ablon!

ablon! first landed on my radar last year when his track ‘Andas’ landed as the 20th and final contribution to Good Dub’s THE SOUND DESIGN CLUB II compilation. To be honest, the only thing that brought me to the compilation was Leotrix’s track, but when I started making my way through the rest of the collection, I was pleasantly surprised by the sheer volume of great tracks from artists I had never come across. Among those artists was ablon!,  a young Swedish producer who created the perfect ending to the impressive compilation. ‘Andas’ starts with (presumably) Swedish vocals layered above a minimal instrumental section that isn’t super complex but still drives emotion and movement, before the artist continues to build on that emotive energy. Diving deeper into ablon!’s discography, I discovered a common theme of minimal club energy, future bass, and trap all uniquely intertwined to create a distinct signature sound. Don’t sleep on ablon!.
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Klo

With a style spanning 140, UKG, and bass house, Los Angeles-based producer Klo has been steadily taking over. My first exposure to Klo was ‘ROUND N’ ROUND’ alongside SVDKO, which made me audibly yell out “wooooooooo” on my first listen. The combination of ridiculously catchy vocals, shuffly hats, and those ludicrous basslines is enough to drive any basshead wild. But Klo is far from a one-hit wonder. ‘SAY SOMETHING’ offers a similar catchy 140 energy with a vibey reese bass-driven intro and breaks to mix in some feels. She’s also got a collection of dope flips, including reworks of EsDeeKid, JT, and fred again.., to name a few. She’s also been absolutely exploding on social media while getting support from some of the biggest names in bass music, so expect to see Klo everywhere in 2026.
-C

HLRTY

It’s spelt HLRTY, it’s pronounced HILARITY. This is the moniker behind this Palermo-born, now Bologna-based DJ and producer, who describes himself as “more of a craftsman than a producer.” Closely linked to an artist we’ve previously mentioned here on Focus Five, COIDO, HLRTY is a producer who approaches club music from many different angles without being confined to a single genre. Each of his tracks is an exercise in technical minimalism (he himself says, “I’ve always been afraid of having to complicate the tracks to give them structure”) but more than anything else, an expression of his heart. He pours his whole identity into his beats—his knowledge and experiences, his past and the future he envisions. HLRTY embodies the stereotype of the brilliant Italian producer who is hard to spot in the hyper-fragmentation of the Italian bass scene. He tackles this head-on in the new compilation *ITAITAITA, released by the collective *asterisco, of which he is a co-founder, featuring him alongside seven fellow Italian artists.
-AA

LEWP

UK-based producer LEWP has made a name for himself in the DnB scene with years of dope releases, but it’s his recent foray into 140 that made me really pay attention. ‘Energy’ flips the iconic “Liquid means rewind,  gunshot means forward” vocals into a blistering 140 anthem. Chopped vocals, hypnotic leads, snapping drums, beastly horns, and some killer basslines make this one an undeniable anthem. If you’re looking for something a bit more vibey, his liquid DnB flip of Sampha’s ‘Too Much’ has you covered with minimal groove. And if you’re a grime head, he’s also got a fire flip of JME you have to peep.
-C

Raucous

For a good while now, Raucous has been shattering frequency ceilings with his mind-bending pieces. Showcasing constant evolution with every release, filled to the brim with constant ear candy. Proving to be one of the best in the game. From releases with Partica Artist Group, Dumb Collective, and more, the complexity of his works will make any crowd beg for more. Being heavily underrated, the artist has been working day and night to rise to the top. And in doing so, he’s pushing the electronic trap scene higher and higher. No matter which track of his you choose, you’re in for a wild experience. From his most recent stellar and violent tune, ‘PUMP IT,’ to an earth-shattering tribute to LYNY’s, ‘Fire,’ his perseverance knows no bounds. Completely leaving his audience in a frenzy. It’s overdue for the world to know his name and what he’s truly capable of, and we’re stoked to hear much more from him throughout the year!
-JD

Written by Alessio, Colin, John & Steph

The post Focus Five – Volume 89 appeared first on FUXWITHIT.

2chill

New year, new reasons to go crate-digging! It’s been a while since we’ve done a Focus Five and I wanted the return to be special. I’m happy to say that 2chill is about five degrees of separation from a G Jones tweet, so I’m pretty stoked about this month’s find. After landing on the Memphis producer’s page and listening to a couple of his tracks, I knew I had to feature him to our audience. It’s tough to find new artists that embody the true essence of FUXWITHIT, but 2chill hits every note. The first track I heard was ‘ridin’ and I was immediately entranced. From its euphoric introduction to its hard-hitting trap drop that only continues to mesmerize in the second half, this first impression was massive. The rest of 2chill’s discography embodies those same themes, from even snappier percussion in ‘temporal’ to an interesting light-hearted switch-up in ‘keygen.’ The only thing 2chill could do better is provide us with a proper press pic. Don’t sleep!
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FEEL SUITE

FEEL SUITE first popped up on our radar after collaborating with FUXWITHIT fam small talk on ‘Run The Block.’ The track was a standout from ADBC’s stacked Halloween Heaters compilation, pairing hypnotic rap vocals, masterful basslines, bouncy percussion, and ominous undertones. Essentially, it personified everything we love in bass music at the moment. More recently, FEEL SUITE connected with another FUX favourite in Luhv on the swagged out banger ‘SWERV’ on Jadū Dala. When an artist is collaborating with some of your favourite artists and is dropping on your favourite labels, it’s probably time that you take note. While FEEL SUITE has a number of banging solo originals, outside of the collabs, it’s a rework of a classic that really blew me away. Flipping Wreckx-N-Effects 90’s classic ‘Rump Shaker’, the producer combines the iconic horn samples and party-loving vocals with snappy trap drums and chest-rattling bass for an absolutely incredible anthem. FEEL SUITE stays dropping heat, don’t miss it.
-C

Guchon

“Uplifting beat science from an exciting Tokyo producer,” that’s how Resident Advisor described Guchon’s 2024 EP Piano Bros, but personally, I find it a slogan that fits his entire discography as well. The Japanese producer is truly a groove scientist, whose laboratory consistently pumps out unpredictable tracks that make you smile and your feet move. Guchon‘s creative output ranges from footwork to house, techno to breaks and beyond, but every composition shares a common denominator: they’re made for the dancefloor. A prime example is the iconic ‘Six Horns’, one of the most significant tracks to emerge from the Japanese Juke/Footwork movement in 2012, which has just been re-released in a remastered version. In short, if you’re feeling more playful than soulful, Guchon is your man.
– AA

Minosaur

Minosaur is the artist alias of Bristol-based electronic music producer and educator Joe Rossitter.  My introduction to Minosaur is a bit unconventional. I first found Joe Rossitter through his breakdowns on the Cableguys YouTube account, and more recently on his personal YouTube channel, where he shares awesome tips for music production. After watching several of his tutorials, I came to the realization that “damn, these demo beats slap!” This prompted a follow-up on Spotify, and I have not been disappointed since. Covering all forms and styles of bass music, Minosaur mixes a myriad of influences with an experimental knack for a style that is unique and nasty. His most recent releases, ‘Buried’ and ‘Thumps,’ have both landed in our FUXWITHITFRIDAYS playlist and for good reason. ‘Thumps’ is a high-octane club ripper built around masterfully mangled vocals that give it a hypnotic pull. Billed as a “love letter to dusty, haunting UK sounds,” ‘Buried’ showcases a more moody, off-kilter approach and is a must-listen for fans of atmospheric future garage. You never know what Minosaur is going to be cooking up, but you can bet it’s going to impress.
-C

VENAL

Hailing from Graz, Austria, VENAL‘s unique and colorful palette speaks volumes about his creative identity. From hard-hitting bass lines, star-striking melodies, and a sonic field of darkness, you’ll fall completely in love with his cinematic works. Due to his widespread productions, there’s always something new and beautiful to witness and discover from just the first listen of any release. From his most recent drum n bass tune, ‘Break Free, ‘ which will have you in a dancing frenzy, to a magnificent remix of Jonas Feurie’s ‘Strawberry Heart,’ the possibilities are endless when it comes to his skills and overall style. It’s as if you’re transported into a complete, priceless painting, filled with style, mystery, and curiosity. We’re stoked to hear what 2026 brings him. Separating himself from the rest while proving to be a force to be reckoned with!
-JD

Written by Alessio, Colin, John & Steph

The post Focus Five – Volume 88 appeared first on FUXWITHIT.

50. Subfiltronik and Bommer – Planet Droid (Modal Nodes Remix)

‘Planet Droid’ has been a riddim plate for over a decade, and most people thought it would never get an official release. To everyone’s surprise, the original, a VIP, and multiple remixes were released this year on INFEKT’s new Port Zero label. Conversely, Modal Nodes has been making waves in the dubstep scene on SoundCloud, and his remix for ‘Planet Droid’ was his first official release. Featuring Modal Nodes’ quintessential Star Wars-themed introduction, mind-melting sound design and hypnotizing fills, the remix earns a well-deserved spot in this year’s list.
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49. Drvmmer – Silence

Andrea aka Drvmmer is one of the hidden gems of the Italian bass scene. A mastermind in the studio and a titan behind the console, as I wrote on these pages back in 2021, “Drvmmer is an assurance.” This year, he released his most mature and inspired project yet, No Man’s Land EP, and ‘Silence’ is the single that took the spotlight. A claustrophobic track that crushes you between broken rhythms and slashing synths. The refined sound design a-la-Drvmmer effectively saturates the entire auditory spectrum and puts some serious physical and psychological pressure on the listener. In ‘Silence’, Drvmmer tempers his impulse to compress too many elements into a single track. The result is a song with a wider audience appeal while maintaining his quality standard well above the average.
-AA

48. KETTAMA – It Gets Better (Forever Mix)

One of 2025’s electronic music final bosses, KETTAMA ruled over both the offline and online scene this year, with stops at major festivals as well as behind the web’s most popular booths. His blend of house, UK garage, trance, and techno has proven to be super effective across generations, making him a widely accepted beacon for the Gen Z and Gen Alpha generations of clubbers. Off his list of hits released this year – which also includes ‘Yosemite’ with Interplanetery Criminal, ‘Airmaxes’ with Fred again.. – ‘It Gets Better (Forever Mix)’ is the one that perfectly embodies the crosspollination at the core of KETTAMA’s sound. It’s a spontaneous track that cleverly mashes up direct influences from Underworld, Robert Miles, and Faithless, acting as a manifesto for that section of the scene who is injecting 00’ sounds into ‘25 productions.
-AA

