Up next from the bass maestro is a four-track beast of a project on Never Say Die: Black Label titled the UGHH EP. Featuring more IDs from the aforementioned mix as well as a couple of new brain-melters, it’s safe to say that Aweminus is in a league of his own. Ahead of its release on October 28th (and just in time for Halloween), we have the extreme pleasure of premiering ‘Dead Horse (Just A Beat)’ today.

As eclectic as its title, ‘Dead Horse (Just A Beat)’ is a short but sweet core-shattering tune that’s quick to the punch and doesn’t stop until it closes. A snappy vocal sample in the brief introduction paves the way for the grungy madness that follows, with Aweminus innovating in the realm of riddim as he’s done so exquisitely in the past. The drops are a mean, menacing display of sound design mastery, as each bar hits harder than the last. The ideas aren’t overly complex and Aweminus doesn’t try to do too much, but the simplicity paired with the crisp execution make ‘Dead Horse (Just A Beat)’ a true standout from his insanely impressive repertoire. Don’t miss it below.

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The title track of this short but deadly affair, ‘Pacman Bullshit’ may be inspired by an arcade classic, but chooses to surely play no games. Boasting an infectious rhythm and borderline-obnoxious levels of energy, this is a piece that will bombard listeners with electric groove-material. Vicious switch-ups and maniacal samplings illicit only the grimiest of facial contortions, while simultaneously instilling unbridled joy to all that are within listening distance. Some of the cleanest wubs and dubs in the business, this a true delight on the ears, and will surely flex all speaker systems to their maximum destructive capabilities.

Ahh ‘Mud’, what a fitting name for such a dirty, gritty sonic arrangement. Immaculate synths coupled with delicious claps creates the world’s sweetest mud pie, fresh out of master chef Aweminus’s kitchen. A maddening melody forces you to creep ever-closer to insanity between deluges of bass, before sending you head-first into the asylum that is the 2nd drop. Did someone just let a ripe one rip? Or is it just the feeling you get when this track is wiggling the air in your vicinity? Maybe both, the world may never know.

Aweminus has once again proudly proclaimed through sound alone that he is one of the brightest minds in the game, with absolutely zero signs of slowing down anytime soon. Keep your eyes firmly peeled for what he has coming next, and check out the full EP for yourself below!

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What do you get when you take the hottest names in the dubstep scene, round up some of their most anticipated unreleased material, and package it all into one devastating ensemble? The answer is Malignant Vol. 1. One might think this is an exaggeration, but a quick look through the tracklist reveals the true catastrophic nature of this compilation. From the label-head himself releasing the guttural ‘Laryngitis’ and the ridiculous ‘Blunder 2.0,’ to Aweminus and Subfiltronik finally delivering their highly-awaited ‘Subminus,’ veterans are well-represented in Malignant Vol. 1. Add to that some boundary-pushing up-and-comers such as Hukae, Papa Khan and SYZY, as well as established big guns Calcium and Krischvn, and one gets the debut Malignant Music compilation. Don’t miss it below.

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The Aweminus train does not appear to be stopping anytime soon, either. Returning to Never Say Die: Black Label with another highly-anticipated ID in the form of ‘Thunder Stomp,’ Aweminus once again proves he is not a one trick pony. “DJ this my favourite song so imma make it thunder stomp” is the repeated vocal in the introduction that drives the show, before the talented producer flexes the weird and the wonky in the drops. Boasting the usual snappy percussion that Aweminus has honed to a tee over the last few years, ‘Thunder Stomp’ is a dubstep tune by time signature but so much more than that in sound and complexity. It’s difficult to put the uniqueness of the track into words, so dive in below and hear for yourself.

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Similar to ‘Glass Planet’ in style and flow, ‘vibevibevibe’ is a five-minute long opus that grasps your attention immediately and never lets it go. With the drops comprising almost four minutes of the lengthy track, Aweminus uses the brief introduction and bridge to lure you in, before mesmerizing you with his oddly lighthearted melodies for the majority of the track. The dynamic of ‘vibevibevibe’ is strange as the bottom layer and fills are heavy and rugged while the main synths and melodies are unusually upbeat, but Aweminus’ genius shines in making these two different styles sound cohesive and even danceable. Don’t miss ‘vibevibevibe’ below.

