The intimate Revival venue provided a comfortable setting for the show. I arrived around 10:45 to catch the second half of Dex Arson‘s set, where the local played a collection of heavy tracks from some of the biggest names in dubstep along with a few originals of his own. The performance was definitely on the heavier side, but was nicely tailored to an audience that was attending a dubstep show. I didn’t have the foresight to check out his material before the event, and perhaps additional familiarity would have made it an even more enjoyable experience. Nonetheless, the vibe was right for the start of Leotrix’s set.

Image from Leotrix’s Twitter.

As Leotrix hit the stage, the crowd’s energy immediately skyrocketed. I mean, just take a look at his energy in the video below. When an artist is passionate about what he does, the energy is infectious and the crowd follows. Leotrix is the embodiment of this. Aside from the excitement behind the decks, the set itself was incredibly well put-together. The hard work that Leotrix spent putting out five EPs in 2021 was evident, with the artist playing a set highlighted by his own works, with his originals, remixes and bootlegs of all genres making themselves heard. From his electric future riddim tunes, to more grungy trap originals, to closing out the set with ‘EmoBoy303,’ Leotrix put on a diverse set that mirrors his discography, and nobody is more deserving to finally tour North America. The addition of unreleased material, some gnarly riddim (mostly from Aweminus) and some old school dubstep-sounding wobbles were the cherry-on-top of the already-captivating set.

Eptic’s turn came around 1AM, with the Belgian veteran following with a masterclass of his own. Again leaning heavy on his original material, the artist showcased the majority of his new album as well as a handful of older works, which equates to a dubstep-leaning show balanced with bass house, drum and bass, and more. I decided to venture around the venue about halfway through the set, and was happy to run into Kraysh who was enjoying the show near the side of the stage. Leotrix also happened to be there, and I was stoked that he recognized the FUXWITHIT logo on my shirt. After extending some compliments, I returned to my group of friends who were still carrying the same sustained energy as they did since start of the Leotrix set. After more heavy debauchery, Eptic ended his set with the epitome of Eptic classics, ‘Like A Boss,’ and that was a wrap.

For the 2+ hours that Leotrix and Eptic were on stage, the crowd never settled. The End of the World tour brings two amazing artists across North America, and is a must-attend. Grab your tickets here.

The post Eptic’s ‘The End of the World’ Tour Is A Must-Attend [Event Review] appeared first on FUXWITHIT.

Since the dawn of the pandemic, the Belgian talent has been relatively quiet in terms of releases. However, that silence is broken today with the release of his debut album, The End of the World. Spanning ten tracks with four incredible collaborations and six individual heaters, The End of the World is the pinnacle of Eptic. Embodying his sound and his versatility to a tee from start to finish, the collection of tracks demonstrate why the veteran has remained atop the scene for years.

“I would be lying if I said writing this album went smooth. Making this collection of music has been the most difficult and frustrating project I’ve worked on in my entire life. It’s literal blood, sweat, anger, doubt and a lot of tears. Now that it’s finished, I couldn’t be prouder,“ Eptic states about the ensemble. He adds, “I went full crack mode and worked on all these songs ’til the last possible minute,” which I can personally attest to. The tracks landed in my inbox just over a week ago, and every time I came back to listen I noticed something different. That’s passion and dedication.

I won’t get into the nitty gritty of describing the album because words will not do it justice. Sonically, the project is exactly what one could expect from an Eptic album. Stylistically, it goes beyond that. Eptic showcases his ability to keep listeners captivated with uniqueness and ingenuity throughout. Featuring Dillon Francis, MARAUDA, MUST DIE! and HOL!, the collection nicely balances the signature Eptic vibe with complementary additions from the collaborators. Don’t miss The End of the World below.

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“‘Payback’ is the first drum & bass song I’ve made in 7 years. With this song I want to pay homage to the jump up style that got me into producing. I have more respect than I already had for dnb producers since it was so difficult to get it right,” Eptic says about his newest release. Accompanying the track is another humorous clip featuring Average Rob and Computron, where the Belgian creative truly steps outside of the branding box to create unparalleled hype for ‘Payback.’

Aside from the artistic gold surrounding the track, ‘Payback’ itself is a welcome refresher in Eptic’s sound as he stays true to his signature while exploring a different genre. A high-octane introduction featuring a menacing electric guitar riff sets the stage for the madness that follows, as Eptic quickly builds the track to a suspenseful climax. As the drop hits, the flames from the opening only grow stronger as the intensity is cranked up a few notches, with those distinct robotic sounds taking the forefront over crisp, rhythmic percussion.

‘Payback’ is Eptic at his finest. Don’t miss it below.

