MyStyle 004 Mixed By The Others

Posted: November 21st, 2014

Caspa’s genre-defining Dub Police imprint never seems to slow down. Long time label star The Others (aka Alex Crawford) crafts a perfectly harmonic mix for Dub Police’s MyStyle series. Brimming with 28 tracks, the compilation is thoughtfully put together, traveling through a diverse range of bass music. Stand out tracks like The Others and J:Kenzo’s “The Prophecy” gives hefty weight to technical bass frequencies and sharp percussion sections. Aptly titled “Acid Acid,” Icicle’s purely acidtized shuffle-ste, is another amazing addition to the album. 

Compa brings primal dark and deep tones to the mix with “Narabeh,” while Taiko explores meditative and heavyhearted vibes with “Fomite.” The Others pleases fans with a few exclusive remixes, such as “Amazonia” VIP, a rework of Plastician’s “Printloop,” and his intense remix of Caspa and Diane Charlemagne’s “Reach For The Sky.” 

Download MyStyle 004 here.


By Amanda Ross 

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Trollphace x Twine Freebie

Posted: November 12th, 2014

OWSLA family Trollphace and Twine give away a monstrous collaboration track called “Dat Shoebox Doe.”

The track features mosh pit-ready punching bass weight, and be sure to check the tempo switch-up on the second drop. Grab the track from Trollphace and Twine’s SoundCloud for free.


By Amanda Ross

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SKisM: Ambassador of Bass

Posted: November 7th, 2014

The visionary producer behind bass music label Never Say Die, SKisM sits down for a candid conversation with Bassrush immediately after his epic DJ set on Escape’s Chopping Block stage. With his imprint responsible for bringing up big artists like Zomboy and Eptic, Never Say Die has nurtured a music movement across the globe. 

Fresh with excitement after playing for his fans, SKisM reveals to Bassrush all that he’s been working on, including exclusive info on his forthcoming releases and label projects.


With all the production and touring, what is next for you and Never Say Die?

My label and my artists, that’s my thing now; pushing the sound and sticking to it. Everybody was doing the same thing a couple of years ago, but now there are only a few of us pushing the sound. It’s why I started the label in the first place. It’s nice to have it ring true to its name now. Dubstep is definitely not dead.


Tell us about the new Eptic EP, The End.

Eptic does his own visuals, artwork, and teaser trailers. He’s a genius. He’s the only artist I’ve ever known or worked with personally that has complete control over his brand to the point where my job is easy. Sometimes he sends me tunes and I can give him a little bit of feedback on certain things, but basically I don’t have to say anything. He sends them in and I’m like, “Yep.”


What are some of the happenings on with your Black Label Series?

We’re doing an album the first release of 2015: the first Black Label XL album. It’s got 10 exclusives we’ve got the residents, Trampa, Megalodon, myself and Laxx. I want to put a stamp on that sound and push it as much as I can. We may even split it off into its own label, depending on how well the album does. I feel like there’s such a plethora of tunes in that style I couldn’t possibly put all of them out on Never Say Die because Never Say Die has its core artists that I look after. I’d love to put every riddim track I get out, but I can’t clog up the space on NSD for it.


What’s the last film that you saw?

The last film that I enjoyed was the recent X-Men film. I’m a bit of a geek when it comes to those films [and] that one was fully over the top; just took me on a roller coaster of emotions watching it on a plane.


What are some SKisM essentials when flying around the world on tour?

Hand sanitizer and cereal bars, because you never know when you’re going to get stuck somewhere and there isn’t any room service, or you check in late to a hotel and there’s no food around. I basically bring a ton of hats and just throw them away after every show because they’re all sweaty. I’m pretty much managing all the artists and running the label, so I’m checking spreadsheets on my phone right before I get on the decks. It’s like the most anti-rock ‘n’ roll thing. I have a good team of people working with me, but I’m a bit of a control freak. I just need everything to work.


What’s in store for 2015?

The Black Label XL EP in January and an EP from Twine in February. Also the Resurrected album from Zomboy, which is his back catalog remixed by some ridiculous names—I’m not going to say who—and a couple originals from Zomboy as well.


By Amanda Ross







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Noisia Drive Their Sound Forward

Posted: November 6th, 2014

If you braved the crowds at the Chopping Block stage on Friday at Escape: All Hallows’ Eve, you were witness to the deliciously dark, dense vibes of longtime drum & bass legends Noisia. We sat down with one-third of the crew, Martijn van Sonderen, to discuss the group’s most recent work, their continued foray into video game scoring, and new material on their Division imprint.


