Breaks & Bass - Single Reviews - 546 | Skip to main content

Singles - Breaks & Bass - Issue 546


'Lip Pop'


There's something supremely funky about the bouncy, virile new single from Denver's Wuki, without the producer ever getting anywhere close to Bootsy Collins territory. 'Lip Pop' is all insouciant bass hits, offbeat hihats and 808 snares; wistful summer-by-the-pool pads and electro percussion on the drop. But it's the killer vocal samples about a young lady with the ability to "make her lip pop" that add all the flavour. On the remix, US production unit Eyes Everywhere head into deeper territory, throwing in acid licks and 808 low end for an extended roller.


''Ambush EP''

Future Follower Records

Young Manchester-based producer Hypho is one of the new wave of bass music artists ploughing an atmospheric, dubwise furrow guaranteed to bring the hype. Lead track 'Hustle' is a reverb-soaked badboy anthem featuring snatches of ragga vox, smart bass licks and dubbed-out percussive grooves, while 'Ambush' is a washed-out drum workout cut through with warm, beefy sub. Remixes come from fellow bass enthusiasts Cloaka, Watson and Jay Faded.

Krafty Kuts

''Come Back''

Instant Vibes

Some of Krafty Kuts' recent output has sounded like music from an era of breakbeat that few care to remember. But props to the Brighton-based producer for finding a fresher vibe on the inspiring 'Come Back', which blends garagey bass licks with deep synthwork and cool stabs of diva vox, but still maintains the trademark Krafty energy. On the flip, 'Bang Bang' plumps for a saw-wave heavy bass and synth flavour topped off with classy percussion hits and plenty of fireworks just before the drop.

The Push

''I Just Don't''

Let's Go Recordings

Sumptuously-produced breakbeat garage from the Bucks/London-based duo, featuring the sultry Lauren Meehan on vocals. Blending rolling two-step beats, clipped synthwork and badboy bass, 'I Just Don't' is a classy little anthem ready made for the champagne-swigging brigade (or was that just the '90s?).

Plump DJs

''Like a Boulder (Breaks Mix)''

Grand Hotel

The Plump DJs have always had their own sound, and this firing little remix harks back to the classic breakbeat vibe of their mid-naughties reign of excellence. Squeaks, bleeps and wicked funk break samples power things forward, and the synthy breakdown is a thing of wonder. Future-retroism at its finest.



Instant Vibes

Breakbeat legends The Freestylers team up with Major Lazer collaborator RDX for a skanking dubwise number that would probably be this week's single of the month if the backing track didn't completely rip-off the duo's own remix of Audioweb's 'Policeman Skank' from the late '90s. Unfortunately I'm old enough and ugly enough to remember this one first time round, and the whole thing seems a bit lazy — why not just put the remix out again? Speaking of remixes, Deekline turns in an even more skanksome jungle-house hybrid on the flip.

Boy Martel/Gully Creepa

''Saucy Records EP''

Saucy Records

Here's a blazing sampler EP for Saucy Records' new free compilation — find it on their SoundCloud. Boy Martel comes correct with a driving blend of bully boy sub, twisted percussion and tough two-step drums on the fearsome, snakelike 'Jekyll and Hyde', while Gully Creepa drops ravey diva vox, offbeat synthwork and brooding garage-style low-end on the insistent, atmospheric 'Know Me'. Absolutely top-notch 2015 bass music.


''Sub Culture''

Bad Habit Muzik

Otter hails from Mexico, though you wouldn't know it from the music or the low-key artist name. (Then again, for all I know 'Otter' is Spanish for something a lot more exciting than the much mistreated water-dwelling rodent of the British isles.) 'Sub Culture' is more of a sketch than a tune, but quite possibly the greatest sketch of a track ever created. The heavily delayed vocal refrain repeats throughout, as does the bassline, and the beats, but when you've concocted such a gorgeous melange of perfectly-blended elements as this, who needs musical development? Imagine the sonic equivalent of velvety chocolate, strained through a filter of UK bass music culture, and you'll be at least part of the way there.