47. IMANU x Rhode – All Too Late

Released as part of his Entangled EP via Deadbeats earlier this year, ‘All Too Late’ was arguably IMANU’s most popular track of the year. Featuring familiar vocalist Rhode, the track is one of those cuts that immediately stands out as IMANU’s work. From its moody vocal progression to its smooth drum and bass textures wrapped in pristine production, the track is hypnotizingly beautiful. There is no denying how important IMANU has become to shaping the bass scene, and ‘All Too Late’ is but further proof of the artist’s talents.
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46. Chediak, Dj RaMeMeS, MC Xangai – PERVERSA

SPEEDTEST RAVE’s boss Chediak had another strong year, topped by several tours overseas and an excellent new album. But the release that I was waiting for the most was, without any doubt, his collaboration with fellow Brazilian artists Dj RaMeMeS and MC Xangai. ‘PERVERSA’ is a bare yet punchy 2-step cut that flirts with baile funk and is led by some insanely catchy vocals. Even if you don’t know any words in Portuguese, be sure that you’ll end up having this one stuck in your head forever.
-AA

45. Vorso – Harsh Light

‘Harsh Light’ is one of those songs that my mind can’t fathom how it’s produced. The synths sound like they’re coming from another dimension, not from a human-made DAW. The clarity of every single element is simply unreal. The inspiration must have come from some unnamed forces beyond our comprehension. Instead, ‘Harsh Light’ is “just” a release by Vorso. A song, published inside Vision’s massive Mission 03 compilation, that reiterates that the UK producer is a singularity within the contemporary music scene, a unique voice that seems incapable of platitudes.
-AA

44. Maysev x The Caracal Project – Before You

The Caracal Project’s only track of the year came in the form of a mesmerizing collaboration alongside Maysev. While I spoke about Maysev in our 80th edition of Focus Five, I wasn’t aware just how much ‘Before You’ was going to grow on me (and on the drum and bass scene) over the course of the year. Easily a top contender as a personal favourite of 2025, the track has amassed over 400K plays on Spotify, attesting to its broad appeal. The smooth guitar, the ethereal soundscapes, and the crisp yet relaxed drum and bass textures make it a unique track that helped put Maysev on the map.
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43. What So Not x Buunshin x Maiah Manser – Threads

What So Not and Buunshin are in the process of releasing a joint project at the time of writing, and ‘Threads’ is the first single from the The Quiet That Hurts EP. Growing gradually in intensity over Maiah Manser’s angelic vocals, the track beautifully displays the strengths of both producers, leading to a climax of bass euphoria. Combining the signature sounds of two producers into a single track is not always so trivial, but What So Not and Buunshin executed this one perfectly. The track balances emotional peaks and troughs exquisitely, while also featuring the top-notch production one would expect from the two artists.
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42. Control Freak – THROW YA HANDZ UP

Control Freak is one of those artists who became popular due to his dubstep releases but has since diversified his output across the vast array of bass music, and honestly, his versatility is underrated. His debut album EAT YOUR FRIENDZ demonstrated this to a tee, and no track was bigger than the opener, ‘THROW YA HANDZ UP.’ While still in the realm of heavy bass music, the track combines rap, dubstep, and hybrid trap in a relentless yet infectious way. The drops are electric, the musicality is catchy, and it sets the stage nicely for the rest of the album.
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41. Dyzphoria x Ephex – Ignorant Style

The Sable Valley summertime compilations are always so fun to dive into. Showcasing some of the hottest talent within the underground. There’s always a mixture of incredible sounds, rhythmic structures, and more. And ‘Ignorant Style’ by Dyzphoria and Ephex completely throws you for a loop, as it was one of the most unique tracks of this year’s compilation. It’s a gorgeous and enticing piece consisting of colorful sound design, angelic melodies, and an overall wonderland of characteristics. That main mono-styled lead in the chorus section completely elevates the vision of the track in a whole new sense, while the intro, along with the outro sections, transports the listener into a cinematic environment. Never wanting the experience to end.
-JD

40. Strobez x phantomhouse – Tell Me It Hurt

The sheer power of Strobez has baffled many within the underground for a while now. His works have completely pushed the electronic sound in the right direction. Always delivering such high-quality and unique pieces while flying to the top. Him, along with phantomhouse are two dangerous forces to be reckoned with and ‘Tell Me It Hurt’ is pure proof. This electrifying and eclectic track will not only tear your mind apart, but it will stick with you for a long time due to its highly creative drive. There’s so much to behold within, such as their futuristic sound design, everlasting drums, and easy-going arrangement. Falling completely in love with it each go around. It’s a track like you’ll be dying to hear live.
– JD

39. Just A Gent – kickons?

Just A Gent, as an artist, has gone through many exciting phases in his career, and we thought it was only right to include him on the list. His track ‘kickons?’ is a really fun and hard-hitting wonderland full of deep basslines and nasty drums. Using a sample from Flo Rida’s ‘In The Ayer’ as a solid bass, he built an absolute weapon of a tune around it. Giving it a dark and stormy space. Those clean-sounding drums combined with such sinister bass leads will leave you in complete awe. And it just keeps going and going till the end! A non-stop experience that will have any dance floor destroyed.
-JD

38. Mac Miller – Nikes on My Feet (AYCH Remix)

Nashville producer AYCH put himself on the map this year, and no track had as much of an impact as his Mac Miller remix. Taking on one of Mac’s most iconic tunes and flipping it into a heavy-hitting bass banger is no easy feat, but AYCH proved to be more than up to the task. It’s not often you see bootlegs breaking over 100k plays on SoundCloud, but this one has soared past the marker, currently sitting at 173,000. Mac floats over the smooth yet filthy beat, which allows the vocals to serve as a focal point while still bringing some truly exceptional bass. So many things could’ve gone wrong with this one, but it was executed perfectly. Don’t snooze, don’t sleep.
-CV

37. borne – Want To Go

Landing a spot on our breakout artists of 2024 list last December, it should come as no surprise that borne finds himself on our Top 50 songs list this year. The Montreal-based producer has been on a steady ascent with banger after banger after banger. Released via UKF, ‘Want To Go’ is a godly 140 stomper. The gospel introduction takes you to church with heavenly keys and soulful vocals, bringing listeners to the promised land. That is, if the promised land is scored by dark and sludgy basslines, and rough ragga vocals (it is for me at least). Expertly blending darkness with light, menacing with inviting, borne crafts a truly exceptional 140 monster.
-CV

36. Cesco – Pretty & Plump

Cesco’s 3-track Pretty & Plump EP is infectious from start to finish, and honestly, any of those tracks could have made this year’s list. The artist has a knack for making incredibly catchy tunes, and this project is no exception. The collection’s title track, ‘Pretty & Plump,’ masterfully pairs Emz’s vocals with a groovy instrumental to create a cut that goes hard in so many different settings. It’s not overly complicated in its ideas, but that’s the beauty in a catchy garage tune; crisp sound design and swinging percussion come together to get you dancing out of your seat. Pineapple Records said it best: “Emz takes a relaxed conversational tone, flinging out bars effortlessly over a syncopated stepper par excellence.”
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35. Bakey – Backrooms

Piacevolmente estenuante (pleasantly exhausting) is the best way I found to describe ‘Backrooms’. An unusual banger that brings BAKEY’s haunting and muscular style to its very extremes. ‘Backrooms’ is a proper, raw, club-focused track that leaves home any unnecessary frills and brings to the dancefloor just the purest elements. Drums to guide your feet, a bassline to rip your chest apart, a vocal sample to hypnotise your mind. But its personality goes beyond that. The liminal and nebulous atmosphere that fills the entire five minutes gives ‘Backrooms’ a dramatic Lynchian touch, which would make it perfect as a movie soundtrack.
-AA

34. NXSTY & ero808- CODEINE

‘CODEINE’ feels like stepping into a warehouse at 5AM when the air is thick, the lights are low, and the DJ is deep into the filthiest part of the night. NXSTY unloads a bassline that sticks to your ribs and refuses to let you off the dancefloor, while vocals glide through the chaos with this smooth, but haunted energy that gives the track its edge. It’s dark, sweaty, and hypnotic, built for those late-nights when you’re running on adrenaline and the music is the only thing keeping you upright. A proper heater from two artists who know exactly how to bend a room to their will.
-AK

33. HerShe – Hit Maker

“That girl’s a HIT MAKER!” Blending an absurdly catchy vocal, beatbox elements, and masterful bass, ‘HIT MAKER’ was the soundtrack to HerShe’s explosive breakout year. While she dropped an onslaught of heat, ‘HIT MAKER’ feels like the pinnacle of her sound and style. The track exploded online and IRL at shows with HerShe taking over TikTok and Red Rocks. If this doesn’t get you moving, you may need to see a doctor.
-CV

32. JID x Clipse – Community

There is no denying that the 2025 Clipse reunion was a major milestone for rap fans around the world (more on that later). However, we think it is also important to mention JID’s return to the album format with the release of God Does Like Ugly, and specifically the collaboration with the legendary duo titled ‘Community.’ From exquisite production to JID’s quintessential vocal mastery, to Pusha T and Malice’s undeniable swagger, the track is aggressive in nature yet deep in its meaning, creating a mesmerizing dichotomy that makes it a standout in the album.
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31. Pink Pantheress – Illegal

Without a doubt, one of the most charming and iconic opening tracks ever, ‘Illegal’ is also on this list as representative of the entire Pink Pantheress album. Fancy That, is a project that draws heavily on the fundamentals of the British electronic scene and covers them with icing sugar. ‘Illegal’ is a perfect example of this. Musically dense with a jumpy 2-step bounce, but still floaty and soft. As Harry Tafoya writes on Pitchfork, Fancy That is “a portal into an alternate universe where UK garage blew up in America and fashion froze in 2006”.
-AA

30. Amine – Vacay

Whether you’re about to board a flight to an island getaway or just need two-and-a-half minutes of mental bliss, ‘Vacay’ by Aminé is your theme song. Coming off the fittingly titled 13 Months of Sunshine, the single is the embodiment of a fun-loving escape. Painting vivid images of a European romp, Aminé shows us how to vacation in style. From “only wearing robes for the whole damn week” to being “Somewhere sunny, Sweatin’ with two spritz in my tummy, I’m eatin’ ravioli and the pizza with the honey, I’m O-O-O for the week, you dummy,” how can you not smile when listening to this one?
-CV

