News / bass house
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1 min read
LUMBERJVCK - CALL ME
Read more . . . →Heard the drop on this through a friend’s phone speaker across a table and still made the face. “CALL ME” is LUMBERJVCK on Dim Mak, and it’s bass house with its collar up, a filthy, rubbery low end and a vocal chop stabbing the same two syllables until they stop being words. Dim Mak has been the home for this kind of loud, slightly obnoxious dancefloor weapon since Aoki was throwing cakes, and this fits the roster like a glove. The drop doesn’t do anything clever; it just hits the sweet spot where a bassline is gross enough to make...
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JUNIVERZ & HEN1 - Take Control
JUNIVERZ and HEN1's Take Control hits like a car door slamming in an empty garage — lean, mean bass house gone in under three minutes.Read more . . . →Subscribe →Weekly digestSundays. One email. Zero ballads from white guys in beanies. -
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Flava D, Casey Club & DRIIA - Revival
Flava D stitches garage swing onto a dubstep low end on Revival, and Casey Club keeps it light enough for your mum and a warehouse in one week.Read more . . . →Subscribe →Weekly digestWhat you missed this week, minus the corporate emo. -
1 min read
Dani Thorne - Miss Behave (ft. SHMANI)
Dani Thorne and SHMANI make bratty electro house that's way more fun than the title deserves. Tight, squelchy, clearly enjoying itself.Read more . . . →Get the tee →Support the blogSome shirts are statements. This one is a verdict. -
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Croell & PITM - Red Lights
Read more . . . →If you’ve been waiting for bass house to remember it’s supposed to be sleazy, Croell and PITM heard you. “Red Lights” struts in on a bassline that sounds genuinely up to no good, all late-night neon and bad decisions, exactly the mood the title is selling. It’s built lean, a tight vocal hook chopped into a taunt over a low end that grinds instead of just thumping. Dim Mak has always had a taste for this kind of maximal, slightly trashy dance music, and this sits right alongside their best without feeling like a retread. The drop doesn’t waste a...
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Habstrakt - Poison
Habstrakt drags moombahton back from the dead and gives it a wet, gross squelch. 'Poison' made me do an idiot dance at my desk.Read more . . . →Get the tee →Support the blogIf you wear this and someone hugs you, that's a real friend. -
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Vizzen - BOUNCE!
Read more . . . →The title is the entire instruction manual. Vizzen’s “BOUNCE!” is UK bass built for one purpose, and it gets there around the first drop, which lands like a trampoline with a personal vendetta. This is that springy, rubbery bass-house sound the UK does so well, where the low end pogos, all spring and no dead weight. The vocal is chopped into a single repeated syllable that turns into its own percussion. What gets me is how much space is in the mix: there’s room to breathe between the bass stabs, so each one lands clean instead of smearing into mud....
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Dubdogz, Voltech, Faiolli - California Dreamin'
Read more . . . →Flipping “California Dreamin’” is a high-risk move — the Mamas & the Papas original is so lodged in the collective memory that most dance edits end up sounding like karaoke with a kick drum bolted on. This one earns it. Dubdogz and company keep the melancholy of that famous melody fully intact and build a big, open-air drop around it that somehow never tramples the source material. The vocal chop lands right on the beat at 1:15 and the bass that answers it has real punch, that bouncy Brazilian-bass warmth made for festival fields at golden hour. It won’t change...
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Habstrakt - Everyday (VIP)
Habstrakt's Everyday VIP takes an already filthy bass house track and cranks it further. Not sure our speakers consented to this.Read more . . . →Get the tee →Support the blogWhat if your laundry was also a personality? -
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Curbi - Down To The Sound
Read more . . . →Down To The Sound rides one rubbery bassline for its whole runtime and never once gets boring, which is its own kind of flex. Curbi was making festival-sized records before he could legally drink, and this is him sounding fully grown into the sound he’s chased since he was a teenager. It’s a groove-first house track, less concerned with a huge drop than with a low end that refuses to sit still. A vocal snippet gets chopped into the rhythm so tightly it becomes percussion. That’s the trick here: everything is groove and nothing is filler. The drop doesn’t explode...
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