Toting a catalog of releases that would rival the sheer magnitude and girth of a Category 5 hurricane, the Round Table is responsible for heavy-hitting projects that have spanned the length of 2018, including UZZI’s Future Dab EP, Adair’s Spellmaker EP, and Subtronics Thermal Expansion EP.

Released only a few short months after the label was founded, the first volume of Knights of the Round Table offered an opportunity for each constituent of the newly formed label to share in the spotlight, contributing towards the overall diversity that the label has to offer, while providing just a taste of what each artist brings to the table with their own style.

With a remarkable year of releases in the wake, it only made sense that the 2nd segment of Knights of the Round Table provides the ideal adieu to the first complete year for the imprint. While its predecessor packed tremendous volume, the latest installation demonstrates unparalleled diversity and truly encapsulates the growth that Disciple and its artists have experienced over the past year.

Welcoming back veteran names Virtual Riot, Barely Alive and Dirt Monkey, while presenting a massive influx of fresh talent, such as UBUR, Stabby, Bandlez, & Hi I’m Ghost, Knights of the Round Table Vol. 2 comprehensively illustrates the diversity that dubstep can afford. We expect nothing but quality and innovation in 2019 from Disciple and the Round Table imprint, give a listen to the project below and let us know what your favorites are!

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Yes, Virtual Riot can make some pretty complextro and even some electrifying super bass as well as, if not better than most in the scene. However, his true musical genius comes out when his sound design is at the forefront of his tracks, and his German Engineering EP and Preset Junkies EP are prime examples. And, when he pairs this impeccable engineering with riddim (*cough* ‘Shindeiru’ *cough*), fans start to sweat profusely. In his contribution to the latest compilation, Virtual Riot continues to impress with ‘Cry Some More’. Utilizing Team Fortress 2 samples, he bridges a short yet punchy introduction into sound design insanity. ‘Cry Some More’ is nothing but a flex from Virtual Riot, where he creates a vibey riddim track tied together with mind-melting growls and Earth-shattering synths. Everything from the flow of the track to the complexity of each sound is flawless, again showcasing Virtual Riot’s twisted ingenuity.

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A transitional year has seen Stabby hop from label to label, trying to find a fit for his unique sound. A track on frshblood and Never Say Die kicked off his busy 2018, before unleashing a highly underrated three-track EP on Buygore and a plethora of independent singles. Despite all the bouncing around, Stabby sounds right at home with ‘Chain Protocol’, his contribution to Knight of the Round Table Vol. 2. With his signature percussion and a captivating melody leading off the track, listeners are brought into a realm of old school Stabby. A rapid rise in tension with filtered synths brings us into the drop, where Stabby flips the script with a bass-in-your-face approach that is both aggressive yet entertaining all at once. ‘Chain Protocol’ with undoubtedly bring out your nastiest bass face.

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One of the latest additions to the extensive roster of Disciple talent, Modestep were surely aiming to make a splash with their debut contribution to the Round Table imprint. A resounding ensemble of horns welcome the duo with confidence as a distant siren disguises an increasing tempo. A crisp drumroll breaks seamlessly into a vigorous riser, building the track to a peak before a harsh crack of the whip catapults the track into a cascade of relentless synths and aggressive bass ripples. Despite the threatening volume, ‘WIP’ flows effortlessly as a tribute to Modestep’s decisive percussion breakdowns and meticulous sound design.

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Bandlez is one of the few bass producers to successfully utilize comedy as a primary component of his persona, weaving tidbits of a mock police chase in progress, the track launches into a signature breakdown of audacious synth swells and playful fills, which flow together in perfect synchronicity. A retro melody straight out of a Law & Order episode offers a brief reprise, as the revving of an engine kicks the tune into a gunfire-ridden buildup that unleashes a second round of relentless wobbles. If the past is any indication of the future, ‘Hot Pursuit’ will be the first of many spectacular releases from Bandlez in the coming months.

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Returning to his seat at the Round Table, INFEKT seems to have flourished immensely over the course of the past year, even despite an overwhelming popularity within his sect of the riddim subgenre of dubstep. Companioned with a fresh new face at the Round Table, INFEKT & Griefer concoct a remarkably seamless collaboration ‘Spazz Out’, which contrasts grungy synth jabs and drawn out bass roars in a track that flows perfectly from start to finish. We look forward to the ways in which INFEKT will continue to refine and differentiate his sound in 2019.

