White Rabbit (Lets Be Friends Remix)

I gave this 2nd spot in my Bass remixes of the 2010s when I made that list a few years ago, bettered only by Knife Party’s remix of ‘Last Time.’ Jonny (now on his own as Joyryde of course) and Oren did an insane job here of retaining the character of the original whilst refashioning it with all the vintage LBF energy they could muster. The vocal play across the track is captivating. This is pretty much as exciting as Bass music gets for me, and frankly, all 5 of my picks could’ve been LBF edits.
– N

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Du Hast (JAWNS Version)

This month I kick off my selection with something fresh off the press. Published just a few days ago, JAWNS’s version of Ramstein’s iconic classic ‘Du Hast’ is set to cause some giants mosh pits on dancefloors, no doubt. If you’re at a show and you hear this one coming up, prepare your elbows cause it will be mayhem. I’m not gonna lie, this JAWNS-going-metal trend is starting to get me.
– AA

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Skrillex – Bangarang (Kredo Bootleg)

It still saddens me the extent to which Kredo was slept on, and went under the radar. This bouncy, boisterous rendition of Skrillex’s classic original is a mile and away the best take on it I’ve ever heard – and I came across quite a few! The funky movement of this track is crazily infectious pretty much from start to finish. The only point it lets up is for a sombre midsection that expertly puts the fun into perspective. It’s Kredo in full flow.
– N

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FLUX PAVILION – BASS CANNON (LUCA LUSH LIFT)

This track has been sitting on my PC for the past 6 years. It’s probably my favorite Luca Lush edit and a steady presence in my mixes and DJ sets. Do you want to blow some minds? Just play this tune and the job is done. I love how he managed to make a more evil and mental version of the Flux Pavillion classic. This is how I imagine an alien invasion would sound.
– AA

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Maka & Waeck ft. Farisha – Breathe (Vexare Remix)

I think the oldest track from my selection, reflected a little in the dated feel of the production. However, that exact thing is what gives this track character – that feeling of being of its time, giving it added authenticity. It also oozes with nostalgia factor for me as one of the very first electronic remixes I fell in love with. The heart-aching vocal, the melodic twists in the drops, the processed robotic YOIs. Still raw and still sensational 12 years on.
– N

[soundcloud url=”https://api.soundcloud.com/tracks/12216910″ 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” /]

SATiSFACTiON (YOOKiE EDiT)

YOOKiE has certainly delivered craziest tunes than this one, but I’m simply obsessed with this edit of ‘Satisfaction’. The first time I listened to it I found it just hilarious but as soon as I gave it a try on a proper sound system I had to change my mind!  Simple but super effective. This is bootleg business at its finest.
– AA

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Growin’ Up In The Gutter (Kill The Noise Remix)

Another remix that holds a special place in my heart. I remember showing this to a school friend – one of the only other people in my year remotely interested in bass music – and just watching his jaw drop when the unforgiving KTN Dubstep bulldozed through. The menace of Yelawolf’s vocal matches the heaviness perfectly across drops and builds. There’s a constant feeling here of something simmering, lurking below, ready to wreak havoc – which is what Dubstep is all about.
– N

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Herobust – Dirty Work (Cherney Remix)

The original is still one of the filthiest and most cracked tunes I’ve ever heard. Period. For some reason, Cherney decided to feed its madness by making it bigger and louder. I’ve never been a dedicated dubstep guy but I’ve always been fascinated by the megalomania of this remix. Some days I love it, some days I hate it. I only wish I had a video of my first reaction when I found it by surfing SoundCloud.
– AA

[soundcloud url=”https://api.soundcloud.com/tracks/301714752″ 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” /]

Tisoki & Oliverse – Spongebob VIP

Only The Frim’s Doot Camp has ever come close to rivaling this VIP in terms of sheer, unbridled, cartoonish fun. I can’t even begin to imagine how much fun Tisoki and Oliverse must’ve had putting this one together. I genuinely had to check my phone hadn’t malfunctioned when I was listening to it for the first time, such is the uncontrollable and whacky nature of the vocal delivery. So colourful, weird, and cooky. We need more bass music that doesn’t take itself too seriously.
– N

