Article by Mitch Buchanan
It’s pretty much inevitable that a zombie apocalypse (or Zompocalypse, as I like to call it) will sweep the world in the near future. In 2011, the Centers for Disease Control and Prevention (USA) even started a campaign promoting Zompocalypse awareness and how to prepare for the total destruction and chaos that it’ll wage. Up in Canada, we’ve got our own kind of preparedness. Montreal-based Kannibalen Records, known for their love of all things morbid, has taken on an expert in the Zompocalypse. Karluv Klub, who released his Warfield EP on April 10, believes the undead will begin to rise in Russia, and has created a soundtrack depicting his idea of what the uprising will sound like. Hailing from Montreal, Karluv Klub is a photographer by day and a brutal zombie killing machine by night. His insight into the dirty underground of post-apocalyptic worlds will be absolutely essential once the Zompocalypse spreads from Russia and affects the rest of the globe – and we couldn’t be more relieved to have our hands on a copy of his sonic survival guide.
Dubstep.NET Presents: Slighty Mad by Emptysight (2012 Rework)
Emptysight is an 18 year old producer from Paide, Estonia. With his unique production style and signature bass screams, he is absolutely the biggest thing to come out of his country since Raiden. Continuing to dissect sounds and integrate new methods of making music that will make you bang your head, Emptysight’s “Slighty Mad” is an absolutely banger you simply wont be able to resist. This re-work of his own track is the very definition of dubstep filth, a seriously heavy tune.
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Dubstep.NET Exclusive: Deep Divide by Seven Lions
Progressive and phenomenally melodic dubstep of the highest caliber, Seven Lion’s long-awaited “Deep Divide” is finally being released, Exclusively through Dubstep.NET. Extraordinarily intricate and incredibly evocative synths flow smoothly on meticulously arranged percussion to create a tranquil sonic environment that is sharply contrasted by the monumental and utterly unexpected drop. When the grand finale arrives, Seven Lions unleashes the full brunt of unpredictable and awe-inspiringly original production.
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Article by Mitchell Buchanan
We all survived April Fool’s Day and made it to April 2nd with much merriment and celebration. At Dubstep.NET, we partied even harder with the exciting release of J. Rabbit’s newest EP, “Immune to Gravity.” The album was released through Ultragore Recordings as their 30th record – and what an outstanding record it is. This California-born producer isn’t new to the world of bass music, but each track on the album is just as exciting as the one before it. J. Rabbit has undeniably found that balance – that place where he can produce music with an identifiable sound, without having each track sound repetitive or the same. It’s an audio “sweet spot,” a tough place to find, but J. Rabbit’s figured it out. Four tracks of blistering synth work, explosive bass, and impeccable vocal samples and lyrics make up the bulk of this album, and we couldn’t possibly be more thrilled to experience every second of it.
Article by Mitchell Buchanan
There’s something alluring about the unknown. The scariest thing about a horror movie is that thing you can’t explain; jokes are funniest when you don’t know the punchline; the femme fatale in all action movies is mysterious because we know nothing about her. The bass scene has its fair share of “unknowns” as well – producers use names that aren’t their own, hiding their identities behind a name and the music they create. They play shows where the energy is so high that no one knows what to expect from the night, and who can blame them? Not knowing what’s going to happen makes everything so much more exciting – at least, that’s what we believe at Dubstep.net.
Today, however, we’re here to unmask one of the faces of dangerously-heavy bass music. Drop Goblin is a New Hampshire producer and a unique DJ, using two iPads instead of flipping records, and staying away from beat-matching software that takes away from the skill of DJing. He mixes music by ear – the iPads are connected to a mixer independently and there’s no communication between them. Drop Goblin mixes the old-fashioned way, “the way it was back in the turntable days using your ears and sense of touch.” The combination of unique mixing skills and strong support from bass music heavyweights like Play Me Records has allowed Drop Goblin to garner a strong fanbase – one that supports his experimentation and his enthusiasm for all things bass-heavy.
Drop Goblin, known to some as Alexander Azzi, has been making music since the mid-90s. Attracted to the energy of the Punk Rock and Oi! scenes, he joined a local Skinhead Oi! band after teaching himself how to play the guitar. After four years, however, Azzi recognized that his values differed from those around him – and he made the decision to leave a scene that he just couldn’t call home. “…I never felt like I belonged, nor agreed with the views and politics of the Skinhead lifestyle I was involved in. In 1998 I walked away from Skinhead life and discovered EDM at a time where it felt right to give it a shot and see where it would take me.”