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Don’t let the playful cartoon ghost fool you, Nathan & Tiago of Hi I’m Ghost pack some of the heaviest bass of up & coming talent in the scene, and are putting a noteworthy finish on a standout year performing and producing with their Round Table contribution ‘Ghosts Do It Better’. A punk guitar riff provides the introduction for the tune, disguising a catchy vocal loop, which lines the backdrop. Two decisive bass notes unleash a beastly synth riser and ominous siren, which surge uncontrollably, dropping into an onslaught of reverberating metallic notes and walls of overwhelming bass. Illustrating the depth and volume of their signature ‘Ghost’ style, Nathan & Tiago provide the perfect spooky addition to the ranks of the Round Table.

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A dark horse in the bass scene, London Nebel have managed to release hard-hitting tracks on dubstep’s biggest labels while still remaining an underground name. Nonetheless, the German duo sure know how to pack a punch, offering a somber melodic touch to riddim and dubstep. Their latest track ‘Bang Bang Bang‘ featuring Leroy is no exception, where a hip-hop-inspired introduction leads fans into wonky madness. Utilizing their distinctive synths layered over ear-shattering percussion, London Nebel captivate fans for a full four and a half minutes with their catchy melodies and impeccable production.

Capping off a year filled with unparalleled compilations, albums, and EPs from some of bass music’s best, Disciple and their Round Table counterpart brought the heat one last time to bid farewell to an epic year. If the Knights of the Round Table Vol. 2 is any indication of their future, it’s safe to say 2019 will be even bigger and better for the artists and fans alike.

Words by Steph Contant and A. Samuel Lewis.

The post Disciple ‘Knights of the Round Table: Vol. 2’ is Absolute Mayhem 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.

When I first entered the spot, Tisoki was laying down erotic synths and boosting the bass, but I really fell into it once Travis Scott’s ‘Goosebumps’ came on, shattering speakers with that groovy, R&B melody.

Next was Danger, with his confection of slushy sounds, and wild synthetic up-tempos. Danger’s energy radiated through the fortunate crowd, and proved to satiate his fan’s desire of something different.  Much of his sound seems to draw from older techno, pure synthetic sounds not pretending to be anything else. As Danger was coming to the end of his set I got the chance to go back stage and get a better view on all the action.

Terravita took the stage and contrasted their aggressive bass style with soft, soprano vocals. The duo slapped down drop after drop, working the crowd up. Bangers latched onto the barricades and showed their appreciation for Terravita’s intense style of production (even with one arm in a sling).

Still back stage, I was watching Terravita rip it up when without warning all three members of Black Tiger Sex Machine started gearing up right next to me. Watching the helmets go on was an experience in itself, but to get to watch them from so close lay down fan favorite after favorite, (‘Face Down’, label-mate Kaiwachi’s ‘Demons’, Rage Against the Machine ‘Killing In the Name’, as well as ‘Religion’, ‘Hell Motel’, and their newest collaborative release with YOOKiE ‘Lions’), was an epic experience.

As I was getting down to the last bit’s of BTSM’s sermon, Infected Mushroom brushed passed me too get a better view of the trio. Infected Mushroom’s set was an incredible way to finish off a magical night filled with dirty electro bass.Supernatural Festival 2017 was an impressive inaugural event. It was planned well and executed smoothly. The venue was provided enough space that broke up the different stages, yet allowed for plenty of exploration, and pockets of parties to enjoy. There was concern that a void had been created when Global Dance retired their annual fall event, Hallowfreaknween, last year. Those fears have been soothed with Supernatural Festival. Here’s to next year.

[All photo credit to Jennifer Dref]

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Global Dance retired their previous annual Halloween celebration Hallowfreaknween. This year should be a precedent for Supernatural Festival’s future iterations with promises of a paranormal playground, appearances of ghoulish creatures, demonic decorations, and instructions to resurrect your coven and don a sick costume.

There are a disturbing amount of performers at this event. There are approximately seven different stages. Of the few dozen sets that are set to get music fans raving and head banging, some headliners stand out: Alesso, Carnage, Audien, Infected Mushroom, Terra Vita, Black Tiger Sex Machine (BTSM), Danger, Havoc Wroth, Tisoki… I can keep going but it is better if you see it for yourself.

Hosted by BTSM, Terravita, and Global Dance, (who also put on a reported killer festival last summer with the same name, Global Dance Festival), have brought together an incredible line up under one roof for a night of frightening electronic music. BTSM has been praised as a savior of dark electronic, and seems to like performing in the area having put on multiple shows since last winter’s Cervantes performance, and stops around the area during summer festival season.

With over 50 artists performing, music fans from all corners of EDM will be present to show their support for their favorite local and international artists. It is the perfect opportunity to taste a buffet of digital music and dance the night away. I expect crazy costumes, creepy decorations, and a cacophony of some rank electro. For tickets and more information, check out the Supernatural Festival’s website.

The post Supernatural 2017, 50 Artists Line Up for One Night of Mayhem!! appeared first on FUXWITHIT.