[soundcloud url=”https://api.soundcloud.com/tracks/251052481″ 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” /]

graves & Coolights – Say Things (Crankdat Re-Crank)

I’m pretty sure Nawtystep will agree with me when I say that Crankdat is one of the best in the bootleg business. His “Re-Crank” brand has gained a devoted following over the years thanks to a constant flow of top-notch edits. With almost two million plays on SoundCloud alone, Crankdat’s version of ‘Say Things’ needs no introduction. A timeless classic that always hits like the first time.
– AA

[soundcloud url=”https://api.soundcloud.com/tracks/266976796″ 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” /]

Be sure to subscribe to Nawtystep’s YouTube channel so you don’t miss any new reviews, essays, and documentaries, or check his Patreon for more exclusive content. Last, but not least,  give him a follow on Twitter and Instagram so he can bless your feed with some quality content.

The post Bootleg Business – Vol. 4 (feat. Nawtystep) appeared first on FUXWITHIT.

Making his mark on festival stages alongside names like TroyBoi, FLOSSTRADAMUS, and Valentino Khan, there’s no doubt the veteran knows exactly what he’s doing, although he chooses to remain lowkey, sporting a beanie, mask, and sunglasses wherever he goes. While JAWNS isn’t necessarily an anonymous artist, he still proves to be an enigma. Aside from skating clips, memes, and of course, music promotion, it’s hard to find a lot of information about the producer.

What we do know: JAWNS has an EP, called Last Resort, dropping this Friday on Deadbeats. He’s a Sable Valley signee who performed at RL Grime’s illustrious 10th year anniversary of Halloween in LA last October. And although he stayed in the game longer than most producers from his era, JAWNS chooses to uplift the next generation of electronic trap producers. In our Q&A, the beatmaker doesn’t fail to shout out his fellow SV labelmates, Knock2 and ISOxo. And with Juelz, he sneaks his way back into a live-act duo called Enter The World. Check out his guest mix and interview.

Hey, JAWNS. This interview and guest mix has been a long time coming and we really appreciate you doing this with us! How are you doing? 

I’m great, thanks for having me! Been a fan of the work you all do! 

Congratulations on your upcoming Last Resort EP with Deadbeats! What’s been the best part about releasing this EP so far? 

Being finished with the shit haha! But honestly, for a while, it’s been a work in progress trying to connect all the sounds I’ve been experimenting with back to trap music. I’ve put out a few songs in the genre but I think this EP has been the closest to what I’ve been trying to accomplish so far. 

With the tools I use for creating music, all I really do is guide it and record the chaos it’s creating.

How do you approach crafting a single versus crafting a more cohesive project? 

For myself, I don’t think there is any difference between the two. I just start with a mood. When I sit down with my synths and have a feeling in mind, I just start plugging shit in and turn knobs until it’s giving me the feeling I want to capture. Or maybe it evolves into something I didn’t have in mind. With the tools I use for creating music, all I really do is guide it and record the chaos it’s creating. I never really know what it will give me. I think the tools and process itself combined with my personal taste glues everything together. 

Can you describe the lightbulb moment that signifies a project is complete, in your eyes? 

You mean when I’ve beaten a song to death until I have to tell myself to stop working on it and that it’s done? lol 

Your aesthetic branding is extremely strong and you help with a lot of your own creative direction. When it comes to building something within the JAWNS universe – what comes first, the visual or sonic idea?

It’s been a few years in the process but the music obviously came first. Actually, before that, there was a feeling I wanted to capture that I got from listening to old punk and rock shit but with electronic music. To elaborate on influences, at the inception of JAWNS, I was listening to and watching a bunch of Beastie Boys shit. They were heavy and raw with the music but also hilarious. Visually they were ridiculous but there was a perfect balance of raw and serious with their comedic approach. To go back to the question, actually, I think the processes for sonic and visual are separate. I make the music, it’s kinda serious, it’s dark and heavy but when I make these videos I just try to have fun and make stupid shit. I guess I just enjoy the challenge of juxtaposition. 

