After a brief hiatus from complete projects following the release of the Bulldozer EP in 2016, the UK powerhouse finally concludes the swelling anticipation with his highly sought after Knockout EP.

A four-piece project in whole, Knockout presents an opportunity for Trampa to refine his signature style of “deathstep” even further, demonstrating the fruits of his extended absence through enhanced production and subtle intricacies that allow each track to flow seamlessly as its own masterpiece as well as work in perfect synchronicity with the accompanying tracks.

The product of long nights, a busy touring schedule and meticulous fine-tuning, the raw unadulterated energy in Trampa’s latest project was well worth the wait.

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An intimidating siren clamors in the background as a distinct bell sounds off as the introduction for the namesake of the project ‘Knockout’. As the siren hastens in pace it gradually transforms into a high-paced riser, which grows to a crescendo before letting loose a grungy vocal lead, which unleashes colossal walls of bass that flow effortlessly with electrifying hydraulic fills. Armed to the teeth with reverberating heaves of bass, the subtle but precise snare rolls and innovative production intricacies provide a sensational flow to keep the track rigidly in check.

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Toying with left/right audio panning, the introduction for ‘Walloped’ boots into transmission like an extraterrestrial dubstep spaceship. A tantalizing vocal lead symbolizes the final stages of initiation as the track kicks into a mutiny of incisive bass stabs, which Trampa expertly contrasts with definitive percussion and exquisitely timed beat breaks. Depth is one of the first thoughts to come to mind as the second build materializes from a simple vocal loop into a massive wall of engulfing bass, which carries on relentlessly for the totality of the second drop.

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It seems like fans have been waiting forever for ‘Coming At Ya’, but don’t fret because it’s finally here. Old school rave sounds are peppered throughout the introduction with a repeating sample of the track’s title warning you of the impending doom that’s about to hit. Doing what he does best, Trampa delivers a violent barrage of mind-bending frequencies. In a contrast of neuro-rave nostalgia and forward-thinking sound design, Trampa has concocted a heater in ‘Coming At Ya’.

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An eerie soundscape kicks off the fourth and final track of the Knockout EP, before Rico Act takes the lead on ‘Ceremony’. A short verse from the ever-present vocalist is quickly flipped into bass madness, as Trampa delivers the final blow of his skull-cracking project. ‘Ceremony’ and the Knockout EP are definitely worth celebrating.

Words by A. Samuel Lewis and Steph Contant.

The post Trampa’s ‘Knockout’ EP Will Put You Down for the Count appeared first on FUXWITHIT.

Needless to say, Figure has grown to be a household name regarding all things BASS and has even more recently expanded his reach with DOOM Music, a label he founded and created as a platform for up-and-coming producers, as well as the big man himself, to showcase new releases.

Ask any veteran fan and one of the first things that will come to mind is that Figure both through sound and imagery fully embodies the spirit Halloween. With remixes of The Addams Family and The Munsters theme songs, as well as an entire playlist dedicated to Halloween-themed tunes, there’s no question where his loyalty lies as far as holidays.

In 2011, Figure released a compilation of tracks just around the corner from Halloween titled Monsters 1, as the name suggests the project stems from Josh’s foundational allure for Halloween and adopts an eerie, ominous guise. Releasing a new Monsters project annually in each successive year since, the project has grown to be one of the signature trademarks of the Indiana-native, as well as one of the most sought-after releases in the dubstep genre year after year.

At a length of 13 total tracks, including 7 different collaborative efforts featuring the likes of Dack Janiels, Don’t Kill It, 2FAC3D & Hatch, Monsters 9: The Asylum is as flush with goodies as a burdensome pillowcase of candy after a well-oiled Trick-Or-Treat route.

As the gruesome artwork insinuates, the project imitates a modern-day mad science experiment, in which Figure & his trusted fleet of medical staff perform an extensive remedy of agonizing medical procedures, subjecting each patient to a debilitating gauntlet of disturbing bass, relentless kicks & terrifying drums.

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Shrill opera vocals and a timeless organ reminiscent of an old horror movie furnish the introduction to the project with ‘Welcome to the Asylum’. The warden cackles menacingly as he makes his introduction, commanding a ceaseless assault of metallic synths, laced with haunting organ remnants, which collide with a repugnant fleet of grungy wobbles.

