With his first single of 2021, Oddprophet taps joegarratt for a stunning vocal-driven dubstep brute. As an artist who has been imploring his more melodic side while still unleashing pounding pieces, Oddprophet combines these two elements to a tee once more in ‘Nice & Good,’ delivering a well-rounded single that’s uplifting yet menacing. joegarratt’s vocals provide a welcoming introduction to the tune, as Oddprophet layers them nicely overtop a crisp layer of urgency-inducing soundscapes. Brief interludes bring listeners to the drops which are quintessential from the skilled producer, boasting a treacherous tear-out style that hits hard and deep. Don’t miss ‘Nice & Good’ below.

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So it should come as no surprise to anyone that their next undertaking would be to shine a spotlight on some of the talent we might be missing amidst this vast ocean of digital media we find ourselves adrift in every waking moment of our lives. Enter Sleeveless’ Proving Grounds, a painstakingly curated compilation of sounds from an eclectic array of fresh faces including Date Modified Tomorrow, Brainrack, Adiidas, and more!

So without further ado we are incredibly pleased to have the opportunity to present to you Mythm’s contribution to the madness entitled, ‘Close Your Eyes,’ in anticipation of the full drop next week. This absolute monster of a tune features expertly crafted, dark purple basslines, and crisp, hectic drums that blaze through a dark and hauntingly thugged out atmosphere with a confidence and ferocity that absolutely demands your attention start to finish. Close Your Eyes if you dare, you just might get lost.

We couldn’t think of a more perfect example of what to expect from this ridiculously massive collection of tunes when it drops next Friday. Until then, enjoy this one on us, and presave the entire compilaton Here! You might even get entered to win some cool merch.

The post PREMIERE: Mythm’s ‘Close Your Eyes’ Gives Us A Hefty Taste Of What’s To Come On The New Sleeveless Records Compilation appeared first on FUXWITHIT.

For the past year or so, the Shadowtrix boys at have chasing down and collaborating with some of their favorite artists in the game to sort out a compilation of music that showcases the best, brightest, and freshest flavors of bass music currently sweeping the scene.

The result is this ridiculously stacked compilation that would make even the most casual listener do a double take from the tracklist alone. Monstrous heaters from Shlump, Onhell, AHEE, and Womp Rat as well as collaborations between SuDs & Star Monster, Drezza & Perkulat0r, and Kowta & JLeon represent just the tip of this insanely well curated collection that is certain to find its way into the hearts and minds of bass music fans new and old.

So fire up the subs and hit the dab pen for good measure, because “Shadows Volume 4” is here to take you on a journey. Listen below, and grab it here!

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Collection mix:

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Boasting three hot solo tracks and a vibey collab with Ananaki, ‘Coral Cove’ wastes no time getting down to business with deep, heavyweight basslines and glitched out, bitcrushed synths interwoven with distorted vocal samples, and deceptively nuanced percussion patterns that keep you moving from start to finish. This is exactly the kind of bass music that we love over here, and we can’t wait to hear whats next!

Grab it below!

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This is why we are so very, very excited to host the premiere of ‘Halved’, a new tune from the new 2 track EP he’s dropping this Wednesday to mark the launch of Future Astronaut Records. This new one boasts a slew of delightfully spicy, twisted synths and subs against a deep, gritty soundscape that never gives you a second of chill until its delightfully groovy conclusion. Check it out below, and make sure you grab the other half of this EP on Wednesday!

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The post PREMIERE: Creighfish Serves Up Some Resonant Madness with ‘Halved’ appeared first on FUXWITHIT.

‘Pull the Pin’ flexes the strengths of both artists into a squishy, metallic, wonked-out, dubstep heater that succeeds by synthesizing a classic song structure from a truly twisted array of bouncy, gritty and punched up sounds. This tune is sure to be gracing many a sound system as festival season winds down. Dubstep has had a long strange journey through the west coast over the years, so it’s always refreshing to see it done proper.

Well played boys.

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The young talent may well be keeping his true persona a little way out of the spotlight, but his music is doing all the talking right now. Check out his 5 Floor Fillers choices below.

GRYM – ‘Ninja Blockz’

I’ve been playing out this tune and it got a huge reaction in Paris earlier this year. While it might be a kinda overdone, recycled riddim idea (taking influence from Subfiltronik’s anthem ‘Blockz’), the drop is just nasty, rolling and filthy. Big ups to Grym on his other tunes as well. As riddim goes, Grym is favourite at the moment.

