For this pilot episode, we decided to kick things off in-house with a b2b between me and FUXWITHIT’s very own Colin aka classyvlassy. He’s a true basshead, so expect some trap bangers from his selection, alongside some hip hop and even drum&bass. From my side, I couldn’t resist selecting some well-known cuts but I believe you won’t be disappointed (the obscure stuff will come in the next episodes, trust me). Also, don’t worry, we don’t have any ‘Rumble’ edits.

Rude Boy (Klean Remix)

Hold on and read what I have to say before rage-quitting this article. I know this remix has almost half a million plays on SoundCloud alone and has been spammed all over the internet in the past week. But that’s exactly the reason why it’s here. It perfectly embodies the spirit of this column. Think about it: the most talked about moment of 2023’s Super Bowl (musically speaking) has been an unofficial edit uploaded by a Brazillian teenager on his SIDE ACCOUNT, with just a few thousand followers. Crazy, eh? I’ll say it one more time, unofficial creations keep the music world fresh and exciting.  That’s why I wanted to open Bootleg Business with this track. It’s its manifesto.
-A

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CLB – Bootlegs [002]

The title alone makes this a must for our selections. Chicago’s CLB is well known for his ability to give tracks he loves a darker and dirtier spin, and that’s just what he delivers on his second release of bootlegs. The 3-track offering sees CLB flipping tracks from Kunta Kinte, Skelecta x Distinkt, and Wiley Cat. The pack provides an insight into the sounds that influence the artist, shines a light on often-overlooked underground gems, and simply fucking bangs. Exploring the realms of 140 and grime, the icy bangers are built for dingy basements and beastly sound systems. Those looking to embrace the dark recesses of bass music will be delighted. Fans hoping for pop-friendly EDM bops will be frightened. Bootlegs [002]  is yet another example of why we love CLB.
-C

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Dennis Ferrer – Hey Hey (camoufly Remix)

The first time I heard this remix I was languishing in a complete hangover after one of the many nights out during ADE. Once I heard the drop, I was reborn, ready for another party. This remix is a certified banger. It hits harder than a bottle of Jäger gulped down in one breath. When thinking about ‘Hey Hey’ I used to recall the sensual house vibes of the original or the hyperactive disco groove of the Riva Starr remix. Now all I can think about is me fighting for my life in a mosh-pit. Good job camoufly.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/1408623886″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Fred again.. – Kammy (like i do) (So Dope Bootleg)

So Dope flexes his talents as a remixer with a unique flip of Fred again’s ‘Kammy (like i do).’ The fresh take embodies all of the emotion of the original while injecting a distinct level of knock. The original vocals tie the track together as So Dope adds in lush pads and beefed-up drums before exploring three unique drops. Moving from trap, to club and wave, this bootleg truly checks all of the boxes, making it primed to ring off at clubs without sacrificing any of the feels.
-C

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Polarkreis 18 – Allein, Alene feat. Nephew (Voliik remix)

Let’s go step by step. I’m a huge fan of Eric Prydz. His remix of ‘Allein Allein’ is one of my favorite tracks from him and it made me fall in love with these vocals. Voliik is one of the most fascinating and skilled producers I know. What could go wrong with the combination of all these elements? Voliik’s electro treatment is brutal and extreme as always, but it perfectly matches the adrenaline rush triggered by the vocals, in this version sung by the Danish band Nephew.  Indeed, this is actually a remix of a rework of the original Polarkreis 18′ song. Confused? Read the SoundCloud description for the full, beautiful story behind this remix.
-A

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Lil Yachty – Poland (Formula & Nautika Bootleg)

I’ll admit that I’m a bit behind on this one. Released late last year, Formula & Nautika take Lil Yachty’s ‘Poland’ into the world of DnB. Let me start by saying this really shouldn’t be this good. That’s not a knock on Formula & Nautika’s talents because they prove them in stripes. It’s just rare that a DnB flip of a SoundCloud rap hit sounds this well crafted. Yachty’s addictive and simplistic vocals make it feel instantly familiar but the way they’re bent and stretched creates melodic layers that are damn near spiritual. The drops hit with maximum impact while still remaining infectious and uplifting. This song is simply too much fun. Don’t blame me if this is stuck on repeat for the foreseeable future.
-C

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Mr. Carmack – lean on rmx (1great dane totally helped too)