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In ‘Power,’ Eptic delivers a frenetic fusion of stabbing synths and video game-esque sound effects that will make you feel like you’re whopping on Koopa Troopas in Super Mario Bros. His truly legendary introduction-crafting skills shine brighter than ever in his latest, building up to an insurmountable apex in tension. Combine this initial energy with a breakdown filled with mechanical, serrating basslines and spastic vocal riffs to obtain a hybrid dubstep killer that will ignite festivals around the globe. Don’t miss ‘Power’ below.

The post Eptic’s Signature Shines In Second EP Single, ‘Power’ appeared first on FUXWITHIT.

Belgian overlord Eptic is a Never Say Die mainstay known for his unique robotic signature that can easily be identified in a sea of generic dubstep, and this influence is ever-present in his latest collaboration with DJ Snake. ‘SouthSide’ can be described as the hybrid child of DJ Snake’s ‘Propaganda’ and Eptic’s ‘Say Less’ remix. The highly reverberated introduction is reminiscent of the former track, while the Belgian’s sound dominates throughout the drops. Sure to become a festival favourite this summer, ‘SouthSide’ plays on the versatile trap influence from DJ Snake and Eptic’s original, heavy-hitting synths and samples. Don’t miss it below.

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Much like a growing seed, a genre demands fertile, nurturing soil and a deep running system of support roots in order to blossom into maturity and survive the competitive landscape of the music scene. Founded in early 2009, Never Say Die Records and founder SKisM have furnished the necessary foundation that has allowed the bass genre to grow to where it is today, not to mention expanding into new & exciting sub-genres.

Toting an arsenal of veteran names such as Zomboy, MUST DIE!, Eptic & Trampa, the label has more than solidified their dominance over the bass realm; releasing consecutive Never Say Die compilations every year since 2012, each further revealing the seasoned cast of artists that have contributed their influence to the dubstep we know and love today.

Despite an extensive back catalog, SKisM maintains a rigid focus on the present moment and watchful gaze on future endeavors; demanding that past artists and newly acquired talents ceaselessly test the boundaries of their creative ability, which has resulted in a versatile evolution of sound for the label since its origination in 2009.

Now, with the sixth installment of the coveted Never Say Die Records compilation, we are enamored to see debut contributions from Mastadon, ECRAZE, and TYNAN as well as heavy-hitting sounds from seasoned veterans and Soltan’s first release of the year. And, as with all predecessors, there is not a single weak link in sight, providing sound confirmation that NSD will only continue to rule in 2019.

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Every established artist has a signature sound that makes them easily distinguishable among others, but perhaps the most unique of them all is Eptic. Within five seconds of any of his tracks, a true fan is able to identify him in any mix. His contribution to Vol. 6 is no exception, jumping on the riddim bandwagon with his distinctive flair to unleash the monster that is ‘Ready 2 Die’. In typical Belgian overlord fashion, Eptic combines snappy vocal samples with his robotic synths and gut-wrenching bass to create one of the most forward-thinking riddim tracks of the year. Captivating your attention with an intricate introduction and keeping it with his forward-thinking approach is what Eptic does best, and ‘Ready 2 Die’ will have you hooked for its entirety.

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While 2017 saw IVORY make a name for himself in the bass scene, this year saw him establish himself as one of the greats. His Next Level EP lives up to its name, offering next level sound design and supernatural bass. It’s no surprise that his contribution to Vol. 6, ‘Unbreakable’, stands out among the best, as he continues to elevate his wicked engineering with every release. In his latest, IVORY introduces middle-eastern chants with a desert-like soundscape to create a dance-ready torrent. Don’t be fooled by the splendor, though, as the gap between beauty and bass is quickly met with a loud, cawing lead matched with heavy-hitting percussion to create a headbang-ready heater.

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Who knows exactly what prompted Space Laces to become the Santa Claus of bass this year, but whoever/whatever triggered it deserves all the thanks in the world. Gifting his die-hard fans with more releases this year than the last 5 years combined, Space Laces has been on an absolute tear with his latest work. When his collaboration with Topi wasn’t included in the Vaultage 001 mix, speculation began as to whether it would ever see the light of day, before being included in the Vol. 6 mix and giving bass enthusiasts a new hope. To the pleasure of all, ‘Whiplash’ has made its way into the newest compilation, offering more insight into the mind of two musical geniuses. A picturesque introduction depicts a group of friends cruising down a highway (no pun intended) before a hasty rise in tension predicts an unfortunate event. An abrupt crash of monstrous sounds injures all, with meticulous sound design and a fury of bass causing additional damage. Elevating the glitchy take on dubstep throughout, the track continues to jerk the passengers, offering no escape from the ‘Whiplash’.