Barely Alive – ‘Wompum’

This is by far the biggest on the album for me; the definition of an absolute head banger. Taking vibes from Badklaat – ‘Head Crush’, the Barely Alive boys have done the maths on how to make the crowd move with this one.

Pandorum & Ivory – ‘Knight Riderz’

https://soundcloud.com/codepandorum/code-pandorum-ivory-knight-riderz-videodrome-lp-pre-order-now

I love this track, not only for the igniting opening bass and the all-encompassing quarter note screech, but the cherry on top is the “come on then!” vocal sample. Almost too much energy in this one to enjoy sitting down!

Tynan & Kompany – ‘Extraterrestrial’

The title does this one justice, it’s an out-of-this-world experience. Had to call out these boys for being absolute nerds in the SoundCloud comment section. They’ve created some unbelievable sound design. Hear for yourself, it’s another level.

Pane Mua – ‘Everything’

Seriously underrated song here, it makes me sad the play count hasn’t even hit five figures yet. I couldn’t get the main hook out of my head for days, so damn catchy and bouncy. It just puts a massive smile on my face. It’s the best song I’ve ever heard from him and it’s being massively slept on in my opinion. Out of all these tunes in this article, this one is a must-listen.

The post FUXWITHIT Floor Fillers: oddprophet Shares His Selections appeared first on FUXWITHIT.

The term ‘soundsystem’ dates back to 1940s/50s Jamaica, when people in poor areas of Kingston would gather in large public spaces for an outdoor party as a way to celebrate and connect with the local community. Whoever had the best speakers in the neighbourhood would bring them out and play music for everyone, sometimes selling drinks or charging a small fee for entrance. These kind of ‘pop-up’ parties became very popular and by the mid-late 60s a number of different large soundsystems (which refers to the party itself, not just the speaker system) existed, competing with each other for the fame of having the biggest and loudest system in town. Parties were often a combination of two or more ‘rival’ soundsystems. Referred to as a soundclash, DJs from each system would take turns playing music to see who could hype the crowd up the most – an obvious precursor to modern DJ battles.

As technology improved and the (usually custom-built) speaker systems themselves became bigger and more powerful, DJs began to focus on production, creating music engineered for and exclusive to their soundsystem to give a creative edge over the competition. Referred to as ‘exclusives’ or dubplates, these productions, always limited to just a single copy to be played by the DJ, was the key to exciting crowds and boasting the best soundsystem in town. Soundsystem parties were known not only for the giant stacks of powerful speakers and bass-heavy reggae, ska and dancehall music they featured, but also served as a cultural epicentre for the local community, bringing people together and providing a shared-positive experience for all in attendance.

With a massive migration of Jamaican immigrants into the UK in the early 70’s, soundsystem culture and the influence of Jamaican music followed, and over the next 40 or so years injected many of its traditions and sounds into various genres of electronic music.

Because this music and culture are so focused on the live experience, videos and audio recordings cannot begin to do justice to the energy and heavy sound created. To give some idea, the legendary Channel One Soundsystem at their annual Notting Hill Carnival party in London;

Today many of these soundsystem-inspired traditions have found their way into various dance music genres, the most obvious of which are dubstep and jungle. Though these genre labels are broad, many parallels can be drawn from each to practices that began in Jamaican dub and soundsystem culture; Often minimal productions with heavy bass, driving rhythms, and a continued practice of using dubplates and playing exclusive music never to be released for public consumption. It is common in many bass music circles in the UK for producers to release a version of their track, and have a remix dubplate that they only play live. This can drive fans mad, especially in a time where we can easily listen to a song that is stuck in our head on repeat until we are tired of it, but makes for explosive energy at live shows, often hearing slews of unreleased material the way it was meant to be heard; on a giant, custom-built soundsystem.

Dubplate version – sorry for the poor quality – as I’ve explained – this records exists only in Kahn’s record bag.

Bonus; An Om Unit dubplate of the same song, and a video of Diplo showing off a Major Lazer/Madonna dubplate.