I think both are common in the way they can bring people from a variety of cultures and backgrounds together.

Aside from music, one of your biggest passions is skating. What are the similarities and differences between the skateboarding community and the electronic music community? 

I think both are common in the way they can bring people from a variety of cultures and backgrounds together. Both have very specific subcultures that make it special when you form bonds with those few other people you find that share that interest with you. Even better when those people would typically be people you wouldn’t bond with otherwise. 

Is there anything you’ve taken from skating that you use when making music? 

I would say the motif of JAWNS is purely derived from my identity sculpted by skateboarding culture. Skating has always meant defiance, being in the streets, and experiencing life in a raw form. It’s hard to explain but I got into modular and analog synths because, to me, it has the raw feeling I can parallel to skating. In comparison to producing music, it’s being in the real world, the streets, versus using only a computer, a perfect machine, boxed in. I’m drawn to the unpredictability and imperfection using these tangible machines. Also, the most important part of skating is style. The way you do tricks is more important than what trick you’re doing. It’s about doing the trick in a way that when you watch the way someone moves, without looking at their face, you know who it is.

To come back to music, as an artist, wouldn’t you want someone to be able to close their eyes at a festival and know exactly who’s playing just from what they hear? I bring this up because I think a lot of us would agree a lot of music, in general, has become homogeneous due to the accessibility of software and learning resources. For example, the last song Skrillex released, the very next day someone recreated the song almost exactly in a step-by-step Youtube tutorial. As much of a blessing, as this is for learning, it’s also been a detriment to the variance in music. It feels like the same song keeps coming out. I was starting to notice this a couple of years ago and instead of beating the same virtual synth to death trying to make something new and interesting, I decided to find other methods to make shit and keep myself from going insane. Don’t get me wrong, there are brilliant people who can make amazing shit on the computer. But for me, it wasn’t fun and I just said fuck it let’s try something else, experiment. Now I feel like I have a way to make music that’s purely my own and most importantly, I’m enjoying it. Style over tricks. 

Can you tell me the significance of “Audio Ammo” and “BRAIN DRAIN”? 

Audio Ammo is a DJ collective of my friends and myself when we lived back in Richmond, VA. We were all friends and DJing together for a while. When the electro and bloghouse era began, we started getting interested in electronic music and mixing it with hip hop which evolved into us becoming Audio Ammo. We threw an event called Brain Drain which was the culmination of the variety of music we were into. We eventually started booking other DJs such as AC Slater and Drop the Lime, actually all of the Trouble & Bass crew. We even had Skerrit Bwoy from Major Lazer come DJ and dagger college kids lmao. We also were one of the first people to book Dillon Francis. I’m really proud and fond of this time as electronic music was not even close to how popular it is now. We brought it to Richmond, VA of all places and the party grew so big we eventually had to move it to the biggest venue in the city. This was also the beginning of the journey for me to becoming an electronic music artist/DJ.

Everyone’s into different shit so if you’re bringing people with different tastes together and presenting it in a way that everyone can enjoy it and expand perspectives, you’re gonna have an awesome party.

As someone who used to throw live events yourself, what is the recipe for the perfect party?

The typical things: a good venue/space, sound system, and ambiance. More importantly, if we are talking about non-genre-specific events, DJs that are able to bring together people with a variety of music. Everyone’s into different shit so if you’re bringing people with different tastes together and presenting it in a way that everyone can enjoy it and expand perspectives, you’re gonna have an awesome party.

What makes the perfect party tune? 

I don’t know what makes the perfect party tune, but I know that all the best ones have the best grooves. 

Grooves, tunes, the number two. That’s a bar. Do you think 2 is a cursed number? 

First is the worst. 