Here’s another widely popular, or I should probably say iconic, remix. I’ve been sharing this version of ‘Lean On’ left and right for six years now, it would simply be a crime to not include it in Bootleg Business. Long life to Carmack (and Great Dane too) for this gem and for that album full of random beats he dropped in 2017.
-A

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PRYZMS – TALES FROM THE DIRTY SOUTH RE:MIXTAPE

What happens when you flip Atlanta rap classics into hard-hitting bass cuts? ATL native PRYZMS decided to find out and we couldn’t be more grateful for it. Leaning into his early influences, TALES FROM THE DIRTY SOUTH RE:MIXTAPE is a love letter to the iconic sounds of his city that also show off his undeniable skills. Blistering trap and bass is elevated by vocal samples from rap staples that include ‘In The A,’ ‘Kryptonite,’ ‘Dirty South,’ ‘ATLiens’ and more. This is untapped SoundCloud gold that’s ripe for mining. Bask in the sonic riches.
-C

[soundcloud url=”https://api.soundcloud.com/playlists/1569514078″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”320″ iframe=”true” /]

SOOHAN – Missy Tribute

“A supercut of Missy Elliot’s hardest lines running atop a selection of Timbaland’s best cuts.” This is how SOOHAN himself described this cut, and to be honest, it’s pretty self explicative. There’s nothing much to add about the song (it slaps!) but I can’t stress you enough to check SOOHAN’s full discography. He’s a remix wizard and sample genius. On top of that, he doesn’t limit himself to pop remixes but he mainly incorporates and explores sounds from all over the world. His SoundCloud profile is a true encyclopedia.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/344577876″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Skrillex – Scary Monsters & Nice Sprites (Fabian Mazur Remix)

With the recent release of not one, but two new Skrillex albums, it’s probably safe to say you’ve been inundated with Skrillex remixes as of late. So why not lean into it with a fresh approach? Rather than taking on ‘Rumble’ or one of the iconic producer’s recent releases, Fabian Mazur has instead opted to take on Sonny’s all-time classic ‘Scary Monsters & Nice Sprites.’ With the original now well over a decade old, a fresh flip actually feels like a unique take. Fabian Mazur leverages the vocals and signatures from OG while completely flipping it on its head for a trapped-out twist that’s primed for the FUXWITHIT audience. Flipping a classic is always a difficult task, but Fabian Mazur always rises to the challenges ahead of him.
-C

[soundcloud url=”https://api.soundcloud.com/tracks/1441934500″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Words by Alessio & Colin

The post Bootleg Business – Vol. 1 appeared first on FUXWITHIT.

This tune is like if Ternion Sound and Wiley had a baby, and I was the doctor who delivered it. And the baby came out blasting gunfingers, smoking a cigarette, and drinking a Red Stripe.
– CLB

Stream ‘Untitled Riddim’ below and be sure to grab the free download.

The post CLB – Untitled Riddim appeared first on FUXWITHIT.

The man in question that has been consistently pushing the sounds of DnB across North America is, Chicago native CLB. Since re-focusing his project from the sounds of UK baseline to DnB, the young innovator has been in a groove, to say the least. In a true representation of the underground, CLB refuses to be tied down by the confines of genres, even within DnB. From neuro, rollers, and liquid, CLB has shown that he’s not afraid to tackle all corners of the genre. 2020 marked a massive year for the young trailblazer, earning the honor of being Space Yacht’s first release on their new label with his single ’Moving Forward.’ In addition to this, the rising star also landed an official remix with his remix of ‘Written Maze’ by the legend DROELOE.

With all this being said, It’s an honor to able to have the chance to ask this young talent a few questions, and of course, it’s an honor to have him be our first guest mix of 2021!

First off, thank you so much for stopping by! Guide us through this mix, what direction did you take this?

I wanted this mix to showcase the darker side of my productions. I’ve been missing being in a small dark club filled with fog so I framed the mix around that kind of environment. I’ve also been dabbling in some grime production and I wanted to showcase a little bit of that towards the end. I love making more radio-friendly music like I did last year, but my heart lies with the really aggressive dark side of things, so this mix is a reflection of that.

Give us a little bit of insight into what it was like growing up in Chicago. What’s the music scene like? How much influence did that have on your music?

The music scene here is great! There’s something in the water here because the artists and the sounds that come from Chicago seem to influence a lot of the world’s music. Obviously, house music is such an important cultural part of the city and I take a lot of inspiration from that even when I’m not writing house. With Chicago being so large, I get exposed to a lot of different genres/sounds that I wouldn’t otherwise hear if I was somewhere else. I make a big effort to pull things from all of those genres and put them in my own productions.