The origins of both jungle and dubstep specifically trace back to the melding together of Jamaican and UK dance music; Taking production techniques and signature traits from dub and combining them with the gritty, aggressive rhythms and bass-weighty sounds prevalent in the UK. Though dubstep in particular has taken on a more mainstream sound of its own in North America, its deep, dark and dubby roots are still being explored by producers such as J:Kenzo, Kahn and Mala, to name a few, as well as on labels such as DEEP MEDi Musik, Tempa and DMZ. With a minimalistic mix leaving the majority of the room for big bass wobbles, original (now often referred to as ‘deep’) dubstep features many traits of dub and reggae music; simple bass melodies, slow, shuffled rhythms, and a litany of percussion sounds to help progress the song as their structures are often simple and based around one idea.

Currently standing in direct opposition to the bright and shiny production of popular big-room EDM styles, soundsystem culture has spread throughout the world. Anyone who feels they need a break from the LED-screens, bright lights and sounds featured in most large dance music shows these days would do well to find a proper soundsystem near them (or if you can’t find one, build your own!). My introduction to this culture in Toronto was with the 40hz Soundsystem; A locally owned, completely custom-built collection of some of the biggest subwoofers I’ve ever had the pleasure to dance in front of. After attending my first Harvest Festival (thrown by Toronto’s own Promise events – well known for their Cherry Beach Sunday parties every summer), I started to follow the 40hz system around. At first, I thought it funny (though logical, given my taste for bass) to be following a set of speakers to find good events instead of a proven promoter or nightclub, but soon found that I was being exposed to a plethora of new music, and meeting much more interesting and open people at every event I went to (when compared to the usual King & Queen West club crowd especially), and breaking my routine of always going to the same few venues to dance.

Soundsystem parties often pop up in locations that aren’t proper venues, feature a broader range of music than found in downtown clubs, and attract people who are looking for a change from the usual stand-in-line for too long and overpay-for-drinks experience that most equate with a night of dancing. Though every party, system and individual experience are different, I find there to be much more substance in following around a soundsystem in both the vibe of the party as well as the type of people that attend. This is likely due to the fact that the organizers care about keeping a good reputation of providing a unique experience and quality sound to their attendees, which then contributes towards a feeling of community that is very welcoming and not easily replicated.

Click HERE for a short Vice documentary on PK Sound, a Vancouver-based company building soundsystems that grew out of Shambhala Music Festival.

The post Bass Boost v.4 – Soundsystem Culture appeared first on FUXWITHIT.

Where these two experiences split tracks, though, is in the near-fanatical reverence of the dubstep crowd towards one thing: Bass. And there was plenty of it at NXT LVL, last Friday’s brain-bender hosted by the venerable Toronto Bass Community, with local talent Hydee and ZWZ opening up for international acts Must Die!, Eptic, and dubstep OG SKisM.

Instead of describing the hectic experience to you, I made a short video. The music is loud and the footage is poorly-lit and grainy, ends abruptly, and frankly doesn’t make much sense… which is exactly what it was like to be there.

[youtube http://www.youtube.com/watch?v=UG1Q-ZOkfsU&vq=hd720&w=560&h=315]

For more TBC events – and healthy discussions of all things bass – check out their facebook page.

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It was early, maybe around 11, and the dance floor was already a quarter full. People were synced up, crumping and swaying to the wobbled thump-shcrack of… dubstep, the dark and the dirty kind. A geometric rendering of an N64 controller floated, spun behind the DJ as deep swells of sound drove the crowd’s rocking bodies back and forth to the motion of bassy boom-bap bwomp bwomp. Dubstep is not dead here, it’s strong and persistent like an undercurrent. Sweeping flashes of light splintered the dance floor darkness, revealing coloured glimpses of excited serene youthful faces…more bucket hats and unkempt hair… a printed sign on corrugated plastic fronting the DJ booth, a reminder that this is Wednesday, this is Bass Drive… bored-looking but competent, even eager, bartenders at the side and back of the room… cocktail tables with semi-abandoned beers…

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The lyric-less sound leered, relentless and foreboding. I am no stranger to the wub, and stepped-two in time with the rest of it, playing my part in the whole. The energy was palpable, a mood of optimistic doom that only dubstep can evoke. No lack of enthusiasm from either side, the crowd or the DJs – there were cheers as the decks changed hands, two young chaps exchanging the reins of this subterranean weeknight party.  A growing posse on stage impressed a sense of community, which a quick glance later through the Facebook event – 600+ attending, about a third of that here now – confirmed: tonight is a birthday celebration for local DJs and party-starters Kapture and Dubspecter, the latter on stage now, bouncing and flailing with the robotic grumblings eking through the speakers. Intermittently a drop would elicit whoops from male groupings, met with a nod and appreciating grin from onstage. Community and unspoken vibes, everyone was tuned to it, everyone was on it… What people weren’t on was obvious, too: missing (but not missed) was the lovey-dovey-lean-in-stumble-tumble-touching-eyeroll-lipsmacking of a drugged-up majority. The scene, it seemed, was simple: show up and dance. Fuck Wednesdays. A mob of digital natives, plunking around to the underground sound of a computer’s violent haemorrhaging.