29. Farrah x KILLMATTER – WHAT YOU MEAN!

Taken off of Farrah’s ecstatic EP Heaven in Hiding, this was such an unexpected combination of sounds, making it a highlight for both artists. The blend of their styles is so easily heard and really gives it such a memorable experience for their listeners. Those fast-paced drums combined with such crisp and fun samples flying throughout instantly knock you into the stratosphere. A pure love letter to the breakbeat style. Its unpredictable nature will have you replaying this work of art over and over again. Another pure gem for both of their discographies.
-JD

28. Nitepunk – Slices (Silcrow Remix)

Now this remix has been teased and played out for a little while now. From show to show, the crowd always goes ballistic whenever this comes on! Released two years ago, ‘Slices’ has become easily one of Nitepunk’s most played out tunes to date. And with Silcrow slowly rising to the top, he wanted to put his own spin on the already hard-hitting experience. And he did it with no problem in the slightest. Adding his own crazy percussion, rhythmic structure, and more, this remix has easily become a staple of both their paths. Always being filmed and uploaded to their social media stories or posts, fans were eagerly waiting for this to finally be released.
-JD

27. Getter x SXMPRA – Born 2 Stunt

With a little hiatus within the electronic space as a whole, the return of Getter’s incredible and iconic production is nothing but a gift for many in the scene. This track really highlights everything we’ve missed from the artist. The solid hip-hop production, combined with SXMPRA’s stellar vocals, is a whole box of treats. From a hard-hitting dubstep section to an overall addictive arrangement from beginning to end, you’ll be having this one on repeat for years to come. It perfectly highlights Getter’s production from many years ago while still being very unique and electric. Even those spicy little fills consisting of fun sampled vocals or even the coin sound effect from the Sonic series, there’s always something new to catch with each listen. And we’re happy to include this one on our list for this year!
-JD

26. Know Good – Sock’em Bop’em

The cousin pair known as Know Good may be one of the year’s biggest bass success stories. Building upon heavy momentum, the pair unleashed an onslaught of killer flips in addition to the incredibly impressive All In album. Amongst the plethora of incredible tracks on the project is ‘Sock’em Bop’em’. The smooth rap bars swerve and glide over the production with expert precision. The drops are speaker-rattling, the bass rumbles your very being, but it’s really the progression that makes this so special. The back half takes a cinematic turn, giving the vocals, which are repeated from the first half, a completely different feel and reverence. From the bird adlibs to the nostalgic voice outro, the back half will give you chills. Demonstrating the pair’s immense range and talent, ‘Sock’em Bop’em’ cements its place on this list.
-CV

25. Juelz – SYBAU

‘SYBAU’ is Vancouver-based Juelz in full scorched-earth mode. No mercy, no breathing room, just pure pressure from the second it hits. The alarms scream like a warning siren for anyone not ready, the low-end growls, and the high-frequency details slice through the mix with that unmistakable Juelz precision. His vocal chops hit with the same force as the drops, adding this gritty, almost confrontational energy that pushes the track into full demolition-mode territory. It’s one of those records that reminds you exactly why he sits in his own lane: aggressive, controlled, and absolutely ruthless.
-AK

24. Fabian Mazur – Cash

Fabian Mazur’s ‘Cash’ is straight money. Serving as a standout from his excellent imellem album, ‘Cash’ is the definition of a banger. Leveraging his own vocals with some heavy processing, he explores a wide array of synonyms for the track’s namesake while switching his flow, delivery, and effects. Fabian doesn’t get enough credit for flipping his own vocals, and ‘Cash’ is a reminder of how dope they can be. But this is a Fabian Mazur track after all, it’s not all about the vocals, the bounce is crazy, the drums are masterful, and those 808s… you already know.
-CV

23. Wink x Peekaboo – leaving (dont tell me)

Released on WINK’s WIIINK EP via Sable Valley, this was a collaboration that blew everyone’s minds. WINK in general, has really made a mark in the industry this year. Releasing hit after hit, there was no stopping the young legend from making his dreams come true. And what better artist to connect with than PEEKABOO. This track is a ton of fun and will put many electronic lovers in a pure trance. The angelic vocal surrounded by WINK’s signature futuristic void instantly draws the listener in. Eager to find out what’s next. And both chorus sections are absolutely insane. Those heavy and violent-sounding bass leads combined with such hardcore drums will knock you out of your seats in the best ways possible. Plus PEEKABOO specifically using his signature high-pitched lead in the second drop, combined with WINK’s metallic drums is pure icing on the cake. Making this one of the artist’s best tracks this year!
-JD

22. Blawan – NOS

Straight from one of the best albums of the year, ‘NOS’ is a track that perfectly reflects the extremely complex and articulated nature of SickElisir. ‘NOS’ is chaos. ‘NOS’ is order. ‘NOS’ is abstraction. ‘NOS’ is the most concrete thing there is. Blawan plays on multiple narrative levels, but above all, he brings all his incredible technical know-how into the game. It’s not only the sound palette that impresses, but also the level of refinement of the listening experience it offers us. A truly one-of-a-kind tune.
-AA

21. RL Grime x Deadcrow – Dominator

First debuted at Ultra 2024, this song really started turning heads as its pure sheer energy hypnotized the audience as well as listeners around the world. Wondering what this ID was! Now, with a full release this year, the exciting surprise of it being a collaboration with Deadcrow is simply stunning. The combination of both their styles shines on a high platform throughout this track. The fast-paced environment with monstrous sound design will have you on the dance floor in a complete frenzy thanks to its shining qualities. One that’s ready for any stage, anywhere!
-JD

20. Zero – On Job

The UK wave has continued to dominate the bass scene, and Zero is another artist steadily riding high. From the moment you press play and are met with epic choir tones, you know you’re in for something massive. ‘On Job’ is a face-melting 140 ripper that gives us everything we want in 2025. Catchy pre-drop grime vocals: check. Snappy drum work: you got it. Pulses of bass that make you want to slap somebody: you be the judge. Zero has been on fire through 2025, and ‘On Job’ is straight napalm.
-CV

19. Flume, Emma Louise – Easy Goodbye

Flume’s year can be described as one of collaborative projects. From the We Live In A Society project with JPEGMAFIA to DUMB with Emma Louise, the veteran artist allowed some of his favourite vocalists to shine above his usual pristine production. ‘Easy Goodbye,’ the first single from DUMB, was arguably his best track of the year, showcasing some of that quintessential Hi This Is Flume production quality around Emma Louise’s angelic vocals. Flume will always remain a pioneer in the ever-changing sphere of future bass (and beyond), and with ‘Easy Goodbye,’ he continued to push the limits of this genre.
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18. Skrillex – VOLTAGE

Back in 2011, Skrillex reportedly planned an album titled Voltage, with ‘VOLTAGE’ as the title track. However, the project was derailed when his hard drives and laptops were stolen from a hotel in Milan. That theft destroyed most of the in-progress project files. Despite that, a version of ‘VOLTAGE’ leaked from a promotional CD (by some accounts), and over the years, the cut became a kind of mythic “lost Skrillex track” among fans. Fast-forward to April 1, 2025, where Skrillex surprise-released F*CK U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3. This marked his final album under his deal with Atlantic Records, and the project included the legendary ‘VOLTAGE’ for all to enjoy. Despite its age, the timeless track blends classic Skrillex-style sound design with more melodic elements, giving the track an anthemic, emotional feel. The release of FUS, and ‘VOLTAGE’ in particular, marked an important transitional moment in Skrillex’s career.
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17. Ring noord – Wild Flowers

What could we expect from a duo comprised of former Noisia member Nik Roos (Sleepnet) and producer/visual artist Jasper Scholma (Former) if not something beyond our expectations? Their creative output during 2025 was a real trip, peaking with ‘Wild Flowers.’ A masterful track that atomises the characteristics of genres such as jungle, hardcore, and drum & bass and reworks them in a futuristic setting. A track brimming with creativity and unparalleled quality.
-AA

16. PEEKABOO – Yeke Yeke

After a monstrous 2023 highlighted by the Eyes Wide Open album, it seems that PEEKABOO took last year to recharge and rebuild his discography, and we can confidently say that he leveled up his game once again in 2025. The handful of singles released this year showcased the artist’s ever-growing ability to create something unique, and while the collaborations with WINK, Jon Casey, and borne were all amazing tracks in their own right, ‘Yeke Yeke’ was the standout in originality among them all. Sampling Sam Interface and Kuenta’s 2019 track, PEEKABOO utilized the original vocals and built an absolute slapper around them, keeping listeners enthralled from start to finish. I have no f’ing clue what’s being said, but I do not care because it is insanely infectious.
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15. Hamdi – Abomination

Hamdi continued to build off a momentous 2024 with the Abomination EP, largely centered around the project’s title track (although the Visages and LYNY collaborations should not go unmentioned). Building lots of hype around the track via his social media, as he has done so often in the past, Hamdi created tons of anticipation around ‘Abomination’ before its release, and it lived up to the hype. The track is the soundtrack to an alien invasion and a conversation between those aliens. It has a wonky call-and-response drop that is undeniably Hamdi in nature, and the sound design is sure to unleash your nastiest bass face.
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14. BSEARL – Sold My Soul

It’s not often you hear a song that converts you into an instant fan. I had never heard of BSEARL before encountering ‘Sold My Soul’. The song popped up randomly on my Instagram, and I was so impressed that I stopped what I was doing to get my computer and headphones to follow him and listen properly. ‘Sold My Soul’ is a work of absolute beauty. From the subtle vinyl crackle to the infectious percussive loops, every element feels meticulously chosen. Built around emotive chords and an absolutely exceptional vocal, the song is as catchy as it is stunning. Raking in over 3.5 million plays on Spotify alone, it seems I’m not the only one who’s been captivated by this special single.
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13. Ninajirachi – Fuck My Computer

Ninajirachi makes her third consecutive appearance in our Top 50, but never has she deserved it more than this year. After years of build-up, the Nina-mania has finally exploded, triggered by the release of her phenomenal album I Love My Computer. Not only has the project already become a cult favourite among the Australian producer community, but it has also managed to break through the bubble and propel her onto the next level of her career. An example? Just a few weeks ago, I Love My Computer earned her three ARIA awards. Multiple songs off the album would’ve deserved to be on this list, but the choice ultimately fell on ‘Fuck My Computer’, the single that spearh
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12. Calvin Harris – I’m Not Alone (MPH Remix)

