News / bass
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1 min read
Nero & Taiki Nulight - We're Not Alone (ft. Emily Makis)
Nero making dubstep again feels like a postcard from 2011. 'We're Not Alone' is shameless, enormous, and our neck genuinely hurts.Read more . . . →Subscribe →Weekly digestOne email per week with the tracks worth your time. No spam, no Coldplay. -
1 min read
Tape B & Dani King - Underneath Your Skin
Read more . . . →Tape B is having the kind of run where you stop being surprised and start being suspicious. “Underneath Your Skin” pairs his heavy, gummy bass design with Dani King’s vocal, and the contrast is the whole reason it lands: her voice stays soft and close while the low end underneath is doing something genuinely rude. Most bass producers who bring in a singer treat her like a garnish sitting on top of the drop. Here the vocal is load-bearing, the thing the bass is answering to. When the second half opens up, the sub doesn’t just get louder, it gets...
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1 min read
Hypho, Neumonic, PAV4N & Who Knew - Low Down Deep
Hypho, Neumonic, PAV4N & Who Knew's Low Down Deep creeps instead of screams — 140 made by people who know exactly how heavy is heavy enough.Read more . . . →Subscribe →Weekly digestWhat you missed this week, minus the corporate emo. -
1 min read
Feed Me - Bad Taste
Read more . . . →Feed Me. Jon Gooch has been making that grinning, cartoon-menace bass sound for over a decade and “Bad Taste” is him leaning all the way into it. The lead synth on the first drop sounds like a dial-up modem being tortured, and I mean that as the highest compliment. There’s a swing to the drums that most modern dubstep forgets about — it bounces instead of just stomping, which is the whole difference between something you headbang to and something you actually move to. About ninety seconds in the whole thing drops to almost nothing before the second half comes...
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1 min read
NGHTMRE, Staysick - Chemicals
Read more . . . →From the first bar you can hear the sternum-rattle Chemicals was built for. This is big and weaponised and unapologetically maximal, a drop designed to be felt from forty rows back. NGHTMRE has been quiet-ish lately by his standards, and this feels like the guy remembering he helped define festival trap in the first place. Staysick’s vocal gives it a punk-adjacent snarl that pulls the track out of generic festival-trap territory and into something with real attitude. The build does the classic NGHTMRE move of promising one drop and delivering a harder one, and the fake-out at the first breakdown...
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1 min read
MACHAKI - CAN'T STOP
Read more . . . →CAN’T STOP is a dare of a title, and the track spends three minutes proving it can take the hit. It’s dubstep built for maximum physical impact, the kind where the drop doesn’t ask permission. Once the first drop lands at 0:58 there’s genuinely no coasting section. It just keeps escalating. What separates MACHAKI from the wall of Monstercat bass producers is a sense of groove underneath the aggression, so even at its heaviest the track swings instead of just stomping. The sound design on the second drop has this vocal-formant thing where the bass almost talks, a trick that’s...
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1 min read
Buunshin - Luminous Body
Read more . . . →Buunshin keeps building tracks that sound like they were assembled out of glass. “Luminous Body” opens with these clean, almost fragile melodic tones and then the low end slides underneath so smoothly you don’t notice the floor’s gone until you’re already falling. This producer sits in that lane where dubstep and forward-facing sound design overlap, and the design work here is absurd — every bass note has its own texture, none of them muddying into each other. The drop at 1:35 doesn’t reach for maximum weight, it reaches for precision, a bassline that folds in on itself like origami. That...
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1 min read
Papa Khan - SUFFOCATE
Read more . . . →“SUFFOCATE” is darker than most of what NCS puts out, and that’s exactly why it works. Papa Khan builds this around a claustrophobic, mid-tempo bass groove and a vocal that sounds genuinely strained — fitting for a track with that title — and the result has a menace the label’s gaming-stream catalogue usually sands off. The drop at 1:24 doesn’t go big, it goes tight and low, a compressed snarl of bass that feels like the walls closing in rather than opening up. I respect the restraint; the easy move would have been a festival-sized lead, and Papa Khan resists...
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1 min read
HerShe, Sportmode - PRETTY GIRLS
HerShe and Sportmode's 'PRETTY GIRLS' struts before it knocks you flat. Mean, nasty bass music with real swagger and zero apologies.Read more . . . →Get the tee →Support the blogWhat if your laundry was also a personality? -
1 min read
MUST DIE! - BLOODBATH AND BEYOND
Read more . . . →MUST DIE! spent years being the guy other producers quietly ripped off, and this whole record is him collecting the debt. The title track wastes about forty seconds on a fake-out intro that sounds almost pretty before the first drop caves the floor in around 0:48. What gets me is how dry the low end is — no reverb smear, no wash, just a bass patch that hits like someone slamming a car door in an empty garage. I had it on in the kitchen and physically stopped chopping vegetables to check my speakers weren’t broken. He’s always written this...
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