Under the name “Perfect Dark,” Azzi started producing Hardcore Techno and Gabber in 2000. For a few years, he worked for ADAM Recordings, and eventually signed to Sony/ATV Publishing – by then using the moniker “Atroa.” But several years later, he began to feel confined to the genres of music he was producing. Taking some time off, Azzi travelled and worked in various facets of the EDM production business. “I did some behind-the-scenes stuff during my “off time,” producing some dance tracks out in Toronto, and I did a Hardstyle remix of a song for the Pirate Metal band “Alestorm.” But I missed being more involved like I used to be, producing original tracks and performing in front of the crowds. So I took my time and researched what would be the best fit for me in this day and age, and the heavy bass genres hit me square in the face… I was hooked.”
Eager to make a comeback and reinvent himself, Azzi dropped the “Atroa” alias and started working under the name “Drop Goblin.” To some, the change in name seemed completely logical – a new beginning, new genres of music, new name. To Azzi, however, there was a different reason. “Honestly, one of the big reasons why I changed my name is because the artist “Adroa” exists, and although I’ve been around longer in EDM, he has been in bass music much longer than me. Out of respect to him, and to avoid any confusion, I decided to change my name.”
Drop Goblin’s breakthrough track was “Dubstep, Believe It,” released in July of 2011 through Play Me 2. Described as “an excellent, cheeky dubstep-themed cover of that popular Journey song,” the combination of dirty, heavy bass and the memorable, sing-along tune of “Don’t Stop Believing” helped Drop Goblin fully establish his place in the bass music scene. He points to Play Me Records as the biggest reason why his transition into heavy bass music has been so rewarding. “… I felt so appreciative. There I was, working hard and wanting to come back into the scene, and they took a chance with me, believed in my vision, and I can’t thank them enough… it opened up the floodgates for my name and my releases up to the present day.”
Drop Goblin’s work with Play Me isn’t over. On March 26, his “Feelin’ Like A Rock Star” EP was released through Play Me 2. This four-track EP features three originals and a remix from Dirt Monkey. Although less than a week old, its success has Drop Goblin looking forward to producing new tracks.
Drop Goblin’s roots bring him through Punk Rock and Oi! music, various genres of EDM, and now he’s taking the bass world by storm. When I asked about what he finds most rewarding, he made no mention of money or fame? Instead, Drop Goblin – Alex – finds happiness in knowing that people support his love of music just as much as they support the music itself, and that he can pass on the importance of experimentation and variety in the bass culture that he holds dear. “Even though I don’t personally know them all, they motivate me to continue to produce and perform with the energy I have. You have to understand that without the fans, there would be no need for us to do what we do. No need. I want reach out to all the producers out there who are just starting out, and tell you that you don’t need to be a follower. Your brain is the most sophisticated production tool you will ever have. Use it without fear.”
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Commissioned by Dubstep.NET to create an Exclusive Spring Mix that captures some of the very best of sexy dubstep, Aaron Simpson of Simplify Recordings has constructed a fantastic musical journey through some of our favorite tracks. Blending Dubstep.NET classics with Simplify bangers with a few extra favorites sprinkled in, Aaron Simpson demonstrates his extraordinary talents as a DJ as well as his own distinct taste in bass. Dig In!!
Download Link: http://soundcloud.com/aaron-simpson/dubstep-net-exclusive-mix
DC and Hooks are Zeds Dead. Toronto, Canada is where they reside. Zeds Dead has earned an excellent reputation amongst a new generation of producers as artists without borders - genres hold no bearing over their music as they transcend style and form with ease. By pulling from a vast array of source material (Radiohead, The Rolling Stones, The Moody Blues, Sublime), and moulding it into their unique brand of dance-floor classics, They have established themselves as a dominant force in EDM circles and have received recognition and praise from tastemakers worldwide. This guest mix for Mistajam’s BBC Radio 1 show is testament to their skills.
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Broadcast on BBC Radio 1, 11:00PM (UK time) Sat, 24 Mar 2012
Download this mix: http://soundcloud.com/zedsdead/zeds-dead-guest-mix-for
Article by Mitchell Buchanan
I have a weird fascination with trains. Steam engines, diesel engines, subways – you name it, I love it. This also extends to trains on the road; watching the streetcars (or trolleys, depending on where you’re from) go by in Toronto gives me a feeling that I should probably not be associated with methods of transportation. So when I was asked to review the new Trolley Snatcha EP, Subtext, it goes without saying that I was more than happy to do so. I mean, what could be better than big bass, piercing synth whines, shuffling drums – and of course, trolleys? The answer is, nothing. Nothing could be better than that. “Subtext”, released through Dub Police on February 13, is Trolley Snatcha’s triumphant return to the big-name UK label. A Northampton-born producer, Trolley Snatcha is no stranger to the world of bass. With an arsenal of originals and remixes already under his belt, he’s come back to give us five new tracks for our ears to feast upon – and a bass-fest like this is just too delicious to pass up.
by Mitch Buchannan
Politics are tricky. You have to choose a side, deal with criticism, make sure you’re always aware of what’s going on, and be prepared to be put on the spot at any given moment. Dabin, a Toronto- based producer, has done just that with his newest EP Electropolitics….