Featuring the recently released tracks ‘Death Rave’ and ‘Reborn’ as well as the previously unheard ‘New Dimension’ and ‘Moombruh’, Jarvis uses pulse-quickening basslines, serrating synths and unexpected melodies to create a personal style that is aggressive, distinct and festival season-ready. With a sound and rhythm perfect to set any crowd ablaze into a mosh pit, The Bro Code EP gives dubstep fans a taste of old school nostalgia mixed with fresh, forward-thinking production. The added touch of moombahton in ‘Moombruh’ is a quirky addition to an Earth-shattering project, showcasing Jarvis’ ability to delve into other bass realms. Check out The Bro Code EP below!

The post Jarvis Looks To Keep Brostep Alive In ‘The Bro Code’ EP appeared first on FUXWITHIT.

Six months ago, the label teamed up with esteemed streamer Jericho to deliver a gaming-inspired compilation featuring both new and old releases from Disciple’s talented artists. Soon after, they unveiled the fourth installment of their label compilation titled Alliance, which featured sixteen wicked originals from every one of their signees, not to mention an astounding mega-collaboration of 13 artists coming together on a single track. One would think that such an outpour of new music would have to slow down at some point, but Disciple and their heavier imprint Round Table have shown no signs of slowing down. Keeping the compilation theme alive, Disciple has now joined forces with popular YouTuber Mini Ladd to unleash fifteen more action-packed tracks from old and new label favorites.

While impossible to touch on every track, we thought we’d highlight a few of our favorites below!

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Oliverse has been killing it for a few years now, but business has only started booming for the UK-based producer in the last year or so. An infectious remix for Tchami’s ‘After Life’ and Modestep’s ‘Higher’ put him on the map for many dubstep enthusiasts, and signing to Disciple earlier this year solidified his breakout year. In a riddim-saturated dubstep scene, Oliverse’s melodic approach to the genre is both nostalgic yet forward-thinking, offering heavy-hitting bass with no absence of musicality. Consistently blurring lines between music to dance to and music to headbang to, Oliverse’s contribution to the Mini Ladd compilation titled ‘Somethin Good’ is further proof that melodies do belong in dubstep, and that Oliverse is among the best at doing so. Powerful female vocals are backed by gritty synths and punchy percussion to drive home his signature sound. Keeping you entertained for a full four and a half minutes, ‘Something Good’ definitely lives up to its name.

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Virtual Riot needs no introduction. With two EPs and countless singles and remixes under his belt this year alone, the German-born, LA-based producer is on another level when it comes to productivity and consistency of releases. Swaying between dubstep, future bass, and everything in between with ease, Virtual Riot is easily one of the best producers in the game. His 2017 Throwback EP brought us back to his complextro roots, and his contribution to the latest compilation does so once again. Flexing impeccable sound design, ‘How Do You Turn This On’ is one of those feel-good electro tracks that brings bass fans back to their roots. The project file for this track must be insanely CPU-heavy, with hundreds of meticulously arranged sounds making themselves heard throughout the insanely catchy song. ‘How Do You Turn This On’ is the perfect anthem for early dubstep lovers.

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Two rising Disciple stars at the forefront of the experimental bass scene, Eliminate & PIERCE team up with vocalist PLTO for an unexpected clash of emotion and riveting production in ‘With Me’. An emotional vocal intro paints a delicate setting for the track, backed in full force by a commanding piano melody and taut percussion. As the cadence of the track hastens, a warped out vocal takes the tune into a darker direction, unearthing a siege of compact snare drums and precise synth jabs.

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Regarded as one of the select few dubstep artists to have stood the test of time, Barely Alive pays a small homage to the predecessors of dubstep and the earlier, more emotional and less bass-ridden days. A delicate melody sets the stage, before a more synth-involved cadence of the track kicks into motion, demonstrating yet again the duo’s unmatched talent to blend raw emotion into their energetic buildups. A critical sample booms in the backdrop, expressing its disdain with lack of emphasis, unleashing the true identity of ‘You Suck’ and launching into a funky breakdown which contrasts low, grumbling bass hits and fiery synthesizer patterns.

