Breaks & Bass - Single Reviews - 573 | Skip to main content

Singles - Breaks & Bass - Issue 573

Figures of Eighty


Broken Music

Now this is something splendid. This is going to get DJs rewinding who never rewind. The dark, curdled breakbeats, the slow-building tension and then the drop into majestic diva destruction. This reminds me of mid-noughties breakstep, that long-lost branch of atmospheric breakbeat that just missed its chance to take the world by storm when dubstep arrived to steal its place in the pantheon. Maybe it's time to slip in the time machine and revisit that sound, because this is music to rattle your teeth and leave you flat on your back.

Stanton Warriors


Punks Music

Here's a firing slice of carnivalesque bass music from the mighty Stantons, whose quality levels never seem to drop. Combining a classic '70s sax sample with ultra-modern booming kicks and insouciant percussion pay-offs, this is a funky (in the original sense) little beast of a track, the second cousin once removed of Diemantle's superb recent reworking of James Brown's 'Sex Machine'. One of those tunes to make other producers wish they'd thought of the same idea first.
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Punks Music

UK producer Inkline sends down a driving little percussion workout, all call-and-response beats and bass, clipped snares, pitch bent vocals and atmospheric undercurrents — this is supremely classy breakbeat for the heads. On the remix, Punks regular Aurbs plumps for a laidback, stripped down reworking utilising booming 808 and mesmeric Rhodes progressions. If this isn't the sound of the future, then we all need to take a good, long, hard look at ourselves.


'Hyper EP'

Saucy Records

Ricin is a naturally occurring poison, capable of killing an adult male with just a few minescule grains. It's a suitable moniker for London-based producer Richard Tyson, who seems to specialise in grim, brooding soundscapes and disconcertingly off-kilter drum work. The gothic intensity of 'Eve Hyper', 'Haarp' and 'Witches' makes for a wonderfully introspective experience, and I'm reminded at times of 'Dead Cities'-era Future Sound of London. Not sure quite how well these would work in a club, but the producer of the next Resident Evil game needs to be getting in touch.

Tuff Culture

'Modulation EP'

Four40 Records

A triple dose of rugged yet cultured four-four from supremely talented Midlands badman Tuff Culture, who's fast becoming the thinking man's bass music producer. 'Feels' blends soulful vocals with jackhammer b-lines and sleek pads, while "Glitch" combines video game style synthwork with snatches of ragga vox and trademark low end brutalism. Finally, 'Movie Script' adds UK funky-style snares, sidechained pads and a glitchy, noisenik drop to get their heads spinning hard.
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Addison Groove x DJ Die

'Morro Dub (Diemantle Remix)'

Gutter Funk

Taking a tribal blueprint and adding a fearsome dose of stylish, bicep-flexing brutalism, Bristol's Dismantle shakes up regular studio partner Die's four-year-old Juke-flavoured collab with Addison Groove, adding four-four kicks and heady atmospherics to the original's glorious pads, clattering drums and snatches of Brazilian toasting. Bruising and brilliant.

Various Artists

'SOBAD Volume One'

SOBAD Sounds

If this is a sign of things to come from brand-new label SOBAD Sounds, we should all be stoked to have them around. Uniting the talents of Bristolian young guns Sly One, Bromley, Archive and Distro (SOBAD, geddit?), the quartet have been a fixture on the West Country's bass scene for some time now. Here they launch the new imprint with a fresh track each. Distro's 'The House' is a sleek and brooding dose of brass-led underground insouciance, while Archive hits us with 'Satisfy', a fizzy slice of diva-led 130bpm junglism. Next up, Bromley blasts out 'Last One', a grimey kick and clap breakbeat riddim featuring the talents of Dread MC, while Sly One round things off with 'Mi Cumpleanos', a Latin-influenced track based on percussive four-four tribalism and sick carnival chants.