BASS RECOMMENDATIONS NOVEMBER 2016

Review: Kevin McAuley is certainly affiliated with a generation of pioneering UK Bass producers who have since moved into the techno realm. With previous releases on Hemlock, Hessle Audio and Hotflush, his origins have definitely remained a strong aspect of his style ever since. On the In Drum Play LP, he can be heard dabbling in obtuse and disjointed low end theories such as on "Bulb In Zinc" or "Let It In" while there are some inventive takes on techno; such as on the dynamic opener "Rotor Soap" or the adrenalised stomper "More Is More To Burn". For us, the highlights were "One By One" (where his take on breakbeat techno would make the likes Shed or Stenny stand up and notice) and the oddball body basher "Skips Desk".

Review: It's been a while since beat-carver Dark0 last blessed our turntables. During that time he's signed to XL and sidestepped from grime instrumentalist to all-out electronica composer. Each of the four cuts here are a whole new level in terms of melodic structure and conceptual narrative as he analyses his relationship with London and how the version of the city he loves is moving further from reality. His passion is instantly felt on the vibrancy of "Forever" and euphoria of "Luka". "Plague" is a much more introspective track with its wave-like tendencies while he concludes the story with "Heal"... Something only time can do. Let's hope he doesn't leave it so long next time.

Review: Following last year's "Draw For The" on Beneath's Mistry imprint, the shadowy Laksa returns with another dark document. Rooted in techno, entrenched in bass, galvanized by grit, both cuts hit that holy grail status of appealing to almost all DJs from dubstep to techno via grime and footwork. "66 Rebels" is cavalcade of clipped synthesis and cymbals while "Ctrl Delete" sounds like it could have been cooked up in a Detroit laboratory. No messing around.

Review: Beware of the Naine Rouge! A Detroit folklore tale that contextualizes the city's spates of bad luck dating back over 300 years, local machine-abuser Sinistarr pays homage to the unique myth with a set of unclassifiable dancefloor smoulder sessions. Two major league tag-teams hit from the off as techno don Stingray313 pairs up for the loopy kickdrum stamping "Track 1" and ghettotech godfather DJ Nasty joins him for a furious footwork fire up "Shake". Elsewhere we get speak & spellbound on the dark stepper "Nonlinear Threats" and "I Pop, I Jit" shakes and stutters with such a rhythmic infectiousness you don't want it to ever end. Another perfect Exit release.

Review: NYC's FaltyDL has been constantly active over the last few years, with the majority of his music landing via his very own Blueberry imprint. He's prone to releasing EPs on the fly, so a new album by our beloved 'bass' producer is truly exciting. This is especially true as of late, because the artist has gradually moved away from the fidgety two-step-garage hybrids that he has been heavily associated with, and much more towards a leftfield/r&b kind of space. There are beat-driven, percussion-heavy grooves such as "River Phoenix" or "Frigid Air", but the majority of this album is drenched in a placid, soulful vibe that uses different styles of beats and arrangements to get its direction across. "Drugs" featuring Rosie Lowe, for example, will appeal to the soul enthusiasts as much as the dancers, while tunes like "Fleshy Compromise" might even get the coldwave jockeys to turn heir heads. The point is, FaltyDL is in a state of constant flux, and this album is proof of the man's many talents. YES.

Review: Now a firm fixture in the LuckyMe fam, Montreal's Jacques Greene delivers what could be his biggest cut to date. Ticking every box from UKG to tech by way of soul, there's a silkiness and timeless appeal to the vocals, synths and funk-coded broken drum arrangement that appeals to all DJs from all corners. Meanwhile on the B we have an extended version of "You Can't Deny". Resplendent in its processed R&B vocal hookery and soft padded groove, it's yet another reminder why Jacques resonates with all corners and genres of the globe right now

Review: NYTA knows what time it is: "4DC" is straight out of the book of EZ with its steel drum hook and insatiable two-step momentum. Pure London groove magic with all the right sass and drive, it captures the essence of UKG to its core. "Two Know" plays the consummate contrast with a sorrowful twang to the bass that sits somewhere between Justin Martin and Booka Shade. Not a bad place to be.

Review: Kouslin launches a brand new label and he's doing it total style. While no one can deny the crucialness of the name Le Chatroom, the real focus is on the music as the London artist tags up with two mates for a trio of far-out, forward-thinking bass/broken cuts. "Brothers" leaps with flautist delight while snake-like percussion rattles and rolls beneath. Aussie Nostro Hood winker Galtier gets his tech on with a Rolando style sense of melody and menace while Bumps man Sheik flexes a much slower jam, all 909s and raw machine soul. Covering corners you didn't even know existed, Le Chatroom has us in the palm of its paw.

Review: The Yaroze Dream Suite project was first initiated in the spring of 2015, when grime experimentalists Mr Mitch and Yamaneko got together in Local Action's London studio for the first time. It was clearly time well spent, because this eponymous debut EP is packed with ear-pleasing highlights. As you might expect, there are nods to grime's eight-bit roots throughout, alongside sparse but solid, hip-hop influenced beats and synth sounds more in keeping with IDM. The undoubted standout as to be "In The Moonlight", where Hannah Mack's sweet, soulful, R&B-informed vocals ride minimalist beats, bleeping electronic melodies, and impeccably programmed synthesizer sax solos.

Review: Two precision crafted compositions from the SRA: both "Deadcell" and "3M Kunai" build on the wave foundations the trio helped to dig several years back. Hazy, emotional, soft but never limp or light, their cinematic signature is rich throughout. The former takes its time to build with a cascading riff that opens likes the heavens when it finally hits while the latter is a little darker with its staccato melody and misty, almost ghost like echoes in the background. Premier sounds.

Review: When it comes to dubstep, Distance (AKA DJ/producer Greg Sanders) has pretty much done it all. Since making his debut in 2003, he's released two fine albums on Planet Mu, mixed a volume of the Dubstep Allstars series, and laid down a string of killer 12" singles. With this history in mind, it's perhaps unsurprising that Dynamis, his first full-length for Tectonic, sees him look further afield or inspiration. While heavyweight sub-bass and the rhythmic swagger of dubstep remain at the heart of his productions, the album also incorporates elements of dubstep, experimental electronica, IDM, electro, ambient, and even Nine Inch Nails style fuzz-rock intensity.