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Each experts in their respective crafts, PhaseOne has established dominance in combining aggressive drum patterns and exquisitely timed breaks in his tear-out style of dubstep, while YOOKiE concoct some of the most spine-tingling walls of subs that your body has ever experienced. A collaboration from the two would demand a setting of chaos, and thus fittingly titled ‘State of Emergency’ the tune packs an immeasurable capacity of bass, overwhelming surges of subs and daunting production accuracy.

Failing to miss a beat the entire year, Disciple is gaining momentum by the minute. With the initial patchwork compilation Jericho, the teamed expressed an interest in maintaining a firm foothold in the realm of dubstep and riddim, allowing each artist within the roster to formulate their own contribution to the project. The more recent joint effort with Mini Ladd affirms the previous inclination, while also unveiling an inherent desire to preserve the foundation of bass music, paying tribute to the earlier days of dubstep with more visible attention to harmony, melodies, and vocals. Needless to say, this entire compilation makes a resounding splash and is surely a tell-tale sign for what the future holds for Disciple and its constituents.

The post Reminisce On The Evolution of Dubstep With The Disciple x MiniLadd EP appeared first on FUXWITHIT.

Prior to the madness, I had the absolute pleasure to chill with Jarvis on a nearby patio, and he went on – in great detail – to tell me about his EP, Rise of the Phoenix, as well as a bit about himself. (Edited for clarity)

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We came up with the Phoenix, because [of] everything that it symbolizes – it was like a new stage for me.

What kicked off the concept for ‘Rise of the Phoenix’?

I didn’t really have an identity or a brand, and it was becoming obvious – I was actually quite late to the party. It’s quite necessary to have a proper brand/identity. So, my girlfriend and I sat down with her friend in PR. We gave her some food, and we all drank some wine, and were like “right – let’s come up with a fucking brand!”

We came up with the Phoenix, because [of] everything that it symbolizes – it was like a new stage for me. It was almost like being reduced to ash, and rising again. And I’m like, “new” now. *laughs* This EP definitely felt like a step up from my last 3 EPs, in terms of quality. Maybe it’s just me saying that, but that’s how it felt to me.

How did Born I Music come to be the vocals for your title track?

He is a fucking DUDE. I worked with him before on ‘Hit the Deck‘, which was on my first Firepower EP. How did I actually get in touch with him…? I can’t remember, actually. It was online – I’ve never met him or anything, I only speak to him online. I was looking for a rapper for ‘Hit the Deck’ back then, and someone on my Facebook was like “Oh, you should check this guy out!” So I messaged him, and he was sick! That happened ages ago.

For ‘Rise of the Phoenix’, I actually had a few other rappers in mind – a couple of [them] didn’t want to do it. I was thinking more and more about it, and I just really loved [Born’s] style. He’s always on Facebook, talking about positivity, and all his lyrics are all about positive stuff.

A lot of rappers these days rap about being rich, and having this and that – “I’ve got more ‘this’ than you, I’ve got more ‘that’ than you”- but Born’s always got a positive message behind his lyrics which I just love, things that are really… good. And I just knew that he’d nail that track, so I had to ask him. He’s a legend.

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My girlfriend heard it, and she was like, “You sound really… white, like really posh. You need to ‘street’ it up a bit.”

Of all the tracks on the EP, are there any that stood out to you as you were working on it?

I really like ‘Rowdy’. That’s actually me on ‘Rowdy’, doing the little… “rap”. I was like, “Do I get a rapper?” Although I knew what I wanted the words to be. I knew I wanted it to be something about [being] rowdy, and I built it around that. I am by no means a rapper, or a lyricist at all, but I pulled that one out of the bag somehow. It’s the first time I’ve actually got my voice on a track, really – it was a new experience.

I thought you killed it, personally.

Aw, thanks! *laughs* My girlfriend heard it, and she was like, “You sound really… white, like really posh. You need to ‘street’ it up a bit.” I was like, “What!? I’m not posh!” She’s actually quite posh, and I’m from an area which is not. So she’s calling me a bit too posh, and I’m like “what the fuck!”