Calvin Harris’ ‘I’m Not Alone’ is one of those timeless classics that early fans of radio-friendly electronic music just love. Among the pioneers of the big room movement and its adoption into the mainstream, Calvin Harris has had an immeasurable impact on today’s scene. This track has certainly, in some way, shaped MPH into the artist he is today, and incredibly, he had the opportunity to officially remix the classic. A rising star in the garage scene, MPH had a huge year, highlighted by the release of his album Substance, but with his remix for ‘I’m Not Alone’ serving as the catalyst to it all. The artist was able to keep the integrity of the original while blessing it with his classic garage twist, making it an instant club hit.
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11. Interplanetary Criminal – Fóca Póca (feat. Travy)

Interplanetary Criminal has pursued his climb to the apex of the garage scene. Between an intercontinental tour, his debut at Coachella, and collaborations with other hot artists of the moment, such as KETTAMA and Main Phase, the UK producer has released some of the most popular anthems of the year. ‘Fóca Póca’ might not be the first that comes to mind, but it is a significant addition to his catalogue and the scene. This UKG cut flows smoothly thanks to the impeccable chemistry between Interplanetary Criminal and Irish rapper Travy, and serves as a reminder of the former’s artistic depths and integrity, which has not been spoiled in the slightest by the mainstream attention he has received post ‘B.O.T.A.’
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10. Jon Casey & TroyBoi – AHORA

‘AHORA’ was a no-brainer for the list, especially with the year Jon Casey and TroyBoi have both had. Jon Casey has been leading a full-on wave out of South Africa, proving over and over why he’s one of the most inventive names in trap right now, while TroyBoi continues his reign as one of the OGs in the game, dropping heaters all year. When the two collide, you get ‘AHORA,’ a track that hits like a heavyweight. It’s built on that dark, chest-rattling hard-trap foundation, but layered with the rhythmic swagger and cultural fingerprints that both artists carry in their DNA. The drops slam, the percussion bites, and the whole thing feels like a statement piece from two producers at the top of their game.
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9. Zeds Dead – One Of These Mornings

With well over a decade in the game, Zeds Dead are undisputed legends. ‘One Of These Mornings’ sees the pair return to peak form, putting their signature sound on full display. From the cinematic piano and strings in the intro to the iconic vocal sample and masterful, rich bass, every aspect of the track screams Zeds Dead. The single was a standout from their astounding thematic RETURN TO THE SPECTRUM OF INTERGALACTIC HAPPINESS album, which is easily one of the best electronic albums of 2025. While Zeds Dead have remained consistent throughout their long career, 2025 saw them returning to their roots with the wealth of skills they’ve continued to develop. True originality can be a rarity, but for Zeds Dead, it’s ingrained in their DNA.
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8. Cloonee & InntRaw & Young M.A – Stephanie (HNTR Remix)

I’ve been a fan of HNTR since I saw him live under a different alias way back in 2014. Having watched him transition from bass house, to techno, to tech house over the last decade has been an inspiring story, as he always believed in himself even when his music wasn’t reaching the masses. In late 2024, his unreleased material started gaining traction among the bigger DJs and crowds around the world, and the one that truly catapulted this explosion was his remix of ‘Stephanie.’ Adding a grungy, more underground layer to the purely tech house original, HNTR made a name for himself with this remix, and its popularity can not be understated. It’s always great to see a Toronto local finally getting their flowers, and HNTR’s remix of ‘Stephanie’ deserves a spot in our Top 10 for it.
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7. Skrillex, ISOxo – fuze

As mentioned in #18, 2025 was a transitional year for Skrillex, but it was also an impressive one in terms of output. It was truly an auditory feast for fans of the artist, as an album, a handful of singles, and an EP all made their way into our airwaves. Among the many collaborations that most thought would never see the light of day but did was ‘fuze’ alongside ISOxo. This track was the first single from Skrillex’s hit me where it hurts x EP, and saw the legend team up with the rising star to deliver an absolute banger of a track that beautifully blends everything we love about the two artists. From powerful vocals, to Skrillex’s brostep influence to ISOxo’s high-octane energy, ‘fuze’ slaps from start to finish and perfectly set the stage for the next chapter of Skrillex’s career.
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6. Nero, Taiki Nulight – Innocence 2025

You’d be hard-pressed to find a dubstep track that’s more iconic than Nero’s ‘Innocence.’ The 2010 release helped to bring the original dubstep explosion to the mainstream and will forever be a timeless classic. Reworking a track of this calibre is a tricky undertaking, but if there’s one artist who was ready for the challenge, it’s Taiki Nulight. The veteran producer has been behind some of the best edits and originals in the 140 realm of the past few years. ‘Innocence 2025’ sees Taiki uniting with Nero for an absolutely astounding 2025 rework. All of the emotion, passion, and impact of the original are preserved while the track is modernized with absolutely blistering bass and brain-bending low end. This track was an absolute weapon in live sets and will remain as timeless as the original itself. Taiki, you cheeky bugger! You’ve done it again.
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5. Sammy Virji, Skepta – Cops & Robbers

The release of ‘Cops & Robbers’ was a true cultural happening. The news of a collaboration between UKG’s golden boy and grime’s legend Skepta alone was enough to send the scene into tilt. The way they delivered took the scene by storm. A all-year-round anthem deeply rooted in Virji’s feel-good sauce of garage and Skepta’s lyricist ability that turned out as the perfect point of contact between the genre’s underground heritage and its newfound mainstream appeal.
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4. LYNY – Section

‘Section’ feels like one of those records that doesn’t wait for you to settle in…it just detonates. LYNY comes out swinging with the trap essentials: that grimy low end, the slick serpentine synth work, and a confidence that lets you know he’s fully in his bag.  What separates ‘Section’ from the list of big drops released this year is how he uses restraint as a weapon. While most producers would fill the space with extra layers, LYNY leaves the track room to breathe. The bass sits right at the front, unapologetic, letting the groove hit harder because nothing gets in its way. It’s trap at its purest but sharpened with LYNY’s own edge. And then there’s the iconic vocal sample from Benny Benassi’s ‘Satisfaction.’ LYNY cuts it into the track like a blade, and it somehow makes the record feel even leaner and meaner. If ‘Section’ wasn’t already massive enough on its own, add in the fact that it picked up an entirely new wave of momentum this year when it became a crucial piece of one of the biggest tracks of the year (more on that later).
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3. Clipse, John Legend & Voices of Fire – The Birds Don’t Sing

2025 blessed us with a lot of incredible music moments, but the return of Clipse easily tops my list. One of hip-hop’s greatest duos united for their first album in 16 years and dropped a certified classic. Uniting with Pharrell, Let God Sort Em Out, reminded the world of the pair’s greatness. While singles like ‘So Be It’ and ‘Ace Trumpets’ could have easily laid their claim on this list. It’s the album’s opener that claims one of our top spots in ‘The Birds Don’t Sing.’

While the bulk of the album is stacked with opulent flexes, street tales, coke raps, and the razor-sharp wordplay we’ve come to expect from Clipse, ‘The Birds Don’t Sing,’ is honest, introspective, and heartbreaking. Offering the unfiltered and unique perspective from both brothers, the track is a raw depiction of the pain and grief surrounding the loss of their parents. Pusha T opens the track saying, “Lost in emotion, mama’s youngest, Tryna navigate life without my compass, Some experience death and feel numbness, But not me, I felt it all and couldn’t function.” The weight and intensity of emotion are only amplified by the masterful backing. The slow-building production scores the vivid imagery of the verses exceptionally. When the bass hits over the first verse, it gives me the physical chills every time, deepening the emotional impact of Pusha’s words. John Legend’s impassioned hook adds a further layer of soulful mourning that bridges the perspectives between Pusha and Malice.

Just when you think it can’t be any deeper, Malice opens up about finding his father after he passed away. The honesty and level of detail in the description of the scene is heartbreaking. The verse also pivots to the highs and lows of their relationship, from the joy of having a father he could share with his friends and their fishing trips, to the pain his father must have felt working so hard to provide for his family, only to find his sons still turn to drug dealing. It’s the closing bars that really hit unlike anything else, “Birds don’t sing if the words don’t sting, Your last few words in my ear still ring (Oh), You told me that you loved me, it was all in your tone (Oh-oh), “I love my two sons” was the code to your phone, now you’re home.”

Artists are expected to share a piece of themselves within their work, but it’s rare that they are willing to be this open and honest, especially surrounding their darkest days. ‘The Birds Don’t Sing’ is painful, beautiful, and inspiring. It’s a heartbreaking reminder to show the ones you love how much they mean to you every day. I wasn’t expecting the intro of a Clipse album to bring me to tears, but I’d be lying if I told you I had dry eyes listening to ‘The Birds Don’t Sing.’
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2. Chrystal – The Days (NOTION Remix)

Despite its late 2024 release, NOTION’s rework of ‘The Days’ was the soundtrack to the summer, seeing incredible viral success and ringing off everywhere you went. From the beach to the gym, the club, or in the car, it was almost impossible to escape. And for good reason. While some may be over it due to oversaturation, you can’t deny its greatness. The garage groove is smooth and dancey, the bassline is instantly recognizable, and the vocals are beyond catchy and addictive. Add in the nostalgic lyrics and smooth vocal delivery, and it’s simply irresistible. ‘The Days’ fits in that rare category of electronic/pop crossover that’s actually exceptional. The track took garage from the sound that’s been bubbling in the electronic scene to the stratosphere and catapulted NOTION to superstar status. With nearly half a billion plays on Spotify alone, it’s a testament to the power of a quality remix, the production skills of NOTION, and Chrystal’s incredible vocals. Press play and let the memories of warmer days flood back.
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1. Fred again.., PlaqueBoyMax, and Skepta – Victory Lap

There couldn’t be a more fitting title for the Fred again.. single that tops our Top 50 Songs Of 2025 List. 2025 was Fred again..’s year. While his star has continually been rising, this year cemented Fred again..’s status as the face of electronic music. From the viral livestreams (on which ‘Victory Lap’ debuted), to the collab EP with Skepta, and the iconic 10 Shows in 10 Cities (along with new music weekly), Fred again.. hasn’t taken his foot off the gas all year.

