We begin our journey through the chaotic realm of the REAPER with the introduction of the main vocals, which are given a spectral feel in this remix. Soon after we’re introduced to some of the thickest Reese basses you’ll ever right now, and not long after that those same basses grab this record by its horns while joined by a beautiful chaotic percussion arrangement that is sure to get you off your feet. After another quick build, we’re met with this massive half-time switch-up that really puts the full display of the track’s sound design with more space between the drums. I think it’s a safe bet to say that you’ll be hearing this one across the festival circuit as things swing back into action. Check out the whole record below!

The pacing and uniqueness of this remix compose a perfect image of my excitement for drum and bass in this upcoming festival season. Nitepunk’s original production motivated me to abandon many of my previous rules of production and arrangement. It’s a miracle to me that I managed to make all my favorite intense elements work together — from the churning metal guitars and drum breaks to the freeform Reese bass melodies. – REAPER

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To be honest, initially, the intro totally deceived me. I mean, I got to know REAPER quite well thanks to his guest mix but the first, peaceful seventy seconds almost convinced me that he was up to some liquid drum&bass stuff. Foolish me! The drops are instead 100% REAPER sound, all gas, no brakes. Those big, huge, gritty vibes cry out for club sound systems, mosh pits, and sweat. They shake you from head to toe, take possession of your body and make it move as they please, so much so that not even the best of exorcisms could save you. Your only hope is to wait for the gloomy outro, but I really think that when it comes you will find yourself voluntarily hitting play again and letting yourself go into this beautiful frenzy.

Big up to REAPER for this massive take of DEATHPACT’s ‘ID’ (which still to have to be released though). You can stream the remix below or on your favorite platform here.

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The man in question that has been consistently pushing the sounds of DnB across North America is, Chicago native CLB. Since re-focusing his project from the sounds of UK baseline to DnB, the young innovator has been in a groove, to say the least. In a true representation of the underground, CLB refuses to be tied down by the confines of genres, even within DnB. From neuro, rollers, and liquid, CLB has shown that he’s not afraid to tackle all corners of the genre. 2020 marked a massive year for the young trailblazer, earning the honor of being Space Yacht’s first release on their new label with his single ’Moving Forward.’ In addition to this, the rising star also landed an official remix with his remix of ‘Written Maze’ by the legend DROELOE.

With all this being said, It’s an honor to able to have the chance to ask this young talent a few questions, and of course, it’s an honor to have him be our first guest mix of 2021!

First off, thank you so much for stopping by! Guide us through this mix, what direction did you take this?

I wanted this mix to showcase the darker side of my productions. I’ve been missing being in a small dark club filled with fog so I framed the mix around that kind of environment. I’ve also been dabbling in some grime production and I wanted to showcase a little bit of that towards the end. I love making more radio-friendly music like I did last year, but my heart lies with the really aggressive dark side of things, so this mix is a reflection of that.

Give us a little bit of insight into what it was like growing up in Chicago. What’s the music scene like? How much influence did that have on your music?

The music scene here is great! There’s something in the water here because the artists and the sounds that come from Chicago seem to influence a lot of the world’s music. Obviously, house music is such an important cultural part of the city and I take a lot of inspiration from that even when I’m not writing house. With Chicago being so large, I get exposed to a lot of different genres/sounds that I wouldn’t otherwise hear if I was somewhere else. I make a big effort to pull things from all of those genres and put them in my own productions.

I’ve never felt healthier creatively and I can’t see it stopping anytime soon.

Your newer fans might not be too familiar with your UK bass days, which is weird to think about. How was it navigating a change in direction in your project, and how did you end up at this point in your career?

I had reached a point in 2019 where I felt like I had used up all my good ideas for UK Bass, and everything I was making was starting to sound like a copy of someone else. I had been dabbling in making drum & bass my whole career but never put anything out that was good enough to my standards. Towards the end of the year, I ended up taking a trip to the UK where I was able to go to a few shows that had some drum & bass acts on it. I remember standing in the middle of a crowd watching Kanine play and I had this epiphany thatthis was the music that I wanted to make, and I haven’t looked back since. Transitioning wasn’t very difficult, I just made sure that everything was up to standard before I started releasing anything. I’ve never felt healthier creatively and I can’t see it stopping anytime soon.

You recently launched your label Sine Clash Recordings. First off, massive congratulations man! I love to see another home for drum & bass in America. What are your goals with Sine Clash? What’s the end vision?

Thanks man! At this point in time it’s really just a way for myself to self-release my own music. I want it to grow into more than that, but it takes time to get everything right, and I’m not at the stage I want to be yet to release other people’s music. I can be really picky about music I play, let alone sign to a label, so once I sit on it some more I’ll know exactly what kind of direction I want to go in. I’ve gotten some crazy demos already from some great North American producers though! The end vision is to just be a recognizable name in the American bass community.

What do you make of the rise of DnB in North America? Has it hit a peak yet? 