How did Noisia approach the remix of Hybrid’s “Power Curve” for Sony’s Driveclub racing game?

Writing for a racing game is always doable for us. It’s fast-paced and you don’t feel the pressure for it to work on the dancefloor.


What about the work you’ve done on Counter-Strike?

It’s all about supporting the stuff that happens in the game. We switch [our] writing styles for dancefloor, video stuff, singers, or musicians. It’s all different vibes. It’s cool to do that instead of the same thing.


What are some of your favorite games?

Call of Duty; not so much anymore, but the next one is coming out soon, I’m trying to convince John (12th Planet) to get a copy, because I’ll be in L.A. for a week. I also like to play Trails. It’s a 2D motorcycle game that only has accelerate, brake and lean forward. It’s really cool and specific timing is essential. I like to think I’m fairly good at it. Nik plays all kinds. He used to be really into Unreal Tournament. Thijs plays a lot of FIFA.


Tell us about Neosignal’s Space Gsus EP on your Division label. How would you describe the sound?

I don’t want to compare them to other stuff [but] I do like the direction they have. In my opinion, they’ve been influenced by Justice and even older stuff like Kraftwerk. All of those influences mixed with drum & bass sound design, I think it’s quite a unique sound. I really like the music video for “Space Gsus,” too.


How many labels are Noisia currently running?

Three. Vision is our D&B label, Invisible is experimental, and Division is everything that’s not D&B.


What’s the most creative thing you’ve done in the studio this year?

We wrote an album full of 36 hip-hop tracks. We did all the lyrics in Dutch, so no one will give a fuck.


What are you getting up to when stuck on the road touring?

I watch a lot of TV series. I really like Boardwalk Empire, Homeland, Walking Dead, Game of Thrones, and older ones like The Wire and The Sopranos; anything that is well-produced.


Any last words for your fans?

I’m really glad we can do this I always appreciate the people that really give a fuck and come out and see us.


By Amanda Ross


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Dutch Trio Yellow Claw Talks With Bassrush

Posted: November 5th, 2014

Dutch trap lords known for fusing hardstyle and hip-hop, Yellow Claw are poised to take over the world. Having a phenomenal year, the Amsterdam trio brought their dynamic party soundtrack and epic live show to our Chopping Block stage at Escape: All Hallows’ Eve, serving up heaps of dirty, twerk-worthy tracks and feeding the wall-to-wall crowd big room-worthy bass music.

The lively, peace-promoting group comprised of Nils (Nizzle), Leo (Bizzey) and Jjim (Jim) speak with Bassrush about new label ventures and the renowned hype of American festival crowds.


For those who may not be familiar with the name, where does Yellow Claw come from?

Yellow Claw was the name of the party we threw at a club in Amsterdam called Jimmy Woo. Jimmy Woo is the superhero in the comic and the villain is Yellow Claw.


How did your collaboration with Diplo, LNY TNZ and Waka Flocka Flame come about?

Diplo was in Amsterdam for a festival and he just reached out to us. We went for dinner and went to the studio and just started it. We talked about who we wanted on the track, and then we brought out Waka Flocka Flame. [Diplo] has been a friend for a long time. When he’s out in Amsterdam, sometimes we make music and sometimes we don’t.


Some critics have said that the music video is quite controversial. Was this intentional?

We just like cool videos. We’re not out here to preach or anything. If you can combine a cool video and a message, that’s a cool thing. If you’re watching a movie and nothing happens, it’s dull. The same goes for music videos. Shit has to happen and sometimes it’s a little controversial.


Your latest EP, Legends, on Dim Mak has brought you a lot of positive attention. Tell us about the title track with Cesqeaux and Kalibwoy.

Kalibwoy is actually from Amsterdam. Somebody introduced us and we knew we should defiantly do a track with him. He’s more of a dancehall artist, but he just came to the studio and freestyled. The whole video for “Legends” was actually filmed in his old hood.


What do you guys like most about the American crowds?

They go hard as fuck. They are super fanatics and we like their outfits. Here the people live for it.


How would you describe your sound?

I think you could just call it club music or EDM; just really effective music. That’s what we strive for when we produce shit. We always test shit out, and if it doesn’t work live then it doesn’t get released.


Tell us about the music behind the Barong Family imprint.