‘Victory Lap’ isn’t just a single; it’s a cultural phenomenon. The track spawned five official versions and more unofficial remixes than you could count. The fact that the final iteration ended up sampling LYNY’s ‘Section’ with D Double E rapping over it is simply incredible. Everything about the track and iterations feels like they were created from a love for the culture, and each iteration of ‘Victory Lap’ is masterful. The Doechii vocal sample is aggressive and infectious, setting the tone, and Fred again.. and PlaqueBoyMax just kept building from there. Thumping basslines and perfected percussion lay the foundation for Skepta to slide on the beat with his signature mix of swag and intensity.

‘Victory Lap’ is a celebration of the underground on the main stage, mixing grime, bass, and hip-hop for the year’s biggest banger. It’s also a testament to Fred again..’s artistic integrity. So many artists in his place are quick to sell out, making mass-produced, watered-down, poppy renditions of their earlier work. Fred again.. has instead opted to take the opposite approach, making whatever he wants, embracing the sounds he loves, and keeping it weird and wonderful. Press play and bask in the greatness.
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You can listen to all the tracks in our playlists on SoundCloud and Spotify.

Written and curated by Alessio, Alshaan, Colin, John, and Steph

The post Top 50 Songs Of 2025 appeared first on FUXWITHIT.

Bronze Sun

When an artist pops up on Beat Lab Radio and drops a release on the ADBC Halloween heaters compilation within the same month, it’s time to take note. This is exactly how Brooklyn producer Bronze Sun landed on my radar. His latest release ‘DAANCE’ was a standout on the ADBC compilation, which is saying a lot given how stacked the lineup is (Great Dane, golden child, samsin, Luhv, Kurei, and small talk to name a few). The track mixes a sultry, and addictive vocal that drifts in and out, pulling you onto the dancefloor and grooving to the wonderfully sludgy basslines and tight percussion. If getting lost in the music is your thing, ‘Losing My Mind’ is a hypnotic trip. Masterful sound design is paired with pitch-shifted vocals and clever thematic samples for a stellar sonic expedition. Insanity has never sounded so good.
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Ert

As always, when autumn kicks in, my listening habits change drastically. I quickly dust off my wave and future garage compilations, and I start to look for new additions that match the classic “late-night-walk-in-a-misty-road-under-street-lights” vibe.  It took just a quick digging session through the right SoundCloud channels to stumble upon Ert.  A multi-genre music producer from the Republic of Tuva, he released a lovely EP, Unrequited, that has been on heavy rotation for the past week. Fluttery and propulsive, soaked in a pagan liturgy of icy synths and evanescent pads, Unrequited is an exquisite Future Garage oasis. Burial-esque is the first label that might come to mind to delineate the frame of ‘Close Enough,’ the ravishing opening title track, but also the whole EP. A definition that is not totally overblown, although with the necessary differences. While Ert’s work lacks the nervous, yet romantic touch of the iconic British producer, he delivers a highly crystalline sound, which manifests itself now with projections of cut-throat futurism, and waves of synthetic sentimentality. Beyond Future Garage, Ert extensively explored the wide world of IDM, botanica, and ambient with his previous EPs and LPs Denmark, Fragments, Broken Tales, and Museum.  A saga of albums that I’m sure will soundtrack your evenings in the cold months ahead.
– AA

Ryan Tapalaga

Do you like filth? If you’re on our site, I can only assume the answer is yes. So if nasty, stinkin’ bass is your thing, you need to get up on Ryan Tapalaga. The New York-based producer landed on our radar at the tail end of the summer with his Subu release ‘QWOP.’ The track builds tension from the second you press play, when the rap vocals give it a second breath it proceeds to bless us with some wonderfully wubby basslines, gun clicks, snappy snares, and vibey vox. Tossing in a rap acapella at the end gives it an extra bit of sauce that takes the flavours to a peak. Proving that bit of heat is no fluke, the artist recently followed up with equally nasty, room-shaking ‘got dat’ on Aspire Higher. Teetering between dubstep and trap, Ryan Tapalaga really does ‘got dat.’
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Veiled Eye

Unveiling unspeakable darkness and bass-infused glamor is none other than Veiled Eye. A creative with pure raw power shown throughout his discography in the form of bone-chilling sound design, mind-boggling arrangements, and a perseverance to climb to the top. Within the underground, he’s continuing to create a memorable mark for himself. From star-striking self-releases to his most recent collaboration with SKYLER released on BREAK ROOM, his sound is stunning listeners all around while working day and night to deliver us his next best creation.

His track with SKYLER called ‘TAKE IT!’ highlights both of their styles beautifully while delivering something truly special for the label and their fans. A club and electronic trap combination wonderland filled with addictive drums, solid bass line, and airy vocals to complement everything together will knock you out of your seats in the best way! While his newest bootleg for Lethal Bizzle’s ‘POW 2011’ compliments the artist’s stellar flow with a nasty and brain-tingling bass line to get any dance floor in a frenzy! The stars continue to align for the artist as days go by, and we’re stoked to hear what else he has planned for the future!

Zimoh

“Storyteller, mood creator, sometimes banger maker.” That is the brief yet intriguing biography on Zimoh‘s SoundCloud. When he first landed on my radar with ‘Îneca (Drown),’ I would argue that he hit all three of those categories in a single track. Moody and introspective while still carrying a fiery undertone of bass, the track quickly showed me that the Italian producer had serious talent. With the release of his debut album 8 Months, in April of this year, Zimoh further showcased his incredible versatility over the span of 8 diverse tracks. From a beautifully mystical introduction, to tracks ranging from complextro to future garage to house to drum and bass, Zimoh does not confine himself to the boundaries of a single genre, and navigates through these with ease. For an artist with less than 1k followers on SoundCloud at the time of writing, I think it’s safe to say that Zimoh is heavily underrated.
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Written by Alessio, Colin, John & Steph

The post Focus Five – Volume 87 appeared first on FUXWITHIT.

2TALL

If you’re a fan of Focus Five Alumni like AYCH, Know Good, SoundzZz, and Trunk Space, you’re going to love 2TALL. The Oregon-based duo have been dropping a steady stream of bass-heavy heaters that blur the boundaries between trap, 140, and experimental bass. Their latest release saw them clicking up with SoundzZz for the absolutely slapping ‘Skrap.’ Pitched and bent 21 Savage vocals float over a hauntingly hypnotic leads, crisp trap drums, and booming low end. If you’re feeling that, ‘ANTHEM’ flexes another iteration of the sound, bringing an ever more aggressive approach. If you’re still craving more, their ‘Unreleased Showcase‘ will have you lost in their sound and ready for more.
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CÅARL

Freaking unbelievable. That’s the only words I can find suitable to describe CÅARL’s latest release. ‘LEECH’ is a true mind-bending, reality-wrecking, fully brutalist track that rises beyond definitions. There are Halftime influences, Neurofunk influences, Techno influences, and even Metal ones: all packaged in the scariest and most unpredictable way. Nothing can prepare you for this listen (and the official video). CÅARL, may not have had a prolific 2025, but if you like ‘LEECH’, you have quite a bit of material to catch up on.
– AA

EnnoaeON

We always have, and always will, respect the crew over at Inspected. No matter the size of an artist’s following, one guarantee from the label/collective is that they will put out, or support, top quality music. That remains true today with the premiere of EnnoaeON‘s ‘Refined Empty Matchboxes,’ a masterclass in production that beautifully balances heavy bass elements and uplifting melodiousness. After hearing this tune, I decided to dig deeper into the Rome-based producer’s discography only to find more of the same quality content. With past releases on VALE and Intrinzic, and previous support from Inspected, EnnoaeON’s catalogue is filled with slow-burning bass epics that further highlight the artist’s ability to craft stories within his songs. With less than 500 SoundCloud followers at the time of writing, it’s safe to say that EnnoaeON is criminally underrated.
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TF Marz

Denver-based TF Marz is an exceptionally gifted producer and the Co-Founder & Creative Director of the esteemed all:Lo collective.  Through his own music and the collective and label, he’s been pushing an incredibly smooth yet knocking sound that blurs boundaries between hip-hop and bass. If you like precise percussion, masterful sampling, and soulful undertones, without sacrificing the bump, TF Marz will be your new obsession. In the past two months alone, the producer has dropped not one, but two stellar EPs in Who’s Up and Reflections. The former is a hip-hop leaning project that intertwines his signature style with a wide range of impressive vocalists. The latter is a collaborative work with fellow all:Lo Co-Founder parkbreezy. The EP fuses iconic rap samples with vibey soundscapes, hypnotizing melodics, and infectious bump. With a catalog that spans back over a decade, we’re just scratching the surface. Don’t be afraid to dive much deeper, you won’t be disappointed.
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Written by Alessio, Colin, John & Steph

The post Focus Five – Volume 86 appeared first on FUXWITHIT.

