week with a sophisticated and incredibly fun release, one which, if you hear out live, is certain to get you moving. There's a carelessness and a freedom to these tracks and it creates a tangible sense of kinetic movement. The title track kicks things off in style and it's 'Area 51' that really takes the cake, a winding, subby track that flips between roughshod amen junglist work and a more rolling, stripped back tip, including powerful, punchy basses all the way. It's a wicked track and definitely the highlight of the release. 'I Can't' feat. Zoner is another absolute banger but one that's deep and wispy in all the right ways, as stuttering drum lines perforate over monochromatic bassline injections. Sick!
Review: Barrelling around the corner and into deep town is Guzi, who's newest single on Sub-Liminal Recordings excels in a gnarly, minimal fashion. The A-side - 'Call' - smacks of the recent scene takeover by the likes of Serum and Benny L, it's rambunctious bassline swirling round in huge, naughty arcs that'll leave you delighted by their length and scope. '369' is slightly less in your face but arguably the better of the two, a delicate balance being struck between percussive weight and the sensitive delineation of its elements. A proper roller that won't give you a naughty bass face but will definitely get your head nodding.
Review: Kumo is definitely one of the more underrated producers out there, with previous releases on Sun-liminal as well as a host of other labels, his aggressive sound is back with a vengeance here. Packed with harsh, barking tones and a stripped-back, industrial aesthetic, Kumo doesn't waste any time in laying out the rules: there are none. 'Oh My God' is one of the heavier cuts, with a punching back end and an obstinate feel of solidness that reflects down all the way onto the rest of the tune. 'A Break A Day' is the title tune and you can see why, with a KoTR-esque approach to drawn out basslines and tough sonics.
Review: Time to get wavy, Kumo's on the sesh and he wants us all to "Get On It". And it's hard not to when the vibes are this strong. The title track is reminiscent of a "Warhead" era Krust with its elephant drums and rumpshaking bassline insistency. "Fix Up" will make you look sharp with its similarly dry, slappy snare thwacks and droning, groaning bass tone. Basically when Kumo says "Get On It", you do what he says...
Review: Bangers for breakfast, stinkers for tea... No matter what time you link up with Leaf, he's always cooking up something chronic and full flavoured. Take "Goat", a wonky, creaky weirdo of a tune, that comes complete with a little animal magic. Take those loose and spacious Die-style breaks on "Run The Riddim". Take those evocative, eerie Oriental strings on "Lucky House Grin". Take the rubber ball bass and necksnap bounce of "Hold Up", the croaky toad bass of "Save Meh" and the pranged out sci-fi funk of "Conscious State". In fact take the whole lot because it really doesn't get much better than this. Leaf is killing it right now.
Review: Young Worthing warrior Mentah continues to go loco in the Sub-Liminal kitchen cooking up no less than five fiery courses. Five! Each dish is a feast in itself, loaded with gruff groaning basslines, swinging drums and precision dug samples. Those with a penchant for gluten will fatten up nicely on the moaning bass tones of tracks such as "Can't Fool I" and "The Rules", those looking for a little citrus zest will be all over the electrical buzzy tones and block snare bumps of "Clear" while those who go straight for dessert should lap up the sweet treacle bass of "If You Need A Name". More? Look no further than the EP title track "Orders To Move". Grills set to murderation, this is cooked to perfection.
Review: To catch a thief you need to think like a thief. And there's no better thief than an invisible one. Ones like Mentah, one of Sub-Liminal's most consistent and bad-assed artists. He scopes everything from the unseen shadows, he knows everything about you and he knows exactly what type of dark funk hitters you need in your set. Hitters like the pranged-out grunter "What's The Catch", the graveyard bare-knuckle fight with a turbine engine that is "A Strange Presence" and the spooky charm and tense build and sheet metal slaps of "I Don't Feel Well." And that's just the half of it. Heavyweight material.
Review: Mentah goes back to last years Time Space & Matter album and picks one of the track ripest for remixing. To be fair, the whole release was ripe but he's picked the rolling, grunting thunder jam "No Disrespect". We respect that decision, especially when the remixes are as good as these... Donny Jaydan gets brutal with his drums and perks up the bassline while the mysterious Lash Lams dusts off the breaks for more of a junglised slap-about. Both the original and remixes absolutely kill it. And we mean this in all due respect.
