Securing firm footing in the category of “songs to get in a bar brawl to,”,’Fxckitup’ is a barbaric beast that truly sits at the table with only the absolute best. Sending adrenal levels into overdrive from the opening moments, you’ll be greeted by intense guitar riffs and an overwhelming compulsion to prepare yourself for absolute carnage. As if anything but a borderline-reckless belter could be produced by these two, ‘Fxckitup’ lays waste to anything and everything in its path of totality, eviscerating human shells and leaving nothing but strings of corpses in its wake. Peak crinkled stank-face territory, Ivory’s brutality mixed with Pierce’s versatility is match made in heaven. Or would hell be more appropriate? Only you can decide for yourself, check out ‘Fxckitup’ for yourself below!

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Setting his sights towards IVORY’s ‘Unbreakable,’ Mock reflects on the middle-eastern symbolism within the original as providing the primary inspiration to integrate his own vision within the track, “When I heard ‘Unbreakable’ for the first time, I instantly felt connected with the break and build as well as the inescapable desert-like atmosphere of the track,” he reflects.

A sense of nostalgia washes over you as the unmistakable chorus of elaborate strings and eclectic percussion swing into action. Subtle rearrangements and additional layers of subs provide a heightened sensation of depth to the introduction, which works to build a progressive momentum in even the earliest stages of the track. “The challenge here was to make my lead as authentic as possible so that my personal style fits and flows effortlessly with IVORY’s buildup,” Mock shares regarding finding a balance between the two styles.

As the empowering vocal countdown crawls into periphery Mock’s treatment becomes vividly discernible, layering prolonged surges of bass with intricate mixdowns and even adding an unsuspecting Psytrance switch-up to round off the track with a bang.

Be sure to check out Allen Mock’s take on ‘Unbreakable’ below and grab the free download.

The post PREMIERE: Allen Mock Flips IVORY’s ‘Unbreakable’ Upside Down appeared first on FUXWITHIT.

With a knack for crafting insistent cadence within an otherwise boisterous riddim-exterior, YAKZ is quickly gaining momentum as he continues to unveil the complexity of his technique. 2018 furnished an outstanding list of accolades for the Los-Angeles-based producer, with contributions towards the latest frshblood compilation, Bassrush Massive compilation, as well as two separate opportunities to grace the ranks of Never Say Die Records Black Label imprint.

Despite this marking his debut among the ranks of Never Say Die Records, Long Island-native Codd Dubz can largely be attributed for the growth and proclivity of American-riddim as we know and cherish today. A leading constituent of the thriving Sewer Sessions collective, the precision, and rhythmic aptitude that Codd Dubz brandishes with ease have provided a continued sense of authenticity over the course of the past 5 years.

Consolidating into a bass-clad trio with the sheer sonic capacity to level monuments, ‘Dirty Dogs’ embodies the superior characteristics from each counterpart, utilizing a playful riddim-esque introduction, which transitions brilliantly into a dominant cadence of drums. An incisive sample gives rise to a frenzied build, which revs into high-gear like a demonic railcar, before launching into a full-scale incursion of pulsing bass, blaring synths, and expertly placed beat breaks.

‘Dirty Dogs’ is an idealistic amalgamation of styles and vividly depicts a collaboration of epic proportions meeting and exceeding expectation. As the rest of the year unfolds we look forward to opportunities for ambitious young producers to step into the ring with one another on the horizon.

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Released via Never Say Die, Termination demonstrates an opportunity for two versed styles to embellish and enhance one another, resulting in a project that beautifully encapsulates both the production expertise of IVORY and the sheer volume that Samplifire brings to the table, while the synthesis of the two sounds generates a sense of authenticity as the two join forces.

We had the chance to catch up with the two to learn more about how they first met, the logistics of working on a collab EP and a brief look at what 2019 will have in store for each of them. Be sure to check out the full project and interview below and let us know which was your favorite!

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Tell us a little bit about your backstory together, when did you first meet? Did you hit things off naturally, or did it take some communicating to find a shared concept to pursue?

Samplifire: I think we actually started talking online back in 2014 because we both made the same music and not a lot of people did back then – especially in France. We then had the chance to play together opening a show b2b in Paris. It was also my first show ever, which makes it funny to think about how we’ve grown together. I was so scared, it was also my first time touching CDJ’s! Good times! It all started there, and to now be able to release our EP on such a big label, it is insane if you think about it!