I had never been to this venue since I have only come back to my home town last year, and have not seen anything worth attending, or checking out there. I had heard that the space was attracting a lot of locals, and tourists, to a part of downtown Buffalo that had become run-down, and a waste of lake side property with a lot of potential. This show changed a lot of those prior conceptions. Driving up on Silo City, and the Labatt Six Pack, through the old industrial steel plants, the echoes of the 90’s rave scene splattered over my mind. This was the first time Riverworks has had an electronic show of this size, and there was ample security, even leading up to the venue itself. Inside, the crowd was encapsulated in steel, garnished with a beautiful LED screen stage set-up, and starving to rave. Each ticket holder had a comfortable seat at Safe in Sound’s table, and we all were happy to make to the bass-feast.

Terravita took the stage first, and served a meaty set. They took their savage bass, sawed through viscera with vicious drop after drop. As they showered the crowd with machine-gun fire synths, all the thirsty bangers thrashed out in sync. The duo’s mixing style is definitely energetic, and they work the crowd sufficiently. There is a rough edge about how they flowed through the set, but any untamed beast will be that way. The delivery of this ear hole infestation of rhythmic chiseling was completely satiating.

After you wiped your chin off, Dirtyphonics banged up to the head of the table. Their spread billowed out like a heavy thunder-head, hot and humid. Phonics chokes you with frenzied, fast-style mixes. Their bass is not the kind that pounces, but takes more pleasure in lurking deeper, peering at you from the shadowed in-betweens of the leaves and branches. Fans will know that Phonics was a foursome; the pair that remain from the bloody dubstep-stump have taken the flailing limb, and made it writhe all on its own. It was a sentimental moment for one fan I spoke with who said Phonics had not been to Buffalo in four or five years. With this joyous return, they made the bass breathe by providing intermittent slivers of silence, while still mixing fervently. The crowd was nourished as they kept the bass raining down on them all the way through the set. I appreciated their MC-ing, laying down some organic verses, and providing inspirational words just before a bass drop funneled ragged vibrations down my throat, into my thoracic cavity.

Snails sloshed in after Dirtyphonics. The hyped bass, anthem like vocals, and sticky, sinuous mixing of Snails’ style made this an incredible set. Snails seems to create a tenuous situation between the synths and bass, and forces them to resolved their issues in therapeutic slime. The ability to mix a track that’s so twisty, it trails up the stem of the bass line, rising to the actual bud, then blooms with syrupy centers, attests to Snails popularity, and longevity in such a dynamic sub genre. His choice in songs to mix was also gummy-good and included ‘Better Off Alone’ by Alice DJ, and ‘Let the Bodies Hit the Floor’ by Drowning Pool.

Lastly was Borgore. He entered strong, blazing-chariot-style, showing off his dub-step roots, but still came through with more traditional hip-hop elements. This especially happens where it counts which is with his choice in vocals. As for his sound, Borgore’s bass drops are preceded by simple mixes that morph into complex colossi. Rich, luxurious, frothy metallic wubs built up on the thickened mix of ‘100’s’. Then in the next release a slick, sweet female vocal tongues at your ear as the 90’s-like synth thumps and ruptures into more fleshy futuristic bass drops. The blended fury brings on the warm and fuzzies, liking listening to old-school, Golden Age hip-hop tracks while wrapped up in your favorite dub-step tracksuit. The child-like innocence of remixing ‘If You’re Happy and You Know It’ into a shadowed, robotic synth-droid captures his nostalgic theme wonderfully, and the choice of an Alien Lisa Frank kitty-cat imagery behind him could not have been more appropriate. Cheekily, Borgore slams you, reminds you, why it’s called Trap, since that’s what he did with this savage-psycho-cute, chuckle set: He trapped me and now I might always call him Daddy.

Safe in Sound should not be missed if it is coming to a city near you. The prices are fair for the banquet of bass-music you will be able to gorge on. What really should stand out is the fact that this tour is trying to recreate, and incorporate aspects of what made electronic music unique in the first place, (longer shows and sets, good sound systems, and better venues to appreciate the huge sound), and that should be welcomed by hungrier fans. If you want to support artists who are taking risks with their music while still cooking up sizzling, crowd pleasers I implore you to hit up this tour, and these artist’s websites.

A few gripes I had about this event, that I feel I need to mention, were most likely glitches that can be attributed to this being the first electronic event at this venue of this size. That being said, there was no information on the parking situation (which was cash only), their system for checking tickets was whacked (left many people waiting in the rain, and cold), and there was no post about the event’s super tight security.

Check out Safe in Sound Festival’s website for city dates, and to purchase tickets.

Photos are thanks to Kainan Guo from the UB Spectrum.

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