So I did actually re-do it – I can’t really tell how I changed it, maybe it was subconsciously. “Don’t sound too posh”. […] I showed it to a few friends – and I didn’t tell them. “What do you think of the vocals?” They were like, “Yeah, they’re cool.” […] It went under the radar, so I was like “That’s cool – that’s what I wanted to hear.” Nailed it!

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I recently saw a post on Facebook stating that “dubstep/bass producers shouldn’t come out with EPs” – what’s your response to such a statement?

Are they saying that they should release singles?

I believe that’s more along the lines of what they’re saying, yeah.

I dunno – I used to do just singles, but I would say that [by] releasing only singles, it made them feel like they were kind of disposable, a bit “throwaway”. You release a single and it’s like, “Oh, this is great!” for a couple of weeks, and then you forget that it ever existed, as a listener. Maybe I’m wrong, but that’s what it sort of felt like to me.

But when you release an EP with more tracks, I feel like people listen to it again and again and again. I do that with albums – I’ll go back, and listen to a whole album (just ‘cuz I love it) again and again and again for years, whereas with a single, I might just forget about it because…  It makes them feel a little more disposable if they’re on their own and really frequent. That’s what I think about it. I suppose there really isn’t a right answer.

Outside of dubstep, are there any other genres/sub-genres that you like to dabble in?

I love listening to heavy metal. I made an (unreleased) heavy metal track with no real instruments, and it actually sounded really realistic. After I made it, I was like, “…What have I done??” I didn’t use any real instruments or people- I can play guitar, I can play drums, but there’s just awesome plugins.

There’s a ‘guitar’ plugin, which just sounds so realistic; there’s also an ‘amp’ plugin, that sounds like real amps. And you can combine the two and it sounds just like real metal guitars. There’s also a ‘drums’ one as well. But yeah, I don’t know what I’m going to do with that [track].

What’s a ‘day in the life of Jarvis’ like?

A day in the life of me? Well, I still got a day job, so I’ll be workin’ at my day job. Luckily, it’s really good – I work from home. I work from my laptop, doing design stuff; it’s really cool, and really flexible. I guess doing that, or- I’m in London, so I’ll be… what do we do in London? Walking around, drinking gin I guess. *laughs* I’ve been drinking a lot of gin lately. I like it, but it gives me a fucking headache! I’ve never known a headache like it. When you’ve been drinking gin, the next day, your head is like “Oh my God!”

…Well, mine is, at least.

BONUS ROUND: Do you FUX with:

Riddim: Uh….. *laughs* Fuckin’ hell! That’s a complicated one… I’m gonna say yeah. I FUX with riddim. Sometimes! Certain kinds, certain songs of riddim.
Game of Thrones: Oh, FUX yes!
Mosh pits: Yes, mosh pits! *Thumbs up* SAFELY.
Broccoli: Broccoli? uh… yeah! I’m all about the broccoli.
Casinos: …Sure, in CAREFUL moderation. Yeah, they can be tough if you get carried away.
Shoes: Shoes? No. I mean, I feel like dudes lately have really gotten into shoes, when perhaps they weren’t before – especially where I come from. Like, girls loved shoes. That’s a very sexist thing to say, yet it feels like lately, dudes are really into shoes, and I’ve sort of been left behind by this [trend]… I don’t get it! They protect my feet from the ground, and that’s about it.

I’m not really into the fashion of it, or anything. A lot of my friends have got huge collections of shoes. I’m like, “What the fuck, man?” These are my only trainers, this is all I’ve got – when am I ever gonna be like, “Aw, I wish I had two pairs”? I do get it though, but it’s just not in my interest.

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Check out some shots of Jarvis, PhaseOne and the bass gang from that night! All photos are courtesy of Paul Palacios and Ivan Dudarev.

The post Interview: Jarvis’ Toronto Debut Brought Down the House appeared first on FUXWITHIT.