IVORY: We discovered each other through SoundCloud and started to speak a lot together. At this time, I guess not a lot of people had heard of our names. A few months after I joined an agency, I spoke about Samplifire (who isn’t based in Paris) and my agent fell in love with his music, He then decided to book us together and after a real-life meeting and few beers we definitely became good friends! I always been a big fan of his music and it seems like he’s a fan of mine too – this was enough love to think about making a bigger project together!

What would you see as the biggest benefits or hindrances of collaborating on an entire EP, versus featuring one or two collaborations with another on a solo project?

Samplifire: Creating a whole EP together forces us to blend our styles a bit deeper than just having one tune together here and there. The EP has to feel like a consistent project and feel like something that represents both of us. We really took the time necessary to find the right balance between our workflows and styles. We obviously had hindrances at some point because our visions/tastes can differ, but I think we ended up delivering what we had in mind initially. It’s a great feeling!

IVORY: When I’m listening to the EP, I feel like it’s coming from a single artist and not from both of us combined. I had my ideas floating around and he has his own, but we still managed to stay on the same path. We kept the same vision during the whole process. For the record, we spend more than a year making the EP. That can seem like an enormous amount of time, but it was the perfect amount we needed to create something versatile that we would be happy with.

In a collaborative effort such as the Termination EP, is it more typical for each of you to bring a few WIPs and ideas to the table, or are each of the tracks birthed exclusively from your combined minds?

Samplifire: It’s a 4 track EP. We both have two tunes where we made a bit more because we finished the track. So IVORY finished 2 and I did 2. However, the writing process was shared – at least we tried to share the process as deep as we could.

IVORY: I’d say a bit of both? Each of us started projects while thinking of a theme/vibe and as soon as we had something close enough to the discussed ideas, we started sending the projects to each other. We did numerous Skype calls with screen sharing and all that jazz, so it’s almost as if we were inside each other DAW’s.

Was the bulk of Termination produced together in the studio or primarily passed back and forth remotely?

Samplifire: Back and forth remotely.

What is one trait whether personal or related to production that you admire and find most impressive about the other?

Samplifire: IVORY’s workflow perfection, his musicality (intro and all over the drop), his work in general to achieve the goals that he’s set… it’s hard to do that!

IVORY: There’s a ton I could tell you Samplifire, but what pops up first in my mind is probably his kindness and all of the time he’s spent helping the people around him. He can be a busy guy and still find a couple of minutes to help you fix that snare in your mix!

In 2018 we saw a brief taste of a collaborative project between yourselves, ECRAZE and Graphyt titled FOUR HORSEMEN with your debut release for Raw Audio Distortion ‘ANIMALZ’. How did this idea come to fruition and is there any plans to continue working together in the New Year?

Samplifire: The idea was to tour together as a French gang (IVORY, GRAPHYT, ECRAZE & myself) in Europe. To put more shows on the map, we made a track together and acquired some sick visuals thanks to Dr Fanx & Niveau Zero! There is no other plan to continue the project as of now. We want to keep each project separate, even though we collaborate a lot and help each other on a daily basis.

Samplifire, in the last chance we had to catch up with you, following your release of Mancubus on Never Say Die: Black Label, you discussed being in the process of organizing your work visa to be able to travel and perform within the United States. Can we expect for you to make your American debut in 2019?

Samplifire: I completed the US paperwork at the end of 2018 an I’m currently waiting for immigration to decide what to do with my case! I pray that I get the VISA ASAP, even if it’s not easy. Most of my audience has always been in the States, so playing for my wider audience is the main goal for 2019!!!

IVORY, do you have any tour plans on the horizon for Europe or North America in 2019?

IVORY: I would like to perform my own European tour, but I need to create more music first. North America is still one of my main goals, but I can’t tell yet if I’ll make it or not. A working VISA is really hard to get, especially as a dubstep producer who hasn’t yet played a lot of prestigious shows. So for the moment, I’ll stick to my studio and I’ll make music until my time comes!

The post IVORY x Samplifire ‘Termination EP’ is the End-All of Bass Collaborations [Interview] appeared first on FUXWITHIT.

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.