Handz

Hailing from Studio City, California, Handz recently landed on my radar courtesy of veteran producer bleep bloop. Last month, he slid into my DMs with a preview of HANDZ’s new EP Closer, and I was instantly impressed. The project is out now on Eat the Bomb and offers an exceptional introduction to what HANDZ has to offer. The five-track effort unveils a forward-thinking approach to electronic music, pairing soundscapes of sheer beauty with glitchy aggressiveness, progressive arrangements, and a masterful musicality. Heavy bass and grit are counterbalanced against stunning vocals and delicate piano, creating a beautiful contrast that delivers in waves. If you’re looking for a future bass-leaning sound that actually sounds fresh, look no further.
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Know Good

The cousin pair known as Know Good have been dominating the bass scene with a style that is truly their own. With one side of the group repping over a decade of DJing and the other flexing his versatility as a vocalist and multi-instrumentalist, the two have found the perfect balance. Mixing elements of trap, experimental bass, dubstep, rap, indie, rock, and even pop may sound like a recipe for a disjointed sound, but their work proves to be the exact opposite. The duo effortlessly blends influences and genres with ease, whether it’s flipping between indie and trap on ‘Paranoid,’ fusing the always impeccable combination of rap and bass on ‘Sock’em Bop’em,’ or going full-out rock ballad on the end of ‘Comfortable’. Their All In album is the perfect introduction to their sound, offering the full range of their sonic talents and production mastery, guaranteed to make a fan out of you off a single listen. It’s a little embarrassing that it’s taken us this long to highlight Know Good on our site, but it’s better late than never.
-C

jawnsin

Ever since he burst onto my radar a few months ago, thanks to his collaboration with my dear friend SVDKO, JAWNSIN has been one of my frontrunners for Focus Five. The American artist is clearly on a run at the moment. His second-to-last release, ‘CARRY ME’ is raking up support from high-profile DJs left and right, other than doing quite the numbers and going trending on SoundCloud. But ‘CARRY ME’ is just the tip of the iceberg. In the past months, JAWNSIN has delivered quite a few tunes, all characterized by his belligerent yet self-examining take on dubstep. If you’re looking to witness a new, inspiring story within the bass music scene, you should definitely keep an eye on JAWNSIN.
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REKON

Surprising yourself with your own SoundCloud likes is among life’s simple pleasures. When searching for this month’s pick, I decided to go back into the crate to see which artist stood out the most across my wide, random range of liked tracks. To be honest, I haven’t been listening to, or searching for, much dubstep in recent months, but when I landed on REKON’s ‘SMOKE’ from ALL NIGHTER VOL.8, I knew I had to check out more of his material. I was a huge fan of the future riddim movement when it was just popping off, and hearing ‘SMOKE’ again for the first time in a while brought me back to those days. Diving deeper into REKON’s discography led me to discover some incredibly unique bass music falling under a wide umbrella of styles. From his most recent ‘SILICON STARS’ on ALL NIGHT VOL. 10 leaning toward the new wave of trap, to the nostalgia-filled complextro ‘FOLLOW ME,’ to the mesmerizing ‘DIGITAL VAPOR,’ REKON’s output is frequent, consistent, and exciting. I haven’t been this excited about an artist in a long time. Don’t sleep.
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vistuh

The impeccable range of vistuh is simply astounding. Not only has he tapped into multiple realms of sonic capability, but his skills are continuing to pave multiple paths of success for his future. From heavy bass-styled arrangements to pure melodic wonderlands full of mystery and complexity, this artist has no fear of the unknown. Always experimenting while separating himself from the rest. Each of his works are purely unpredictable yet has the same impactful way of dragging listeners in and keeping their attention. Crisp drums,  angelic to devilish sound design, and environments to become hypnotized to, you’ll always find something fresh and addictive. You only have to check out his most recent releases, and it’s pure proof of how adaptive he can really be. From a groovy and dark-infused track called ‘place like this,’ to his most recent and stellar release on Quality Goods Records called ‘leftuOUT,’ the power this artist contains is simply jaw-dropping. The production on both of those tracks will automatically have you hooked. Wanting to dive into his full discography to hear what else he’s presented to the world! We’re very excited to hear what else he has up his sleeve for the future!
-JD

Written by Alessio, Colin, John & Steph

The post Focus Five – Volume 85 appeared first on FUXWITHIT.

BLOODY

As always, we at FUXWITHIT have our ears wide open and are ready to pick up and receive the most interesting sounds out in the universe. The broadcast that has piqued my interest the most this month goes by the code name BLOODY. I don’t use this word randomly because this one is, in fact, a completely anonymous project. The only information known and confirmed at the moment is that he gravitates in the LA orbit and he eclipses his face behind an outré, red mask. What can be deduced however, is that it’s a side / new project by someone with plenty of previous experience in the scene. Since its debut release (‘ISTANTE’, published in 2023), BLOODY has been churning out extremely clean, perfectly crafted songs. This technical quality immediately established itself as the common denominator of his entire catalogue, which otherwise jiggles effortlessly between dubstep, 4/4 cuts, and indie pop (passing through some weird stuff in the middle). His latest output set quite the example. The two singles, ‘FADE’ and ‘PRETTY,’ are from two whole different planets. The former is a brutal heavy bass tune that craves for mosh pits, while the second one is a lovely minute-and-a-half alt-pop ballad. Does it make sense? Hardly. However, I appreciate the bold approach BLOODY is putting on the line, and without doubt, he has successfully made me curious for his next moves.
-AA

Modula

There isn’t much known about Modula. With a few hundred followers on SoundCloud, a handful of followers on Spotify, and no artist bio or country of residence listed, there isn’t a lot we can tell you about the artist, outside of the music. The producer just landed on my radar thanks to our friends at Don’t Die At Work, as his latest single ‘Pulse’ arrived on their label on Friday. The track was impressive enough to prompt a deep dive into his catalog, and it did not disappoint. Moving between DnB, 140, UKG, and beyond, the producer is building his own signature style. ‘Pulse’ offers the perfect introduction into his sound, fusing emotive vocal chops, dark soundscapes, brutish bass, and an energetic percussive approach. ‘XME’ blends jazzy overtones with pulse-raising UKG groove that’s assured to have your feet moving. If you’re looking for something absolutely filthy, peep his flip of FLOWDAN’s ‘Horror Show Style‘ and watch the grimey bass seep through your speakers. Give his music a spin, and give him a follow; he deserves it.
-CV

Stave

If you’re looking for some groovy UKG to blast for the rest of the summer, look no further than Stave. The Bradford-based producer landed on my radar a few months back with his incredibly infectious bop ‘Duela,’ and I’ve been keeping a close eye on the artist ever since. ‘Duela’ has amassed over 350k plays on Spotify at the time of writing, attesting to its undeniable appeal. The track isn’t overly complex, but the catchy samples, rhythmic percussion, and groovy basses make it a perfect UKG hit. Since that release, Stave has shown that the virality of ‘Duela’ wasn’t a fluke, with a new album released in June and a handful of singles adding to his impressive discography. With artists such as Sammy Virji and Interplanetary Criminal absolutely popping off right now, it’s only a matter of time until Stave becomes a popular name in that space. Don’t sleep.
-SC

Buttxrfly

Buttxrfly‘s cinematic and widespread presence within his tracks is truly breathtaking, to say the least. Creating obscure and magnificent atmospheres are his specialty, taking his listeners into a futuristic realm full of much to explore. From poetic melodies, hard-hitting drums, and bass lines, you’ll be whisked away into the addictive stasis of sound. His track, ‘V3ins of Glass’ transports you to a dark and hypnotic dance floor deep within the underground full of souls waiting to pass on. With an incredible vocal to compliment his composition. Purely haunting, tasteful, and magnificent. But his most recent tune really makes you feel lifted into the stratosphere. ‘Sever’ is a pure fever dream you’ll never want to wake up from. The impactful drum creations knocking throughout your mind while those vocals take center stage completely adds another layer of harmony. The artist has proven time and time again he can truly harness such a brilliant power and translate it through rich and jaw-dropping presentations such as these. We’re stoked to hear what’s next!

TRiP B

“We love that low end” is the tagline of Minnesota-based TRiP B. After getting the chance to catch his set live at Sound Haven last weekend, I can say with confidence that it isn’t a lie. I’m a sucker for artists who utilize empty space in their tracks, a talent which TRiP B has mastered. His set was a jaw-dropping blend of sharp stabs and deep kicks punctuated by grimy vocals and the occasional R&B throwback from the 90s/00s. This man had me hollering at 4:00 in the morning like I had just hit a crack pipe, I couldn’t get enough. I’m not sure what to call this sort-of minimalist approach to dubstep, but when tracks with so much empty space are mixed together, they erupt into something that just tickles my brain in a way that most dubstep doesn’t. Individual tracks on SoundCloud really don’t do the sound justice. Whatever you’re cooking up there in Minnesota, keep it comin’ my guy. I can’t wait to stand in front of the subwoofers for you again.
-BG

Written by Alessio, Braden, Colin, John, and Steph

The post Focus Five – Volume 84 appeared first on FUXWITHIT.

Founded in 2005 in Los Angeles, the main purpose of this haven was to help support up-and-coming musicians. To teach, educate, but also help train students so they could evolve their brand and feel more confident about wanting to improve and evolve as artists. Attracting creatives and more from all around to a commitment of full immersion in sound and knowledge. Whether you lived out of the country or right next door, the same passion and dedication had to be there to invest yourself in this world fully. And seeing so many wonderful musicians come out of this school was inspiring and jaw-dropping to say the least. Alumni such as NGHTMRE, i_o, Pauline Herr, SIPPY, and many more throughout the years all started their journey through those halls. All pushing their hardest so they could be where they are today.

The history and legacy of ICON COLLECTIVE traveled through not just the school itself, but through the faculty, teachers, and students as well. It was a place where many could find their true selves within a brand-new environment and field, welcoming everyone regardless of their skill level or overall place in the industry. From artists just starting out to those who have been a part of the scene for some time, you always found something new to discover and harness. It was a true community and family. From their incredible and unique campus to the beautiful souls working there each day, you always felt a part of something greater than yourself.

The classes contained incredible knowledge thanks to the teachers/instructors being so passionate about the craft. Sharing their own experiences in this crazy industry while passing along greatness to the next generation. You never really felt alone in the end. Not to mention the friends you made along the way. Hanging out and collaborating on school projects or your own personal ones with classmates was one of the best feelings. Immersing students into an environment of real world scenarios when it came to becoming an artist and finding their own purpose.

And who could forget the amazing pizza Friday’s which really helped ease that tension for new students while being a regular event for all to enjoy. Just walking through the halls and into your favorite class or mentor session made you nothing but excited for what’s to come. Even the office hours hosted by instructors, special guests, and more had you eager to want to learn and take in as much knowledge as you could!

Now to make things more personal, I still remember attending this wonderful school back in 2018. Just getting that acceptance letter in my email sent me over the moon. It was where I was meant to go in the beginning of my own journey. And coming from such a small town, I needed to really immerse myself in a creative space surrounded by like-minded creatives who understood and got where I was coming from, compared to wanting to take the road of learning everything myself. It was an experience I’ll never forget.

From the blissful atmosphere surrounding the school, to walking into class stoked, I felt I really found my way in that regard. Feeling as if many roads were being paved and ready for me to travel down. The teachers I had, along with my mentors, helped mold that confidence within me and made me want to push harder than ever. Not to mention the incredible students/friends in my class who are super talented. Each of us didn’t want the same thing either, which made my small class even more unique and wonderful. We all had a similar adventure starting, but we wanted to create it in our own way.

Even though I haven’t been back there in years,  I’m going to miss the purpose it served me in my beginnings. With only six of us in the end, it made everything more engaging and less stressful for me. Breaking the walls of anxiety I had when it came to performing or even just presenting a small homework assignment, I’ll forever miss that. I never took it for granted.