I’ve never felt healthier creatively and I can’t see it stopping anytime soon.

Your newer fans might not be too familiar with your UK bass days, which is weird to think about. How was it navigating a change in direction in your project, and how did you end up at this point in your career?

I had reached a point in 2019 where I felt like I had used up all my good ideas for UK Bass, and everything I was making was starting to sound like a copy of someone else. I had been dabbling in making drum & bass my whole career but never put anything out that was good enough to my standards. Towards the end of the year, I ended up taking a trip to the UK where I was able to go to a few shows that had some drum & bass acts on it. I remember standing in the middle of a crowd watching Kanine play and I had this epiphany thatthis was the music that I wanted to make, and I haven’t looked back since. Transitioning wasn’t very difficult, I just made sure that everything was up to standard before I started releasing anything. I’ve never felt healthier creatively and I can’t see it stopping anytime soon.

You recently launched your label Sine Clash Recordings. First off, massive congratulations man! I love to see another home for drum & bass in America. What are your goals with Sine Clash? What’s the end vision?

Thanks man! At this point in time it’s really just a way for myself to self-release my own music. I want it to grow into more than that, but it takes time to get everything right, and I’m not at the stage I want to be yet to release other people’s music. I can be really picky about music I play, let alone sign to a label, so once I sit on it some more I’ll know exactly what kind of direction I want to go in. I’ve gotten some crazy demos already from some great North American producers though! The end vision is to just be a recognizable name in the American bass community.

What do you make of the rise of DnB in North America? Has it hit a peak yet? 

I’m not sure to be honest! Like most things, COVID really put a damper on that. I feel like 2020 was going to be a good year, and I was excited to see if drum & bass would get a spotlight in festival season, but obviously that didn’t happen. Although I’m relatively new to the scene, it seems like there’s always a good amount of push for DnB to be the next hot thing every year but it never really takes off. A lot of the popularity comes from established fans, but I think there’s a good handful of people in my generation of dance music fans who are warming up to it.

if a Pryda snare sounds good in there, fuck it, it sounds good.

I’ve seen a lot of discussion over elitism within the DnB community and read my fair share of “Ew, dubstep drums in dnb” tweets. People are quick to judge both sides, but how would you break down these issues to someone who isn’t aware of the culture and history behind DnB? 

Elitism is an issue in every single genre of music and it’s not something that’s going to go away any time soon. I’m of the opinion that anyone can make any type of music they’d like, although with some caveats. Having respect for a genre’s culture is incredibly important, and I try to do as much research as I can so I’m not stepping on the toes of the people who influenced me. I mean, I’m a white dude from the midwest with a corporate day job, I’m probably the most far removed person from the jungle scene you can find. That being said, I make an effort to be an active part in that community, even if it is thousands of miles away. As long as you approach it with respect, you should be fine. At the same time, bringing something new to the table is the only way to stand out, so if a Pryda snare sounds good in there, fuck it, it sounds good.

On a lighter note, tell us what we can expect from you throughout this new year? 

Loads more music! And definitely more variety than in years past. I have one last house song that’s dropping soon and after that I’m only going to be doing bass music. Like I mentioned earlier, I’ve been really into 140 dubstep/grime stuff and I’ve finished an EP of that already I’d like to get out this year, too. Other than that, just a lot more shitposts on Twitter :)

It’s been a blast watching you evolve as an artist and constantly level up. Which brings me to my final question, what’s your grand vision for the CLB project? 

Big ups! I’m not sure that I have an answer for that. From day one, the only thing I cared about was writing as much music as possible, and I’m going to continue to do that. I think with that as my only goal, all the other things will fall into place. It’s gotten me this far, and I can only imagine where I’ll be in five years if I make writing music the only constant.

Tracklist:
1. CLB & NuBass – ID
2. CLB – ID
3. Serum – Red Meat 4. Bou – ID
5. NuBass – ID
6. CLB – ID
7. Hoax – ID
8. Chase & Status – Retreat 2018
9. Formula – ID
10. Codes, CLB – ID (CLB’s Roller Mix)
11. Dutta, T>I – One Round
12. Deppz, Charlotte Meldrum – ID
13. Bou, Mark XTC – Breathe
14. CLB – Nightmares
15. CLB – ID
16. Mark Dinimal – Billy
17. Teej – ID
18. Majoriti – Loopy
19. Riko Dan, Wen – Play Your Corner (Kahn & Neek Remix)
20. CLB – ID
21. DE-TÜ – Come to Play
22. Flava D – Berlin
23. CLB – ID

The post Guest Mix + Interview – CLB appeared first on FUXWITHIT.

