Last year’s ‘LEFT TO RIGHT’ quickly became a festival anthem due to its catchy vocal loop and addictive nature. In typical Odd Mob fashion, the talented artist executed on a simple idea to perfection and continued to solidify himself as a innovator in the scene. Now, ‘LEFT TO RIGHT’ gets one of the most unexpected revivals one can imagine: a remix from the legendary Space Laces.

Space Laces remixes are few and far between. Space Laces remixes of house tracks are even more rare, so you know this one is special. The veteran producer known for his high-octane take on every genre has given ‘LEFT TO RIGHT’ a monumental bass house treatment, revamping the original with meaty bass, futuristic lasers, and everything in between. While this remix comes as a massive surprise, what is no surprise is the quality of the rendition, as Space Laces has the Midas touch when it comes to production. Don’t miss the fiery remix below.

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Over the past three years, the artist has unleashed a series of Vaultage mixes that have showcased the breadth of his talent in the form of unreleased material, with fans itching for the full release of these tracks individually. Over time, ‘D.A.W‘ and ‘Dominate‘ have come to light, giving many hope that the tunes from the mixes were not going to be locked away forever. Now, Space Laces is solidifying that hope with the release of his High Vaultage EP via Never Say Die. Five favourites from the three mixes are out in full today, and these tracks are but further proof of Space Laces’ ingenuity.

Kicking off the High Vaultage EP is ‘Droid,’ a piece from Vaultage 003 that is quirky yet danceable, boasting a house groove that changes in style but not in liveliness throughout the track. The mind-melting ‘Run DLL’ follows, where Space Laces puts on a masterclass of sound design over a sinister but mesmerizing beat. Fan favourite ‘Not Bees’ comes next, which sees Space Laces and Watch deliver another bass house-leaning beast that is sure to get listeners out of their seats. The intensity and raw vigour behind this one is sustained and unmatched. Then, ‘Splinters’ showcases Space Laces’ vivacious take on future bass, proving the artist can attack any genre with ease. Last but not least, ‘Disco Bloodbath’ rounds out the collection in an insanely fun fashion. Despite being over ten years old, the energy and rhythm have undoubtedly withstood the test of time – the ultimate sign of a true tastemaker. A personal favourite from Space Laces’ entire catalogue, I’m not sure what we did to deserve such a special tune.

Don’t miss the High Vaultage EP below.

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Doing what he does best, Space Laces melds a plethora of bass influences in the full version of ‘Dominate,’ opting to kick it off with a hypnotizing bass house introduction and first drop. Keeping listeners hooked with its impeccable groove and menacing sound design, Space Laces throws in a touch electro to close out the opening half in style. Then, a quintessential soundscape painted by the Louisville-based veteran bridges the anticipation toward the latter section, as the legend opts for a festival-ready dubstep cut to establish his dominance (no pun intended) across many genres in a single track once again.

Oh, and is it really a Space Laces tune without that uncanny conclusion? Check out ‘Dominate’ via Never Say Die below and stick around until the end to find out.

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Despite having been silent since the release of ‘D.A.W‘ in late 2019, the hype that the legend has been creating on social media over the last couple of weeks has been second to none. Many were quick to pick up on Space Laces’ return as soon as the original video was posted, but it was the official announcement of ‘Vaultage 003’ that really woke up the entire bass music scene. And if you’ve been on Twitter today, you will have noticed the ruckus that the third instalment of the mix series has created.

Through twenty-one demos and unreleased tunes spanning a hypnotizing twenty minutes, Space Laces has once again reclaimed the bass music throne. It would be unjust to try to do ‘Vaultage 003′ justice with words, as the producer explores so many sounds, styles and genres with such grace, without ever escaping the core essence of electronic music: rhythm. The dubstep tunes have swing, the trap tunes have bounce, and the future bass has groove. The entire mix flows seamlessly like one multi-genre track – a true testament to Space Laces’ genius.

Don’t miss ‘Vaultage 003’ below.

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Instead of packing it up, South African producer Jon Casey drew immediate inspiration from the uniqueness of ‘D.A.W’ and flipped it on its head in an unofficial bootleg. Keeping the surrealistic essence of the introduction intact, Jon Casey makes himself heard at the twenty five-second mark through gnarly crunches of pounding synths, using his bass background to turn ‘D.A.W’ into a true dancefloor killer. With a second drop that is sure to send listeners into a frenzy, Jon Casey continues to rise as one of the most promising artists in the bass scene. We couldn’t pick a favourite, so we highly recommend you check out both versions of ‘D.A.W.’

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The aforementioned mix series is a collection of old and new unreleased tracks from Space Laces that will never see individual releases, and the newest instalment sees the production wizard unleash everything from trap, to dubstep, to house, to hardstyle, to drum & bass – all at a level beyond what most other top-tier artists dream of achieving. To celebrate this new release, we thought it would be the perfect time to showcase one of the early tracks that introduced us to Space Laces, namely his remix for Lucky Date’s ‘Ho’s and Disco’s.’

Despite the plethora of genres that the legend can produce, it’s always the old school complextro tracks that stand out as true Space Laces favourites. Coincidence or not, his best songs of this genre all have the word “disco” in the title, from Vaultage 002‘s ‘Minidisco,’ to Vaultage 001‘s ‘Disco Bloodbath,’ to today’s remix. Space Laces’ take on ‘Ho’s and Disco’s’ is infectious, bouncy and simply makes you want to dance. Layered with just the right amount of bass, this remix that is already over 8 years old shows that Space Laces is always way ahead of the curve. Check it out below!