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Once completely subdued, each patient undergoes a series of tests to determine the exact nature of their ailment, a harsh clanging and taunting piano keys warn of the treachery burdened with ‘Shock Therapy’, but it’s far too late to escape now. A sinister organ piece leads to an ominous medley of bells, as the drums grow in the distance Dr. Figure appears out of nowhere to administer a lethal dose of relentless, quivering synths and decimating drums.

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Even the moments of dormancy carry with it the stench of perfidy as ‘Sleep Paralysis’ clenches you within its grasp. Surrounded by an incessant barrage of wobbles and monstrous whomps, you fight to resist the gradually increasing immobility in your limbs. An abrupt hiatus offers a gleaming opportunity for escape, before the second outbreak of ceaseless wobbles immerses you entirely, thwarting any hope of evasion.

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‘Uncompromising Darkness’ delivers a sinister farewell to the Monsters 9 compilation. Silky smooth vocals delivered by Hatch weave a story of the struggles and turmoil endured in The Asylum and the endless inner conflict within one’s own mind, providing a perilous salutation to the album.

With well over a decade of production experience under his belt and 8 previous Monsters compilation in his wake, Figure was presented with the challenge of preserving the original inspiration and vision behind the project, while striving to maintain a gradual progression in sound to keep his audience captivated and on their toes.

Even despite the predicament, Monsters 9: The Asylum presents an emblematic offering to the bass genre, paying tribute to the Figure’s coveted dubstep flavor and the foundation laid for the project back in 2011, yet pushing the creative boundaries through a deliberate emphasis in the storytelling demeanor of the latest installment.

We had the delightful opportunity of catching up with Josh to discuss the latest edition of Monsters, in which he sheds some light on his creative approach to the project, his inclination towards Halloween & discloses some young, talented producers that have caught his eye.

Check out the full interview below, and be sure to give the latest installation of Monsters a thorough listen!

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Everything from your live visuals, to your artwork, to even your sound itself SCREAMS Halloween. Can you talk about your inherent fascination with the holiday and how it has played a role in influencing your image and style?

I grew up around spooky stuff. From my dad running Haunted Houses, to me living in a couple and being freaked out my entire childhood. I never went out much and played outside as a kid, I was always sitting in the basement watching horror movies, movies I shouldn’t have been watching at that age range but it worked out for me.

Stemming back to 2011, your Monsters compilations are arguably some of your most sought after releases year after year. Walk us through your original idea with the project, did it spark purely from your inclination to Halloween, or was there a more foundational desire to push and grow the expanses of the dubstep genre?

In a way both. The Halloween vibes just come naturally, so when I make music, that is a part of it. It so happens that dubstep really works with those vibes, seeing how aggressive and adaptive it can be.

With nearly 9 years under your belt, it presents the struggle of continuing to provide something fresh and novel to the table. What sets The Asylum apart from the previous Monsters compilations, is there something new that listeners can expect from this volume that you’re eager to unleash?

I’d say the only struggle is making sounds that people haven’t heard yet, and if you are using sounds that they feel like they have heard from you before… it’s about how to use them differently. This album is darker and way more influenced.

Could you take a moment to discuss the nomenclature of the project, at which point in the creative process to you begin naming tracks? Do the ‘Horror’ themed titles help guide yourself and the supporting artists to maintain a certain sinister vibe, or do the tracks themselves act as the sole inspiration for the name?

It changes with each track. Sometimes I’ll make some vocal samples and write a song around them. At times, I will make a song that sounds like a character within itself. The horror/creepy vibes just comes natural when I write music.

Given you’ve flexed massive releases on countless notable labels, what motivations led you to found your own label, rather than joining the ranks of an established one?

I like control, and once you learn what a modern label is, it’s a no brainer. I am always on my own schedule on the road, at home, so my music needs to follow that. It also gives me a opportunity to help up and coming people to get their music out, so they can get to the point they can take full control of their vision as well.

As you are just embarking on The BloodBath Tour, what can fans anticipate to experience both from an audio perspective as well as a visual/production standpoint?

I’m playing almost my entire new album on this tour, and tons of the Figure classics. My visual TerrorVision show has been making surprise appearances at almost all of them now ;)

What type of candy do you handout to Trick-Or-Treaters?

I live too far out in the country for people to come up to my house, let alone kids! If I could give candy out, it would be the classics. Candy Corn, Edible Vampire Teeth, and those rubber Witch fingers!

The post Figure Prepares Us For Halloween With ‘Monsters 9: The Asylum’ [Interview + Review] appeared first on FUXWITHIT.