It’s a cool collaboration between Spinnin’ and us. We are surrounded by a big group of talented artists in Holland [and] they all keep sending us their music. It’s a pretty young label so we’re really just finding our way in the business and the scene.


We were so happy Wiwek sent us the EP and really happy he wanted to work for our label. It’s supposed to be a label for us to give our friends a platform and a safe haven for their music. There is a responsibility that comes with releasing music. It would be selfish if we took everything for ourselves. We are trying to get these guys on the same boat as us and then sail off together.


What’s the meaning behind the name Barong Family?

It’s a devil from the island Bali in Indonesia. We all want to get really rich and stop working in 10 years and just move over there. It’s important to feel like a family. All the guys we put out are friends of ours.


By Amanda Ross


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Escape: All Hallows’ Eve - The Complete Bassrush Experience

Posted: November 4th, 2014

Driving to San Bernardino on a fittingly overcast Halloween afternoon, we tuned into Sirius XM’s broadcast of Escape: All Hallows’ Eve on the Electric Area live stream. Warming up the dance were rising dubstep stars Definitive, giving the Chopping Block’s immense sound system its first taste of dubstep and jump-up drum & bass.

Upon entering the gates, everyone was eager to explore the grounds. Insomniac never fails to impress, and the excitement for this year’s edition was looming.  We passed by many unique art installations, including huge, bloodthirsty inflatable ducks, creepy mazes, and flame-throwing metal wonders. Lines quickly formed for the Century Wheel and Yo-Yo swings.

Costume-clad Headliners spread out amongst the grounds, exploring ghoulish decorations marked with zombies and blood-dripping slaughtered pigs. From the Bayou Voodoo Mansion and the Slaughterhouse to the Ghouls’ Graveyard and the Cannibals’ Tea Party, each stage pulsed with a different tempo. With the aptly named Chopping Block stage, Bassrush created an expansive, medieval-inspired structure, complete with giant skulls and dancing skeletons. The arena was fully equipped with towering stacks of giant subs, and you could feel the deep rumbling in your throat as you neared closer to front of the stage. The entire building was literally shaking. 

With MC Dino now on stage, guiding the crowd to move, bass merchants Fallen and Tropkillaz brought their own brands of high-energy drum & bass and trap heat as the room started to pack in more ravers. A festival favorite, SKisM stepped up with his logo emblazoned in the background, and rage-ready fans rocked out the sounds of Never Say Die, getting the whole arena moving as we crossed into the evening hours. The set highlighted new hybrid sounds of D&B as well as dubstep.

Lasers Not Included Wilkinson took to the stage next, bringing levels up to approximately 170bpm. The set was filled with uplifting vocal smashers until a surprise drop of a classic—Hazard & D-Minds’ “Mr. Happy”—sent the room into a full skank-out. When Shogun Recordings label boss DJ Friction took over the decks, he came with an even more technical dose of tear-out drum & bass rhythms and classic tunes.

Up next, the anticipated appearance of American don 12th Planet, who seized control of a crowd rife for complete dubstep mayhem. Crushing the stage and touching on different realms of bass music, 12th Planet showcased the rising underground styles of dubstep. We were also treated to drum & bass legends Noisia who also graced the Chopping Block. The set was emotional and full of hard-hitting, dense, cinematic drum & bass.

Totem-baring festivalgoers kept pouring into the arena in anticipation of Netherlands-based trap gods Yellow Claw. Fittingly dressed as monks for the holiday set, they dropped well-known Yellow Claw scorchers like “Shotgun,” “Techno,” (featuring Diplo and Waka Flocka Flame) and the anthemic “Legends.” Leading up to each chest-pounding drop, fog cannons ignited the arena, while lasers moved and flashed in time with the razor sharp stabs. To complete the madness, Yellow Claw’s Bizzey took the mic and set the crowd into a frenzy.

The crowd received a treat when bass zombie Zomboy stepped up next, providing dirty and twisted dubstep with an array of colorful visual effects tearing through the LED screens behind him. Rounding out the night, Firepower bossman Datsik, dressed in full ninja garb, dealt fan favorites like his remix of Lana Del Rey’s “Ultraviolence,” leaving the crowd screaming for more. As the night of spooky beats and terrifying bass-scapes sadly came to an end, the sheer scale of the Bassrush Experience verified that our steadily growing community of bass music lovers has a long term home at Escape: All Hallows’ Eve.


By Amanda Ross

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