I’m not sure to be honest! Like most things, COVID really put a damper on that. I feel like 2020 was going to be a good year, and I was excited to see if drum & bass would get a spotlight in festival season, but obviously that didn’t happen. Although I’m relatively new to the scene, it seems like there’s always a good amount of push for DnB to be the next hot thing every year but it never really takes off. A lot of the popularity comes from established fans, but I think there’s a good handful of people in my generation of dance music fans who are warming up to it.

if a Pryda snare sounds good in there, fuck it, it sounds good.

I’ve seen a lot of discussion over elitism within the DnB community and read my fair share of “Ew, dubstep drums in dnb” tweets. People are quick to judge both sides, but how would you break down these issues to someone who isn’t aware of the culture and history behind DnB? 

Elitism is an issue in every single genre of music and it’s not something that’s going to go away any time soon. I’m of the opinion that anyone can make any type of music they’d like, although with some caveats. Having respect for a genre’s culture is incredibly important, and I try to do as much research as I can so I’m not stepping on the toes of the people who influenced me. I mean, I’m a white dude from the midwest with a corporate day job, I’m probably the most far removed person from the jungle scene you can find. That being said, I make an effort to be an active part in that community, even if it is thousands of miles away. As long as you approach it with respect, you should be fine. At the same time, bringing something new to the table is the only way to stand out, so if a Pryda snare sounds good in there, fuck it, it sounds good.

On a lighter note, tell us what we can expect from you throughout this new year? 

Loads more music! And definitely more variety than in years past. I have one last house song that’s dropping soon and after that I’m only going to be doing bass music. Like I mentioned earlier, I’ve been really into 140 dubstep/grime stuff and I’ve finished an EP of that already I’d like to get out this year, too. Other than that, just a lot more shitposts on Twitter :)

It’s been a blast watching you evolve as an artist and constantly level up. Which brings me to my final question, what’s your grand vision for the CLB project? 

Big ups! I’m not sure that I have an answer for that. From day one, the only thing I cared about was writing as much music as possible, and I’m going to continue to do that. I think with that as my only goal, all the other things will fall into place. It’s gotten me this far, and I can only imagine where I’ll be in five years if I make writing music the only constant.

Tracklist:
1. CLB & NuBass – ID
2. CLB – ID
3. Serum – Red Meat 4. Bou – ID
5. NuBass – ID
6. CLB – ID
7. Hoax – ID
8. Chase & Status – Retreat 2018
9. Formula – ID
10. Codes, CLB – ID (CLB’s Roller Mix)
11. Dutta, T>I – One Round
12. Deppz, Charlotte Meldrum – ID
13. Bou, Mark XTC – Breathe
14. CLB – Nightmares
15. CLB – ID
16. Mark Dinimal – Billy
17. Teej – ID
18. Majoriti – Loopy
19. Riko Dan, Wen – Play Your Corner (Kahn & Neek Remix)
20. CLB – ID
21. DE-TÜ – Come to Play
22. Flava D – Berlin
23. CLB – ID

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Right from the start, the record’s energy is set to max with its up-tempo percussion patterns and heavily distorted guitar riff combined with a commanding and hypnotic vocal. In case you somehow weren’t aware of what you’re getting yourself into, the vocals quickly put you in your place. As explicitly stated, “this beat will make you Levitate.” Soon after, we’re thrown into a section that is sure to get you off your feet with its incredible sound design and unrelenting barrage of pounding percussion elements. As if this wasn’t enough already, we’re blessed with a much welcomed half-time switch, serving as the perfect cherry on top of this massive tune. Check out the whole thing down below!

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We begin our journey with REAPER’s own highly anticipated VIP. Already starting with a slight variance from the original, the melody in the intro is played by this muddy synth, giving the VIP a more melodic flavor to it. Moving on this synth in the intro is quickly thrown out in favor of those familiar siren-like risers that have become a staple of the REAPER project. Throughout this section, tension is gradually built before being thrown into an unrelentingly aggressive drop section with a flipped melody from the original record, as well as some next-level sound design on the basses. 

Next up, we have the Swedish bass wizard himself, Bossfight. Right from the start, you can feel the tension building. As you’re quick to find out that this remix is all gas, no brakes. After a quick build, we’re launched in a high tempo half-time section that quickly jumps around to many different percussion arrangements. Looking for some rest halfway through? Good luck, cause the breakdown immediately after this section quickly transitions to metal-influenced breakdown as all elements of the record begin to mirror each other. Soon after, we’re met with one final drop, this time in true hard-dance fashion. 

Moving on, we get to shed the spotlight on yet another name out of this blossoming American drum and bass scene, Justin Hawkes. Formally known as Flite, Justin Hawkes’s take on ‘BARRICADE’ is a much welcomed melodic one. Right from the start, we’re introduced to these huge chords that serve to not only uplift but also build tension moving on in the record. When the tension is finally released we’re met with this soulful melodic take on an aggressive record, that perfectly maintains its high-energy essence while also injecting some liquid DnB influences. 