Review: After a string of slamming EPs, Sub-Liminal mainstay Mentah delivers his debut album and it's a powerful piece of work. Punchy and concise at nine tracks, the focus is fully on the floor and hyper-charged with an on-point modern jump-up hybrid sound. The type of cuts you can imagine Randall playing at Breaking Science, 4am, the basslines wobble, the textures drone ominously, the riffs never get too OTT and they all seriously hurt! Highlights include the Benny L style swampy bass on "No Disrespect", the nan-slapping foghorn heaviness of "Alone In The Light" and stinking distorted tripletty finale "Grudges" but that just not even half of this universally heavy tale. Big up Mentah.
Review: Sub-Liminal solider Mentah continues to dig deep into his craft as he unleashes two more disturbingly heavy workouts. "Shadow Of Doubt" is a real grumbling, bone-shaking rattler with a warped bassline that echoes with deep unease. "Autoguns" fires with more of a laser-lashed edge as rough metallic bass textures groan with alien aggression. Both hitting that sweet spot between tech and dancefloor with serious attention to detail and dynamics, these kill it... Undoubtedly.
Review: Fresh from his LP investigations into Time, Space & Matter earlier this year, young Mentah peels back the fa?ade on more of his personal tribulations with "This Life". The title sets the tone with a raffled harmonic drone bassline and rattled breaks, "Curveball" is flabbier than your dear old lady with its loose lapping bass seeping over the edge of the drums before "Bad To Worse" goes in with the higher frequency bassline and sweet shades of dub. For his final hoorahs Mentah brings the big drone drama on "Louanne" and "Lock The Door". Both armed with turbine bass blasts that echo for days, they've got horse power enough power to keep your car running for months without petrol.
Review: Manchester's Motiv makes his debut on Sub-Liminal with two deadly creepers. "Necroplasm" flutters with the most delightful wobble you could ever find wrapped around a roller. Slinky, low slung and coded with deep dark funk, it's tailored made for sly switch ups and double drops. "Prompt Demise" is equally stripped back but rather wobble, the bassline warps between two notes in the aggiest, uneasiest way possible. Proper.
Review: Give us a big fat smile and show some teef! Nick The Lot hits our playlists once again with another hefty packet of tracks and he smashes it once again. "Over The Moon" sets the tone; groaning, trippy and full of strange samples and sounds, it's the Brighton badboy on his A-game. So is the rest of the EP from the stuttering, star-gazing twangs of "Gunshot" to the guttural bass and savage breaks of the finale "Break Out". Elsewhere things go mental on "Double Drop", "Away" bends mind with its warped bass and "Back Up" is a lesson in heavy subs and choppy drums. We guarantee you'll be on these before you can say 'petty pilfering'.
Review: Prestige is definitely one of the more talented producers out there, with previous releases on a host of other labels and his aggressive sound is back with a vengeance here. Packed with harsh, barking tones and a stripped-back, industrial aesthetic, Prestige doesn't waste any time in laying out the rules: there are none. 'A Ghost' is one of the heavier cuts, with a punching back end and an obstinate feel of solidness that reflects down all the way onto the rest of the tune. 'Magnificent' is the title tune and you can see why, with a KoTR-esque approach to drawn out basslines and tough sonics, all of which come together to round out a sick release from the Sub-liminal crew.
Review: Sub-liminal Recordings is one of those small, low-key labels that every now and then actually releases some pretty outstanding music. This time it's the turn of Sam Harris, who's music is a lot more exciting than his name might suggest, his two-tracker here rolling out in delicious fashion. 'Coffee Machine' is the first, a spooky, spacious introduction giving way to a subtle, pulsing back end that sits perfectly underneath a skippy percussive line. 'Boom Ting' is in a similar vein but manages to amp up the drum-pressure even more with a fantastic percussive line, as its sneaky little bassline creeps in underneath this to transform it into a proper little roller. Sick single.
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: 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.