Can you rank these electronic solo acts that were once a duo: Flosstradamus, Hotel Garuda, What So Not, DROELOE, JAWNS 

All number 2. See previous question. 

Fair. You’ve been in the scene for a long time now. Which rising artists do you think are the future and should be our next guests for this series? 

Shout out to my boys Knock2 and ISOxo. They’re already flipping the scene upside down. Nitepunk, demon son of The Prodigy. 

Feel free to give them my email! What music do you listen to outside of dance and electronic music? 

A ton of rock, hardcore, alternative, new wave.

What can we expect from this mix? 

Just all the stuff I’ve been into lately! Techno, Trap, DnB, Breaks. All the dark basement devil orgy music.

Is there anything you want to talk about that I haven’t asked? 

To all the music makers reading this. Keep being psychos, keep being weird. 

JAWNS’ upcoming EP, ‘Last Resort’ is available for pre-save here. The project will be available everywhere via Deadbeats this Friday, July 8th.

Tracklist:

JAWNS – Sanity Burn
Guilt Chip & VARI – Panic
G Jones – On My Mind (Cerdin Remix)
ISOxo – Redloop x Baby Keem – Family Ties
MOTVS, T78 – Daje
JAWNS – Body Breaker
Smashing Pumpkins – Zero (LeCastlevania Remix)
Wuki – IGD
X CLUB – Don’t Fuck Around
Aponaut – No Cure (ADM Remix)
The Prodigy – Smack My Bitch Up (Psycho Boys Club Remix)
Deadmau5 & Kaskade – I Remember (RIOTCODE EDIT)
Faithless – Insomnia (Psycho Boys Club Remix)
Hermeth – Devil’s Reject
JKS – Get Crackin’
X CLUB – Sports That Require Petrol
Santigold – Creator (NIKKO Remix)
Must Die – Delete it All x Cool Rave Tool 41 (FCZ Edit)
Nirvana – Tourette’s x A.M.C. – Clack (FCZ Edit)
Dimension – Techno
Gydra – Lava Run
ID

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

Right out the gate, ‘Body Breaker’ sets the tone with a menacing underlying synth that carries the ghostly vocals throughout the intro. Soon after, we’re met with the addition of break-influenced percussion before the lead synth suddenly appears and immediately seizes the record. After a quick build up the lead synth is soon transformed into what only be described as a frightening melody paired with a devastating half-time percussion pattern. ‘Body Breaker’ seems to be more of the same from the artist. Do yourself a favor and stream it below.

The post JAWNS Continues To Impress With ‘Body Breaker’ appeared first on FUXWITHIT.

We begin with a dark and gritty analog melody that sounds straight out the engine of Shelby Cobra with a deep growling tone. That muddy synth is soon joined by a symphony of identically gritty melody in various pitches. The whole intro and build sections can best be described as a group of racers revving their engines as they await their green light. In this track, by the time we get to our “Green Light” the suspense has been built so masterfully, you know exactly what’s coming next. Those mean analog synths take over while the drums carry the momentum through this energetic drop section. Before it’s all said and done, we’re even gifted a drum and bass switch-up to top off this banger. Make sure to stream the whole thing down below! 

The post JAWNS Continues To Push The Boundaries With ‘RPM’ appeared first on FUXWITHIT.

We begin in classic JAWNS fashion, as we’re introduced to this muddy analog loop that seems to slowly crawl out of its swampy origins as time progresses, becoming ever so more clear as the intro builds. All the while, a vocal sample straight out of a 90s club is expertly laid over this grime analog loop in the intro. As we make our way into the build, that same analog loop becomes almost inaudible as the drums peak through the mix to build suspense, and then out of nowhere all filters are dropped and we’re met with the true grit of JAWNS analog melody, over the top of some pounding percussion elements. This is a track that is a testament to how limitless dance music really is, as long as there are creatives who push the boundaries, there will always be something fresh and exciting to listen to. Stream the whole thing down below!  

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