Around midnight things began heating up physically and sonically. Dubstep was still the M.O., I still couldn’t ID a single song and didn’t care. The floor was two thirds full (or one third empty, depending on your point of view) – tribespeople united to forcibly and symbolically insert a club-sized middle finger up Wednesday’s clammy rectum. Happy-birthday graphics flashed on screen and the room enjoyed a good larking back-slappy singalong, and the dubstep resumed – always dubstep, dubstep the master, generational alma mater – while the waves of energy grew higher. Though I was initially remiss at the lack of clamouring and genial pushing, I was in the middle of it then, relishing in the group therapy of bouncing, jumping, mean-mugging riffraffery, shoving just a little – “not yet!” says Not-Yet-Guy suddenly, who with this single gentle exclamation secured respect from the mob and positioned himself as Merry Keeper of the Mosh. Keep your hats on, people – for now. It is, after all, a Wednesday.

That’s what Shoe Guy was thinking I’m sure, as he jounced up in front of me – long hair flaying in the non-breeze – and put one hand on my shoulder and with the other pointed at his stocking foot then at a corresponding shoe lying on the floor nearby under a stampede of feet, and smiling broad said, “don’t worry I got it!”… and the shoe was still on the floor twenty minutes later. I held it up like a lost phone, hoping to summon him, to no avail. I worried not.

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Someone was on stage next, but I’d stopped logging the changeover of DJs for they all had the same routine: Jar the record with a jog-wheel jostle, announce themselves to the tender crowd, then run a quickening buildup – along with hype and the unspoken promise that something new and different and cathartic was coming – that eventually released into… another dubstep drop. Rolling sawtooth waves, throbbing sub-bass, crazy robo-zoid zang-zonging over top. Fun, but over time it became mundane… the first time in my life I wished for less dubstep. Bring in the trap, the dancehall, the moombah, the juke, the footwork, the fucking country goddamit anything but more – omg Drake! Thank the 6 god for some lyrics to sing along to… we all run together through the six with our communal woes…  you know how that shit goes…. and it’s a dubstep remix…

My next moment of recognition – the gloomy horns leading off Skrillex’s remix of ‘Burial’ – was a cue to get rude; I spent too much time wondering where the fuck these cats found so much obscure music to waste this opportunity to wild out and make dance floor real estate a premium commodity. A staid minority shared my enthusiasm… good natured people, these Montrealers, humouring a spastic weirdo. I took an unanticipated bathroom break shortly after, and experienced a special kind of FOMO as Flosstradamus’ ‘Mosh Pit’ remix dropped while I was dropping a deuce – amongst a litter of cocaine baggies, bass rattling the stall doors. The strangeness of the night peaked there and I went on to exhaust the rest of my energy in the most intense mosh pit of my life. After I washed my hands of course. Fuck Wednesdays, indeed.

Upstairs in the club I collapsed on a soft chair with my feet up, overlooking the swaying masses below. I checked my watch – 2:20am. The onslaught of dubstep showed no signs of stopping, and neither did Les Peoples’ enthusiasm. As I entertained the thought of leaving early, I felt a little like grandpa, out of the loop and trying the best he can to understand kids these days. I had always considered myself a fan of dubstep, so why did the night leave me feeling rinsed of enthusiasm for more? Was I finally the most ADD person in the room? Was this a new super breed of party people, training their endurance by staying a hair’s breadth in check of their sanity late into a weeknight? Were they perhaps indeed… insane? Out of their freaking minds? Or was there maybe something I missed by coming alone? Out of touch, that’s what it was… I sensed truth in all these inquiries. A feeling of humble wonder followed me out the door, past the tired squeegee punks, and went up into the night sky where a sliver of moon sat out of focus behind wispy clouds.

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