News / bass
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1 min read
Flux Pavilion x Liquid Stranger x AHEE - Move Your Body
Read more . . . →I did not expect a Flux Pavilion collab in 2026 to sound this hungry. “Move Your Body” is three producers who could easily coast trading blows instead, and the seams show in the best way — you can hear one of them dare the next to go weirder. The vocal hook is a single looped command chopped into confetti, and by the second drop it’s been mangled into something that barely reads as a word anymore. Liquid Stranger’s fingerprints are all over the low mids, that rubbery detuned wobble that sounds like a didgeridoo having a bad day. There’s a...
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1 min read
Clockvice & Vorso - DUMFUK
Read more . . . →The first drop of “DUMFUK” lands at 0:52 and it genuinely sounds like a server rack falling down a stairwell. Clockvice and Vorso have made something almost aggressively stupid in the best possible way — a Monstercat dubstep cut with zero interest in melody, mood, or your comfort. It’s all texture and impact, growls layered so thick they start to sound organic, like a large animal that is very much not okay. There’s a rhythmic stutter in the second half where the bass gets chopped into a triplet pattern and the whole track briefly turns into a machine gun. I...
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1 min read
The Tomorrowland bass stages exist to rearrange your organs
Read more . . . →Six days. For everyone convinced Tomorrowland is all euphoric hands-in-the-air stuff, the bass stages exist to rearrange your internal organs. This is the corner of the festival with the fewest phones out and the most damage done to necks and knees: 1. REZZ - Edge The goggles, the hypnosis-spiral visuals, the mid-tempo dread. REZZ built a whole world and this is a clean way into it. It sits around 110bpm and hits harder than tracks running twice the speed. Nobody else on a mainstage-level bill sounds remotely like her, and that’s the point. 2. GRiZ & Subtronics - Griztronics Two...
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1 min read
MUST DIE! - VOGUE
Read more . . . →MUST DIE! makes music that sounds like a server room catching fire, and VOGUE is him leaning all the way into it. The first minute is almost polite by his standards, a clipped vocal and some negative space, and then around 1:20 the whole thing folds in on itself and starts screaming metal. I’ve heard a lot of design-y dubstep that mistakes ugliness for aggression; this one earns the ugliness because there’s an actual hook underneath, a two-note motif that keeps surfacing between the chaos so you never lose the thread. It’s the rare heavy track I could hum afterwards,...
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1 min read
SKisM ft. Virus Syndicate - Like This (Skybreak Remix)
Read more . . . →Skybreak got his hands on a Never Say Die staple and rebuilt the whole thing from the chassis out. The original ‘Like This’ was already a brick — Virus Syndicate barking over a riff that never apologises — and this remix keeps the bars but swaps the engine for something with way more moving parts. Skybreak’s whole thing is that hyper-detailed, glitched-to-hell sound design where every eighth note gets its own little event, and about 1:40 in the drop folds in on itself twice before you’ve figured out where the downbeat went. It should feel cluttered and instead it feels...
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1 min read
QUIX - FEAR
Read more . . . →QUIX has always been more interested in dread than drops, and FEAR is basically a thesis statement. The New Zealander built a reputation on trap that trades the genre’s usual bombast for something colder and more paranoid, and this one leans all the way into the unease the title promises. It opens on a detuned vocal sample that sounds like it’s being played through a broken phone, then the low end creeps in underneath rather than announcing itself, and by the time the first drop lands at 1:18 the whole thing feels like walking down a stairwell that’s darker than...
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1 min read
ZEDS DEAD - RETURN TO THE RETURN (OF THE SPECTRUM OF INTERGALACTIC HAPPINESS): THE MOVIE
Read more . . . →With a title that long you’d better deliver, and somehow Zeds Dead do. This is the Canadian duo in full maximalist mode, a sprawling bass odyssey that lives up to its ridiculous name by cramming about four tracks’ worth of ideas into one runtime. It opens almost gently before detonating around 1:30 into the kind of grimy, wobbling bass workout that made their name a decade ago. What I love is that Zeds Dead have been doing this long enough to not care about trends, so this sounds gloriously out of step with whatever’s current, all old-school dubstep menace filtered...
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1 min read
Da Hool - Meet Her at the Loveparade (Hex Cougar Remix)
Read more . . . →Meet Her at the Loveparade is a 1997 track older than a lot of the people who’ll hear this remix, and that riff, the dun, dun-dun-dun of it, is permanently lodged in dance music’s collective memory. Hex Cougar takes it somewhere Da Hool never imagined: a filthy half-time trap flip that treats the original melody as bait before the drop swallows it whole. The genius is leaving the riff almost untouched so the recognition lands clean, then detonating underneath it at 1:22 with a bass sound like a garbage truck compacting. It shouldn’t work. A 90s trance classic has no...
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1 min read
BROKN - Feel It
Read more . . . →What separates good trap from the wall of interchangeable stuff on channels like this? Usually one weird decision, and Feel It has a couple. BROKN builds the drop around a vocal sample pitched down until it sounds genuinely haunted, then pairs it with a bassline that swings instead of just thudding in place. The result at 1:18 has actual groove, which is rarer in this lane than it should be; most trap drops are content to sit there heavy and static, and this one moves its hips. There’s a snare roll going into the second drop that’s programmed with real...
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Halogenix - Sawtooth
Read more . . . →There’s a specific kind of half-empty warehouse at 2am where a track like Sawtooth makes total sense — too weird for the peak, too heavy for the comedown, perfect for the bit in between. Halogenix has spent years in that Ivy Lab world where dnb, halftime and bass all bleed into each other, and Sawtooth lives right on that seam. The lead is exactly what the title promises, a serrated synth that saws back and forth like it’s trying to cut through the low end, and the drum programming underneath swings in this loose, off-kilter way that keeps you slightly...
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