So even though this is the end of ICON, it will never be the end of the collective. It’s only the beginning of the future. And to conclude on a high note, we contacted some amazing instructors and alumni to give their own perspective of what ICON meant to them by describing their own experiences and feelings below! These talented and hardworking spirits made the campus and experience truly memorable and lovable.

Chase Jackson 

Former Educator at ICON COLLECTIVE || Producer and 1/3 of Wake The Wild

As a former instructor of ICON, what were some of the best memories you can remember being a part of the collective? 

This is a tough one. Personally, I loved hearing the Collab Projects at the end of each quarter. Especially when I got to hear groups who had been my previous students. The amount of musical, creative, technical, and interpersonal growth was truly remarkable. I loved hearing people stretch beyond their usual styles of music and come together to build something truly unique as a unit.

The hangs around campus and office hours were also particularly important. The casual questions, conversations, and connections between students, faculty, instructors, and staff really helped create a unique community that I haven’t seen in any other school. I’ve also had the opportunity to collaborate, perform, and become friends with a handful of Icon alums and have made some important and long-lasting friendships.

Seeing someone’s eyes light up at a new sound or technique is truly rewarding and I love getting surprised by how people will take an idea and run with it it to a totally new place.

What drew you to the school in the first place compared to wanting to teach at other locations? Have you always wanted to teach?

I’ve been teaching music privately for years and also taught at different institutions, including other high schools and colleges. The main thing that drew me to ICON was the spirit of innovation, open-minded attitude towards all kinds of music, and community vibes. I love teaching because I love talking about music, sharing information that has helped me in my musical journey, and helping other people find their own creative voice. Seeing someone’s eyes light up at a new sound or technique is truly rewarding, and I love getting surprised by how people will take an idea and run with it to a totally new place. Learning new tricks and getting exposed to new music from students was also a huge joy of the job.

One unique thing about Icon that I became privy to as I transitioned from instructor to the Education Team is that we could revise the curriculum constantly. Whenever there were updates to software, tools, or improved technique,s we made sure to get the most qualified instructor(s) or outside assistance to help build out relevant course notes, lesson plans assignments. We also read through every student’s quarterly feedback and would take any thoughts into consideration in an effort to make the school as cutting-edge and valuable an experience to students as possible.

You can’t ever say “I completed it and I’m done” You can go truly as deep as you want into any side of making music and that’s a beautiful thing to explore.

What were some really good lessons or pieces of knowledge you’ve learned being an artist and teacher as a whole?

Probably the best thing that’s worked for me is to always strive to be curious. I’ve learned not to be afraid to try out techniques, genres, approaches, instruments, tools that I don’t know well and enjoy the feeling of being a beginner. Often the most creative ideas come from the feeling of experimentation. It’s so easy to be tied up in the vision end goal, when the process of discovery is where the magic happens. One of the coolest things about music is that it’s truly infinite. You can’t ever say “I completed it and I’m done.” You can go truly as deep as you want into any side of making music, and that’s a beautiful thing to explore.

For any up-and-coming musicians or creatives in general, what advice would you bestow upon them, looking back at your own journey as a creative and educator? 

Like I said above, I think the number one is to keep experimenting but a huge way to open up your creativity and career is to make music with other people. Especially if they have different skill sets or musical, cultural backgrounds you can truly learn so much from getting in the studio together and just trying stuff. Even if track(s) you make isn’t something you want to release, you can learn SO MUCH from the process and make some lifelong friendships or career moves through those connections. That process can also remind you to be humble about what you don’t know and also give you some confidence to rock what you do well naturally. Get out of that comfort zone and make some crazy stuff. You never know what’s gonna happen, and that’s really the magic. I think Icon did an incredible job fostering that spirit of innovation in our students, and I’m optimistic that the alums and greater ICON fam will continue pushing that energy and creativity into the world. Keep at it!

Icon Collective was truly a one of a kind place. It provided space for so many talented and creative artists to hone their musical skills, discover their unique voice and build a community of like minded people. I couldn’t be more proud to have played a roll in that story and want to thank everyone (instructors, faculty, admin, staff and obviously the students and alums) who helped shape the collective. ICON FAM for life! – Chase Jackson

Follow Chase Jackson Instagram

XAVAGE

Alumni of ICON COLLECTIVE || Producer/DJ at XAVAGE 

How did you hear about ICON in the first place? What drew you to wanting to attend compared to any other school of music?

I first discovered ICON Collective because I was a huge fan of EDM, especially during the era when artists like Slander and NGHTMRE were on the rise. Once I found out that they had attended ICON, along with many other artists I admired, I knew that if I was going to take a leap of faith into music, that was the place to do it. What really set ICON apart from other schools wasn’t just the education and skill-building, but the culture and the lasting relationships I formed there. When I look back, it’s that sense of community and those memories that I cherish the most.

While being self-taught is definitely a viable path, ICON Collective offers so much more than just honing production skills.

Many artists in this industry are self-taught and didn’t really need any type of schooling, what made you decide to want to attend, compared to teaching yourself?

While being self-taught is definitely a viable path, ICON Collective offers so much more than just honing production skills. To succeed in the music industry, musical talent is just one piece of the puzzle. ICON really helps you develop a well-rounded understanding of the music business and, importantly, provides invaluable networking opportunities. There’s nothing quite like being surrounded by a community of like-minded individuals who are just as passionate and driven. Before I attended ICON, I challenged myself to learn music independently for two years to ensure that this was truly my path. Once I did that, I felt I had earned the right to apply, and ICON truly delivered the full package.

One of my favorite memories is how we would often stay until the school closed at 2 a.m., working and creating until the very last minute.

Do you have any favorite memories you can remember from being a student there?

Absolutely! There are so many great memories from when I attended ICON Collective when it was at its North Hollywood location. One of my favorite memories is how we would often stay until the school closed at 2 a.m., working and creating until the very last minute. During those late hours, when only a handful of us were left, the creativity and camaraderie were on another level. My friend Marcus and I would have some of the best times then. Both in terms of music and just connecting with the people who were just as dedicated. I also really liked the weekly sessions in the den where we’d bring in our best tracks and compete. It was incredible to hear the talent in that room, and now, seeing those artists touring is just amazing. And of course, the staff was incredible. A special shoutout to Vito, who was one of my favorite teachers. Anyone who knows Uncle Vito knows he’s one of the GOATS at the school.

What were some valuable pieces of information or words of advice you gained from the school that stuck with you to this day?

One of the most valuable lessons I learned at ICON Collective is that the real work truly begins after you graduate. There’s a common misconception that attending a prestigious school guarantees success, but in reality, the grind only intensifies once you’re out. Success in the music industry isn’t something you own; it’s something you have to earn continuously, month after month. Another crucial takeaway was the mindset of being an artist. Balancing personal life, other responsibilities, and a music career can be incredibly challenging and can take a toll mentally. ICON taught me the importance of the art of flow, finding that mental state where creativity thrives while still staying productive and disciplined. Ultimately, ICON isn’t just a music school. The lessons and skills you gain go far beyond music, and that’s something I’ll always cherish.

Reflecting on my time at ICON, I see it as a chapter where I really invested in myself and my craft, and it’s a decision I have zero regrets about.

From the beginning of your journey to now, how do you think going to ICON has improved your way of being a creative and your overall workflow?

ICON really emphasizes both learning the fundamentals and then finding ways to break them, which is such a beautiful paradox in music. Over time, I’ve realized that while music can be complex, at its core, it should be simple. ICON helped me come full circle in understanding that simplicity often comes from truly mastering the details. Reflecting on my time at ICON, I see it as a chapter where I really invested in myself and my craft, and it’s a decision I have zero regrets about. It’s one of those experiences that I’ll always cherish, and it’s made me a better, more thoughtful creative.

There are certain chapters in life you look back on and know they shaped who you are. For me, ICON Collective was one of those chapters. It was a time of growth, discovery, and connection that truly elevated my journey. This school will be dearly missed, and I just want to say thank you. Not just for the memories I hold close, but for the impact you’ve had on every student who walked through your doors. – XAVAGE

Follow XAVAGE on Twitter and Instagram 

JiLLi

Alumni and Former Educator at ICON COLLECTIVE || Producer/Singer/Songwriter at JiLLi

How did you hear about ICON in the first place? What drew you to wanting to attend compared to any other school of music?

My senior year of college I met an alumni of Icon named Ted. The way he described the school’s atmosphere and community got me really excited and curious. I didn’t know what I wanted to do after graduating, but I was really drawn to the idea of moving to LA to learn more about production and be surrounded by like-minded artists.

After taking a tour of campus I instantly knew Icon was where I wanted to be – I didn’t end up touring any other schools because I had found my perfect match.

I loved seeing students step into themselves as confident artists through the quarters, or when something from class really resonated with them and they shared that with me.

As a former instructor of ICON, what were some of the best memories you can remember being a part of the collective?

Wow, best memories as a teacher – there are so many. I loved seeing my best friends and collaborators while walking through the halls every day. The bass frequencies bleeding through studio walls. Running around asking everyone random questions for social media. I loved seeing students step into themselves as confident artists through the quarters, or when something from class really resonated with them and they shared that with me.

Opportunity, connecting with other artists, receiving feedback and guidance about the industry from people who already had so much experience with it… it leveled me up so much more than if I was home watching YouTube videos.

Many artists in this industry are self-taught and didn’t really need any type of schooling, what made you decide to want to attend, compared to teaching yourself? 

Almost everything that’s happened for me in my career is connected to something or someone from Icon Collective. This place was about so much more than learning ADSR and how to twist knobs. Opportunity, connecting with other artists, receiving feedback and guidance about the industry from people who already had so much experience with it… it leveled me up so much more than if I was home watching YouTube videos.

What were some really good lessons or pieces of knowledge you’ve learned being an artist and teacher as a whole? 

I learned the power of vulnerability and authenticity. If I’m confident being myself, it inspires others to be more comfortable being themselves.

Icon Collective was so much more than a school. It had its own pulse and personality. It wasn’t just a building filled with people I adore, it held every version of me as I grew into myself as an artist and a young adult. I’m just so grateful it ever existed and that I got to be a part of it. – JiLLi

Follow JiLLi on Twitter and Instagram 

The post Remembering ICON COLLECTIVE As A True Safe Haven For Many appeared first on FUXWITHIT.