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Now, Never Say Die has picked a handful of bass music’s hottest names to remix the five tracks from the Overdrive EP to give the project a fresh, new life and to remind us all that there are still a few producers out there continuing to push the bass music scene to unprecedented limits.

First up is Kompany, taking a stab at the EP’s title track and proving why is he one of the most consistent artists out right now. Keeping elements of the original throughout, the LA-based producer adds his distinct touch of tear-out to make ‘Overdrive’ even more headbang-ready than it was before. Rickyxsan makes his long-awaited return to Never Say Die by remixing ‘Kaiju’ into an eclectic trap scorcher, boasting his usual crisp and wonky synths. SVDDEN DEATH goes full mad scientist on Space Laces and Getter’s ‘Choppaz,’ turning the original on its head with his aggressive, almost demonic sound design. Phiso unleashes his wretched sounds on ‘Cheeseburger,’ turning the almost comical original into a riddim-esque heater sure to possess any unsuspecting soul upon first listen. Last but not least, Gammer does the unthinkable and elevates the ruckus to a new level in his remix for ‘Torque.’

Don’t miss the monstrous Overdrive remixes below and let us know your favourite!

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With a few IDs sneaking their way into the Never Say Die Vol. 6 mix, fans rejoiced at the thought that last year was no fluke and that Space Laces was here to stay. This thought has quickly been validated with today’s new single titled ‘Phone Tap’.

A brief dialing tone introduces the track, before Space Laces quickly shuts it down with a gnarly bass and squeaky clean effects. A short build up is met with a classic Pee Wee Herman “I’m trying to use the phone!” sample, where the creative genius subsequently catapults the track into bass ingenuity featuring arguably the best sound engineering in the game. Wonky synths and perplexing basses are heard throughout, and they’re arranged in a manner completely unrivaled by anyone else to create a bewildering listening experience. The second half of the first drop is then flipped into classic Space Laces dubstep madness, again boasting nothing but the cleanest production. And, if the first half didn’t have you falling out of your chair, the second half will surely rip it out from underneath you.

Buckle up for a wild one and don’t miss ‘Phone Tap’ 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.

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Opening on the decks were 2Gunz and TOAD for a b2b, with the latter’s parents chillin’ in the back corner, bobbing their heads to the mix their son was throwing down. By the time their set came to an end, the room was already well-packed, and showing utmost love to the locals as Thrizzo jumped up on stage next. His set started by gracing us with a pleasant opener full of nostalgic sound bites from The Legend of Zelda, which led into his remix of Skrillex’s remix of ‘Red Lips‘. As we were getting weird to his set, Thrizzo himself was doing the same, flailing and doing the bernie behind the decks, having as much fun as we were.

Svdden Death took to the booth at midnight, and it was nonstop mania from that point on. He dropped riddim track after riddim track; this was accompanied by some wicked visuals of Bill Nye’s floating, spinning head atop a vaporwave-like aesthetic, as well as clips from The Amazing World of Gumball. Speaking of which, in the visuals booth at the back of the room, the visual/creative director was losing his mind to the unreal set unfurling before him.

About halfway through the set, I work my way to the back room, to take a much-needed breather. I saw a few guys stationed on the couch, next to the Gamecube running Super Smash Bros. Melee on the giant monitor. I ask if anyone’s down to play – in almost no time, we’ve got a 2v2, red-vs-blue game set up, ready to go. I’m paired with a very down-to-earth mate named Ian; we exchange pleasantries, wish each other ‘glhf’ (“good luck have fun”), and begin the match. I’m Kirby, Ian’s Link – long story short, we lost yet came close, with our opponents surviving with one life each.

Next round, Ian picked Donkey Kong, and DESTROYED the competition. Watching him crush his opponents with Svdden Death’s set going off in the background really set the hype perfectly. Nonetheless, the set was nearing its end, so we all agreed to go back out to catch the rest in its full, bass-infested glory.

I ordered a beer, which mostly ended up on myself and everyone around me as I accidentally walked into a mosh pit, before finding a cozy spot at front-left. That’s when I saw Ian, who I just played Smash Bros with, chilling on stage.

“Oh sick, Ian’s chillin’ on stage.”

…

“WTF, IAN IS SPACE LACES!”

As I came across such an epiphany, I was already hollering and jumping around like a madman to Ian’s set in the filthiest manner. The crowd and I really got groovy during its short yet bangin’ bass-house segment, which came accompanied with some trippy space-like visuals, and scenes from Adventure Time flashing overhead on the big screen.

Of course, he dropped his smash hit with Excision, ‘Throwin’ Elbows’, which caused an absolute ruckus throughout the entire room. Headbangers and moshers came to life, and at one point a shoe was seen flying through the crowd; the owner went flying after it, and immediately got it back on her foot before jumping back into the madness.

Skretaz took to be the closing set at 2am, yet wasn’t about any sort of a cool-down. He kept the energy alive as he was in full-rage mode on stage, along with the crowd dancing as if the night was never going to end. Given how fired up we all were, it honestly felt like the night was only beginning at that point in time.

~~~

With each Dead Royalty event, the crowd gets much bigger and outputs even more energy, both on the collective level as a supportive community, and individually with each hardcore, dedicated basshead. The next event is Dead Royalty’s one-year celebration featuring Figure going b2b with Midnight Tyrannosaurus on November 24th, taking place once again at One Loft. It’s very likely that it’ll be even bigger than what recently transpired, so get tickets and RSVP to this event while you can.

All pictures used are courtesy of Jenna Hyde and Paul Palacios. Check out more photos from the crazy night below; the full album is available on Facebook!

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