Last but most certainly not least we have the emerging young talent, and the newest addition to Radish Management, Poni. As soon as you hit play, you know something a bit different about this one. With a heavy emphasis on percussion in the intro and a quick build-up, Poni perfectly sets the stage for a festival-ready drop section that’s heavily trap-influenced. After another quick build, the aggressive elements remain but this time accompanied by these melodic synths. 

Make sure to check out the whole remix pack down below!

The post REAPER Drops Off A Massive Remix Pack For ‘BARRICADE’ appeared first on FUXWITHIT.

We begin with a menacing synth growling deep in the mix before being introduced to these starry hi-end synths providing great contrast in the intro. Soon after we’re introduced to this energetic vocal sample before starting our tension-ridden journey through the build. With the build-up full increasing hectic elements, it serves as the perfect tool to highlight the variance between the build and the stripped-back percussive pattern of the drop. A few seconds into the drop and you know REAPER is not playing around, with some of the cleanest subs you’ll hear right now and some screeching hi-end leads. Make sure to stream the whole thing down below! 

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The four-song journey begins with the two lead singles, ‘HEATSEEKER’ and ‘BARRICADE’. Both of these effectively foreshadowed what was to come with the remaining two records, which was a fresh and exciting take on DnB with elements of dubstep and hip-hop thrown into the mix, as well as some sick distorted melodic riffs.

Moving on we have ‘Ravepunk’ which starts very minimal, with percussion elements progressively revealing themselves, which ultimately leads to this fantastic half-time drop filled with these heavily distorted lead synths that play the melody with such clarity it almost doesn’t make sense. Following this drop, the energy is turned all the way, as we’re introduced to this high-energy DnB drum pattern accompanied by a melody by those same distorted synths that are immediately stuck in your head.

Next up we have ‘HEADHUNTER’ which begins with a muddy hip-hop beat that perfectly sets the tone from the rest of the track. Following this, these mammoth subs step onto the scene with absolutely zero regards for your speaker system, creating a salivating moment of tension leading up to the drop. When we finally reach it, we’re thrown in a section filled with contrast and grit, as we’re tossed from these hi-pitch lead synths to these huge sweeping low-end synths in the breaks.

The RENEGADE EP is a testament to the hard work of an individual with a vision, and all producers should take note. Check out the whole project down below! 

The post REAPER Radiates Creativity With His Sophomore EP ‘RENEGADE’ appeared first on FUXWITHIT.

We’re immediately introduced to the main melody out the gate, being played by this funky talk-box like synth and also being rhythmically carried by these syncopated hi-hats. In this section we’re also introduced to the extremely catchy vocal sample, while simultaneously being teased by these huge low-end synths that periodically make themselves known throughout the build-up, foreshadowing the beautiful chaos that is to come in the drop. As we reach the drop, the aggressive low-end synths that we’re introduced to earlier, take complete control of the track, transforming this record into a festival-ready banger. Stream the whole thing down below!

The post REAPER Takes No Prisoners In His Latest Single ‘BARRICADE’ appeared first on FUXWITHIT.

Bassrush 4.0 contains a total of 30 tracks, each one bringing something different to the table. From neurofunk to jump up, there truly is something for everyone on this project. One stand out track comes from Chicago’s own, CLB, with his massive jump-up tune ‘Run & Hide.’ We begin with a basic yet powerful intro, filled with snappy percussion elements behind an ascending chord progression. Around forty seconds we’re introduced to the thunderous lead bass in the drop, as well as some world-class drum fills periodically between breaks. 

Another track that caught our attention comes from a young producer from Austin, TX by the name of Flite. The versatile artist has recently seen his flip of ‘Core’ by RL Grime get heavy playing time within RL’s sets themselves. This time he makes his Bassrush debut with ‘Run Away,’ which begins by introducing the synoptic system behind these spacey synths.  As we approach one minute we’re introduced to the aggressive main bass that is showcased in the drop a few seconds later along with some pounding percussion. 

Check out the whole compilation down below, and join us in the #DnB2020 movement!

The post Bassrush Teams Up With Viper Recordings On The Bassrush 4.0 Compilation appeared first on FUXWITHIT.

We begin with an almost funk-like type beat combined with a deep growling sub/synth layer, providing the perfect thematic entrance for this beautifully chaotic track. Shortly after, we’re introduced to this huge sweeping synth that becomes the focal point of the buildup and contains frequencies that seem to jump out of you. After this, we’re thrown into this tumultuous half-time drop filled with machine-gun percussion elements and world-class sound design. After another suspenseful buildup, we’re thrown into the final drop, made from the rhythm of this highly aggressive triplet flow that has become a stable of the REAPER project. Check out the full track down below!

The post Reaper Raises The Bar Yet Again With His Aggressive Single ‘HEATSEEKER’ appeared first on FUXWITHIT.