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Aweminus has catapulted his way to the forefront of the scene in 2020 with the blazing ‘Get It‘ and oddly addicting ‘Glass Planet,’ and looks to build on this momentum today with ‘Stogned,’ his first ever release on Never Say Die. ‘Stogned’ is surely unlike anything you’ve ever heard before, so don’t press play expecting a typical Aweminus track (whatever that even means). The 145 BPM single is driven by a bouncy introduction highlighted by a punchy kick and a high-pitched vocal sample. When the “drop” hits, you’ll understand why ‘Stogned’ could easily define the word eccentric, still boasting crisp sound design and dynamism but in an unparalleled manner. With a second half edging on the side of Jersey club, we recommend you dive into Aweminus’ latest below to get a full appreciation for its strange appeal.

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First teased in his DubHub mix a couple of months ago, ‘Glass Planet’ is a unique five-minute track that keeps you hooked from start to finish. Despite having a very short introduction and mid-section, the ingenuity of the extended drops never grows stale and hits hard on every subsequent bar. ‘Glass Planet’ is peculiar due to its high-pitched nature but the underlying heaviness drives the mayhem that it creates. Highlighted by enticing melodies, rumbling synths and snappy percussion, three signatures that Aweminus is championing, ‘Glass Planet’ flows seamlessly, creating a conflicting dance-versus-headbang vibe that impresses more with every listen.

Aweminus is the future. ‘Glass Planet’ is proof. Don’t miss it below.

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Perhaps the biggest surprise to the track list was Laxcity, an artist not typically seen in the bass realm but always able to hold his ground and let his undeniable talent and work ethic speak for itself. With his take on ‘Divisions,’ Laxcity does just that, transforming Oolacile’s energetic original into a moving future bass bop. Another impressive surprise is Aweminus‘ bass house take on the same track, further displaying his versatility and innovation in genres that often stagnate. Fans of heavier dubstep will love Oolacile’s ‘Neurons VIP,’ Digitist and Neonix‘s remix of ‘Dauntless,’ Akeos and Jub‘s gruelling take on ‘Machina’ and Subfiltronik‘s ferocious ‘Otto’ remix. Frequent collaborators Clockvice and Vorso also deliver an intense version of ‘Dauntless’ while Mr. Bill closes out the diverse project with a soothing yet complex ‘Otto’ flip.

Automaton RE:Automated is direct proof of both Oolacile and his friends’ true talents. Don’t miss it below.

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Today, the Las Vegas-based producer returns to the esteemed imprint with his first single of the new decade titled ‘Get It.’ In typical Aweminus fashion, ‘Get It’ begins with a tension-building introduction that isn’t too drawn out and hints at an impending massacre of bass. At the twenty-five-second mark, all hell breaks loose as the talented artist combines his gnarly sound design, impeccable flow and raw grit to new heights to deliver a monster of epic proportions. Never lacking in energy, ‘Get It’ marks Aweminus’ introduction to the new year with a statement. Don’t miss it below.

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With Black Ops XL II, Las Vegas-based Brandon Famini, better known as Aweminus, has curated one of the heaviest compilations we have ever heard. First teased through a forty six-minute mix riddled with IDs and riddim favourites, the compilation has set a new standard for the ever-growing genre, as Famini has hand picked only the highest quality tracks from a wide range of talented producers.

Through four tracks of his own, Aweminus flexes his sound design dominance and impeccable flow to solidify himself as one of the underground’s most prominent names. The remaining six songs are further insight into the future of riddim and heavy dubstep, as artists such as Yakz, Bukez Finezt, Algo and the rest continue to find new ways to keep the genre fresh and exciting. Stream the full compilation below.

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