Artifact Generator

Upscale just celebrated its 12th anniversary, and with it came the impressive UPSCALE DOZENTH YEAR compilation. The usual suspects on the label such as Hudson Lee and Frequent, Echo Map and Tom Finster, and niko scheme and voljum all had great collaborations featured in the collection, but the biggest surprise to me came from two names that I hadn’t heard of before: Artifact Generator and O-Prime Delta. While the latter actually has two songs in the compilation, I chose to feature the former for this issue simply due to alphabetical order. ‘Shaneenis’ totally caught me off guard when I listened for the first time because I am a sucker for that nostalgic glitch-hop/electro sound. Executed with a modern twist that then transitions to a more dubstep-leaning vibe, ‘Shaneenis’ embodies what brought me to love bass music all while capturing what still makes it entertaining 15+ years later. After listening to the track on repeat for way longer than I’d like to admit, I realized I had to know more about Artifact Generator, and unfortunately there isn’t that much out there (not even a press pic). While their SoundCloud discography goes back to 2018, their catalog is relatively brief, but experimentation lies at the core of their sound. Here’s to hoping we get more Artifact Generator on Upscale soon!
-SC

Gabriella Bongo

Summer calls for liquid Drum&Bass and Gabriella Bongo is here to become your new favourite dealer. Stocking up on the likes of Rudimental, Hybrid Minds, and Chase & Status, the 20-year-old songwriter, producer, and DJ from South London has made her debut on the scene with a string of luscious starters over the past 365 days. From Unsettled Rhythms, Gabriella’s debut EP to ‘Breathe’, her last single passing through collaborations with Dogger and Degs, her growing catalogue is a celebration of the soulful and introspective side of Drum&Bass. A vibrant and fine-grained sound that blends orchestral elements with tight liquid grooves and shines brighter than ever when paired with the right singer. Like in the case of ‘Spacesuite’, released on Degs’ second album, which instantly became my new obsession. It is therefore no surprise that Gabriella is the latest signee of Hospital Records.
– AA

Sylphera

Hailing from Spain, Sylphera‘s gorgeous and melodic touch will have you lost in a pure stasis. At only 15 years old, he’s proving himself to be a force to be reckoned with! Blessing the wave scene through crisp and jaw-dropping production. Creating tunes to drift around the tightest of corners in your environment. The way he’s able to beautifully craft such vast and heart-wrenching spaces will have you blown away. It’s easy to say he’s been working day and night to harness these incredible abilities throughout his life. Always delivering the latest and the greatest. From choosing the perfect vocals to add to his creations, to executing ideas in a fashionable sense, there’s no stopping this artist from soaring above and beyond to his personal goals. His most recent remixes of Naits, The Weeknd, and even Juice WRLD prove just how much he’s evolved and wants to contribute to the scene in a memorable state. Those hard-hitting bass lines, crazy drums, and magnificent melodic sound design can truly rip through space and time. We’re stoked to hear what’s next for him!
-JD

Yancey

New Zealand-based producer and DJ Yancey has been on our radar for years. The fact that he hasn’t been featured in Focus Five until now is shocking (I had to search our archives to be sure). He first landed on our radar back in 2021 with his QGR debut ‘Shaolin Noon’ alongside Golden Child & jojas. The track is a snappy trap anthem utilizing a distorted world sample, bouncey percussion, and healthy knock. After a few years, I had lost sight of his work, that is until his remix of Yizzy’s ‘Blue Freestyle’ popped up. UK Rap and 140 dubstep are the perfect combination, and Yancey proves it yet again with this fire flip. The grittiness of the bars is matched by the filthy basslines. Yancey lets the raps take center stage for the majority of the track before unloading a fierce instrumental finale. Most recently, the producer opted to take on Griselda’s Westside Gunn with ‘TALK TO ‘EM WESTSIDE’. Hypnotic melodies swirl around chunky drums and bumping low end, creating a dark yet destructive backdrop that perfectly fits under Westside Gunn’s violent bars. If you like to hear rap and bass music collide as much as I do, you need to be listening to Yancey.
-C

zoey808

With only seven tracks on SoundCloud (and even fewer on Spotify), zoey808 seemingly emerged from the ether putting the pedal to the metal. Despite what the SoundCloud tags might lead you to believe, these tracks are not your run-of-the-mill “Dance & EDM” music. This producer is pulling no punches with a collection of certified bass HEATERS. Short discography aside, zoey808 even snagged a slot playing Electric Forest this year alongside bbno$, resulting in what I can only describe as a tremendously silly and upbeat set. Is this some well-established producer’s side project/alias? Is this a newcomer to the scene with some crazy raw talent? I wish I knew the answer, but either way, I’m here for it. Give us more zoey808 in 2025, please and thank you!
-BG

Written by Alessio, Braden, Colin, John, and Steph

The post Focus Five – Volume 83 appeared first on FUXWITHIT.

BSEARL

Times really are changing. While my Focus Five selections generally come from SoundCloud digging or stand-out gems from DJ mixes, this month’s selection landed on my radar from a random Instagram reel. UK-based producer BSEARL caught my eye while I was scrolling through reels with a video rocking a hard hat, ear protection, and a reflective vest with a text overlay that read, “people I work with on site have no idea I make music like this >>>” The sound of a hauntingly soulful vocal over emotive chords gave way to a quick drum roll and a stunning drop with immersive low end and groove-filled percussion. The track was so impressive that it warranted an instant dive into BSEARL’s SoundCloud. The song in question is ‘SOLD MY SOUL’ and it’s really something special. It’s crazy catchy without being the slightest bit corny. It’s dark, but it’s also beautiful. It’s chill, but it hits. It’s the perfect contrast, counterbalancing contradictions with an airy sense of sophistication. Adding to his recent success, ‘NO MORE PAIN’ is an emotional bassline anthem that once again leverages an addictive vocal and pairs it with driving basslines for a club bop. BSEARL is two for two with recent releases, and his earlier catalog is no joke. 2025 is going to be his breakout year, and it’s already underway.
-C

COIDO

If a producer releases on YUKU, I already know that checking their whole discography is going to be time well spent. This theory proved right once again with COIDO, who recently published a full EP, titled Final Reason, on the Prague-based imprint. This release, alongside a shoutout from a tastemaker such msft, lured me into his realm of bass-weight devastation. Final Reason is a high-voltage package with four tracks that delivers a lethal display of ballistic percussions and rhytmics. Gasoline EP (released November 2024) explores the witching power of slower pacings instead, offering a well-calibrated communion of technical earcandies and club functionality. In Bad Snack EP (released October 2024), probably my favorite release from the Italian producer so far, COIDO spices his muscular kick game with bloghouse, dancehall, and Boyz Noize-techno aromas. Music journalist Shan Reynaldo came up with an iconic description of ‘Sandero’, the EP’s opening track: “Imagine Crookers making something for TraTraTrax—an unruly, horn- and laser-filled tune like ‘Sandero’ just might be the end result.” Traces EP (released May 2024, again on YUKU) goes one deeper. Each tune sounds like the theme song of a bass-music dungeon boss fight. This EP is truly a masterclass in claustrophobic sound design, definitely not for the faint-hearted. If this full immersion has left you sweat-drenched, you’d better level up your game because these were the EPs released by COIDO just in the past year. There’s much, much more to uncover.
-A

Jade Sierra

It’s crazy to think how hard some artists work before ever showcasing their talents to the world. Great art takes time, and Jade Sierra embodies this. On an Instagram post in late 2024, the Dutch artist shared that after 7 years of making music, he was finally releasing his debut EP, and anywhere but here is nothing short of incredible. Overnight successes and one-hit wonders come and go, but for real lovers of music, dedication and hard work is the most important part. Jade Sierra demonstrates this via four incredible tracks that span from electrifying future bass in ‘2hard2move’ to silky smooth drum and bass in ‘do u think about me.’ From catchy ideas to top-tier execution, Jade Sierra’s short yet impressive discography is a must-listen, and the fact that he only has 351 followers at the time of writing is criminal. With additional releases alongside artists such as Malixe and Synergy and surely more to come, Jade Sierra is an undeniable up-and-comer in the bass music scene. Don’t sleep.
-SC

Silou

The amount of versatile qualities within Silou‘s works are simply jaw-dropping. Hailing from Stockholm, the artist has continued to showcase brilliance with every track put out. Containing some extremely rich tones, techniques, and tender melodies. Not to mention his drums will absolutely knock you out of your seats wherever you are! Glitch-infused sound design, colorful percussion combined with stellar arrangements, you’ll never know what’s coming next.

His remix of Kendrick Lamar’s ‘Savior’ will twist and turn your molecules in such a poetic and beautiful fashion. Honoring Kendrick’s hard-hitting vocals through his signature style of pure chaotic wonder. Those monstrous 808’s combined with such exquisite melodic patterns really add a whole other layer of beauty within. Easily one of the best remixes of Kendrick to date.

Not to mention his latest remix of QUIET BISON’s ’26fe’ will have you in a pure trance of discovery and balance as it highlights everything this artist is capable of and more. Hearing the inspiration from both QUIET BISON and Flume, he’s managed to create his own style through his own wonderful techniques and skill. Uplifting the original to brand new heights with each second. Making this one of this best works yet. We’re truly excited to see and hear where the artist has planned next! So make sure to stay tuned and keep an eye on him!
-JD

DELACOUR

Summer is almost upon us, which means it’s time to start loading up those playlists with laid-back, sun-soaked beats. Let me suggest beginning with DELACOUR, head of the aptly-named Summer Soul Records in Brooklyn, NY. If dreamy, minimalist beats are up your alley, then you’re in for a treat. DELACOUR’s latest track, ‘Keep Giving You All My Love,’ perfectly encapsulates the mood of sunbathing by a poolside or digging your toes into the sand on the beach. Sometimes hazy house music like this can have the opposite effect, almost nap-inducing, but that’s not the case here. DELACOUR’s Bloom EP, released earlier this year, strikes a masterful balance of that same soothing instrumentation with upbeat composition that keeps your head bouncing the entire time. Personally, I can’t get enough of this sound, especially with warm weather right around the corner. Check out some of my favorite recommendations below!
-BG

Written by Alessio, Braden, Colin, John, and Steph.

The post Focus Five – Volume 82 appeared first on FUXWITHIT.