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Thoroughly listening to a track from international bass aficionado SPAG HEDDY is nostalgic to strolling the streets of Little Italy. Whimsical accordion medleys blend an unmistakable influence of the Sicilian variety into the savory, high-energy buildup of the track which contrasts roaring synth jabs and a commanding vocal sample. As the frenzy grows in intensity, a squealing mixdown launches the track into rampant waves of unyielding bass. Despite an overwhelming extravagance of resonating frequencies, ‘Troupe’ flows coherently as a tribute to SPAG’s coveted tight percussion and expertise in sound design.

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Utilizing heartfelt synth melodies and mesmerizing bass sequences, KRIMER constructs an immeasurable amount of emotional depth and suspense in the buildup of ‘Facebreaker’. As the riser reaches its climax, an assault of rigorous drums steers the track in a new direction, unleashing a meaty vocal sample which catapults the track into a volcano of erupting bass. Just as the billowing smoke begins to clear, a sample from Dr. Dre’s ‘Nuthin But a G Thang’ comes straight out of left field, heaving you right back into the licking flames of the inferno.

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A warm welcome and congratulations to TYNAN for making his debut on this year’s Never Say Die compilation — it’s been a real treat watching his style grow and develop in the previous 4 years and he truly deserves all the respect in the world for his hard work and talent!

The tune begins like the rebooting of a spaceship, captained by an otherworldly beast, which mutters a fierce growl as a repetitive snare drum kicks the vessel into orbit. As the ship begins to reach peak altitude a fatal software malfunction causes the navigation system to sputter uncontrollably, rerouting course directly into an oncoming fleet of bass-clad asteroids. Although the pilot appears to be coherent, he cackles menacingly as a meteor narrowly scathes the right wing, almost as if he had planned this treachery all along. Despite a more foundational trap style, ‘Usurper’ is sheathed in bass and lacks not an ounce in production.

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Christopher Columbus of dubstep, Zomboy is an undisputed pioneer of sound design within the bass realm, with a foundation in production, laid nearly 10 years ago, his riveting style of thundering percussion breakdowns and relentless synth arrangements furnish a template for dubstep tracks still to this date. However, it is an insatiable hunger for progress which sets Zomboy apart from the masses, unveiling with each release an unbridled desire to expand his timeless infrastructure even further.

Flaunting his production expertise right out of the gate, ‘Hide N’ Seek’ opens with a complex digital introduction, coaxing you within earshot of the sensational trademark melody of wailing, harmonious synths. An exceptionally placed break leads seamlessly into an onslaught of drums, unleashing a captivating wave of rapid synths, which build teeming anticipation in the track. A vocal sample delivers the fatal blow, exposing a breach in the walls through which an assault of bass lays siege, demanding immediate surrender with no promise of survival.

Year after year, the growing anticipation is almost too much to bear — beckoning the question, how can the sheer volume and audacity of the previous year possibly be topped? However, expectation and reality flow in perfect synchronicity with Never Say Die; and Volume 6 carries with it an insurmountable quantity of bass, delicately crafted sound design & meticulous production worthy of all praise.

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Word by Steph Contant & Sam Lewis.

The post Bring in the Ruckus with Never Say Die Volume 6 appeared first on FUXWITHIT.

The most recent remix to grace my ears by LOWKEY is the most unprecedented approach to the track that I have heard in all the years. I literally had to grip my chair to keep myself from falling over in astonishment as he caught me completely off-guard with this riveting minimalist trap interpretation of an iconic banger.

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Opening with the familiar retro-synth melody that Eptic has built his style around, the track begins business as usual. However, as the song comes to the unforgettable energy-ridden buildup before the first drop, LOWKEY sprinkles in a subtle, yet genius double-beat; which adds the perfect amount of spice before the pre-drop vocals. An instantaneous break between Eptic’s screeching synth gives way to a tuned out, stripped down trap drop composed of tight clicking notes and massive bass hits. The overt throwback synth melody returns leading back into a familiar Eptic buildup and pre-drop, followed almost seamlessly with a quivering second drop, re-introducing the relentless bass notes amidst a barrage of crisp snaps and pulsating synths.

Although LOWKEY is a relatively new name on my radar, his daring approach to such a coveted tune demonstrates both his artistic capabilities as well as his confidence in his style. With another absolute heat remix from him of ‘No Cash‘ by Toyzz, it’s confirmed that he is going to be a name to watch in the coming year.

The post Buckle Up Your Seatbelt for LOWKEY’s Remix of ‘The End’ by Eptic appeared first on FUXWITHIT.

Known and loved for their upfront style, this remake doesn’t hold back at all, and its punishing bassline, whirs of snares and melodic screeches mean this one will utterly devastate dance floors in its presence.

Snap up yourself a copy here. 

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