Jay Duncan's Baroque Sunburst bow Catalyst Curve is deep, percussive and submerging. Bitten Dream's dark, atmospheric syncopation hypnotises, whilst Via Tekh's electro recalls Objekt. On the flip, Shrine twists 8-bit granular textures into early Livity Sound and Carrier territory, before the ambient Catharsis lulls the EP to a close. Learn More
Massive jazzdance and UK bass fusions on the new e-glowup from Eglo (though the record is also released physically). Celebrating 15 years of the nominal "post-dubstep" label, this limited 12" EP hears four exclusive, unreleased tracks from an upcoming label-definer compilation, the third in a series. Born from the basement of Plastic People, the pressure has remained continuously on Eglo to keep the same foment of bass musical innovation that the club nurtured alive. Plastic People is a routinised object of nostalgia, and it is often deemed the last proper place for innovation in bass music before austerity Britain militated against it. Zed Bias's remix of Chunky's 'Dancing On Tables' with Metrodome - and the deep, bruk-inspired track, 'Minerals,' from Liverpool's rising star Sticky Dub - both prove this assessment totally wrong. Genius thrives. On the flip, we've also house legend Giles Smith (formerly of Secretsundaze) delivering fresh material, as well as label boss Alexander Nut making his official debut with the lo-fi electro house track 'Arcade Fun Pt. 1.' The full compilation, featuring artists like Shy One, Steve Spacek, and Fatima, drops in April.
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This five-track remix collection weaves together deep bass-driven soundscapes with intricate, emotive detail. The opening track, 'Patient,' merges euphoric melodies with a stunning fusion of bass music and orchestral beauty. Next, Ehua's remix of 'Hold Me A Bit Longer' brings a burst of energy with broken beats, jittery keyboard edits, and a fragmented rhythm that's impossible to ignore. Sinistarr's take on 'Divinity' offers a lush, atmospheric journey, filled with ambient textures that captivate the listener. On Side 2, Synkro, an R&S favourite, reimagines 'Birth' as a downtempo piece, balancing deep bass growls with ethereal vocals and delicate piano flourishes. Finally, the collection closes with Itoa’s remix of 'Prayer,' which builds a slow, hypnotic groove, blending techno elements with inventive twists for a truly captivating sonic experience. Learn More
The Bait label headed up by Beatrice M looks to Conzi for a fresh new 12" that builds on the label's superb early momentum. It delves deep into timeless 140 bpm sounds with opener 'AU2' layering up the percussion over fathom-deep beats and aquatic dub pads. It's a heady one for late night rolling and 'Drakar' then brings more bright melodies but similar icy beats and organic perc. An N:in remix of 'AU2' makes things more skittish and kinetic and broken, then and Ambit remix sets down with low-end pressure. These are fresh sounds that bring new direction to classic dubstep.
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Om Unit pairs with Baroque Sunburst co-capo Soreab for 'Pressure 3D', a four-track EP featuring two stellar flips from Al Wootton and Ottomani Parker. The duo, both known for traversing varying musical landscapes and bold approaches to electronic composition, meet in fruitful common ground, spinning percussive webs and crushing grooves ripe for reinterpretation. Opener "Last Breath" is relentlessly moody and hypnotic, reimagining a dancehall-centric groove with heaving sub-bass pulses, deep into the bass bins for a late-hour pelter. "Tunnel Drift" switches lanes with its distinct tech-stepping 90's throwback style, a forward-thinking take on a nostalgic sound. Learn More
Atonement was one of those rare tracks where inspiration struck naturally. After a long day of corporate nonsense, I sat down in the evening to watch a certain series with my wife when the scene sampled in the intro came on. I wasn't planning to make music that night, but the mood and tension of that scene really resonated with me. I knew I had to sample it and exactly what kind of vibe the track needed. I went straight to the studio, and by the early hours, the bare bones of the track were done. Over the following weeks, I worked on developing it, but ultimately, I stripped it back to how it sounded in that first session: simple, powerful drums paired with a filthy, hypnotic bass groove. Sometimes, less is more. Learn More