Following the team’s well-known approach to supporting fresh talent, the tastemakers at Space Yacht relax this week’s growing tensions with the launching of their new record label. Staying true to the promise of a diverse focus on emerging creatives, the Los Angeles based label leads with an unexpected debut of Drum & Bass heat in the form of CLB and Formula’s ‘Moving Forward.’

Commencing a new addition to the Space Yacht identity, ‘Moving Forward’ undoubtedly sets the bar for what listeners should expect from the label in the future regarding technique and expertise. The initial release can prove itself monumental when developing or maintaining any project’s tone, and some may say choosing ‘Moving Forward’ was a wise and well-calculated move. However, the curiosity remains: Why CLB and Formula?

Space Yacht co-founder, Henry, allows us into the team’s decisive processes:

“In the five short years that we’ve done events at a global scale, we’ve always made room for the ‘wild card’ performance. Sometimes that manifested itself in the established artist that never had the courage to show off their full range. Sometimes it was the newcomer who just seemed like they had nowhere to go but up.

CLB was one of those artists we met on Twitter, and we kept in touch for years. We always felt like he executed his style of UK Bass and Drum & Bass elegantly as an American against the damning expectation that the U.S. is where things get bro-ified. CLB deals with none of that.

‘Moving Forward’ landed on our Tune Reactor show, and we were blown away. Part of it was the hook that came from the co-producer and lyricist, Formula. ‘No matter how hard you try, you try to stay alive. You keep on moving forward’ was spot on in terms of what we were feeling in 2020, yet timeless in that it describes something we all do every day and have done since the beginning of time–survive. Formula nailed it. We knew right away we wanted to work with this piece of art somehow, so we decided to launch our label with it.”

The collaborative hitter holds to both artist’s respective methods of design. Landing just under six minutes in duration, ‘Moving Forward’ sustains moving bass and sharpened melodies only tinged with a sentimental allure. The track introduces itself with a captivating vocal performance as relayed by UK native Formula and, perhaps, indicates one’s positive emotional response to life’s current state of madness.

CLB speaks upon the underlying foundations for the track and his working with co-writer Formula:

“So how it came together was really simple. Formula is one of my biggest inspirations as a producer and we’ve been making tunes for a long time now. ‘Moving Forward’ is his first time ever singing on a track, so I was blown away when I heard it for the first time. He sent me a rough sketch with the vocals and I took it apart, added the drums, rearranged it to flow, and that was it! The whole process took maybe three days total to complete. I really want him to sing more because his voice is fantastic.”

If nothing else, ‘Moving Forward’ is a commendable execution of interchangeable styles, exhibiting two skillful artists’ creative interpretations while representing the hidden potentials of American Drum & Bass. Regardless of whether or not the vocals serve as a direct response to the chaotic happenings of 2020, the newest Space Yacht release poses a bass-heavy, weighted reminder that all of us can continue ‘Moving Forward.’

The post Space Yacht Launches Label With CLB & Formula’s ‘Moving Forward’ appeared first on FUXWITHIT.

Bassrush 4.0 contains a total of 30 tracks, each one bringing something different to the table. From neurofunk to jump up, there truly is something for everyone on this project. One stand out track comes from Chicago’s own, CLB, with his massive jump-up tune ‘Run & Hide.’ We begin with a basic yet powerful intro, filled with snappy percussion elements behind an ascending chord progression. Around forty seconds we’re introduced to the thunderous lead bass in the drop, as well as some world-class drum fills periodically between breaks. 

Another track that caught our attention comes from a young producer from Austin, TX by the name of Flite. The versatile artist has recently seen his flip of ‘Core’ by RL Grime get heavy playing time within RL’s sets themselves. This time he makes his Bassrush debut with ‘Run Away,’ which begins by introducing the synoptic system behind these spacey synths.  As we approach one minute we’re introduced to the aggressive main bass that is showcased in the drop a few seconds later along with some pounding percussion. 

Check out the whole compilation down below, and join us in the #DnB2020 movement!

The post Bassrush Teams Up With Viper Recordings On The Bassrush 4.0 Compilation appeared first on FUXWITHIT.

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