WOB! finalise the huge lineup for their debut event


The Birmingham based night isn’t pulling any punches, with 5 massive headliners playing

Launching on July 8th, WOB! is a brand new UK Bass event located in Birmingham, and they are looking to make a big impact quickly. With 8 support DJs, 5 headliners and 1 competition winner, it’s looking like it will be one of the biggest debut nights for Bass music in recent history.

Notion, Nadine and DJ EJ will all be looking to shut things down, with Bassboy and JG playing what should be a huge back to back set, after a whole host of support DJs have warmed things up.

Alongside the promo for the event, WOB! also ran a competition for a slot on the lineup, which was won by Sheffield based Producer/DJ Cargo. You can check out Cargo’s winning mix below, as well as Nadine’s 20 minute promo mix.

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PLTFRM – Cause & Affect w/ Darkzy at XOYO [Review]


Following the announcement that XOYO was being taken over by Cause & Affect and Darkzy on June 15th, Cal Sørensen headed down to PLTFRM on behalf of Selecta to experience a huge UK Bass lineup in the Capital city.

– Words by Cal Sørensen
– Images owned by PLTFRM, taken by LarryJ

Off of the back of the news that Lorenzo had continued production with Kane on their immensely popular Cause & Affect project, and the ever-increasing popularity of 140 mastermind Darkzy, I decided it was finally time to make the pilgrimage to XOYO for the first time. It was definitely worth it.

Before I get into this, it’s vital that I big up the hosts of the night, PLTFRM, for donating £1 from every ticket sale to charity in the wake of the horrific Grenfell Tower incident – something that has brought our country together in remembrance, hope and love, and something that united all the ravers at XOYO that night.


Moving on to the night itself, a stellar bass-driven lineup was on show with the aforementioned Cause & Affect and Darkzy topping the bill, and Bristol party-starters & fellow Bucky lovers Buckfast Boys Club also playing in the main room. Colours don ARRIDIM and RV, Harry Yellop, Cappa and Harry Davies capped off the action in Room 2.

Arriving through the dimly lit entrance of the Old Street club, just off the Magic Roundabout, ARRIDIM was kicking things off nicely in Room 2, shelling out Bushbaby & Bru-C’s new Southpoint: Introducing collab ‘Know About Dat’. Keeping the crowd on its toes, this was swiftly followed by a change in tempo to Motu’s UK funky-tinged ‘Red Devil’ in a set that provided the perfect start to the evening’s proceedings.


Downstairs in the main room, the room was beginning to pack out nicely as Bristol favourites Buckfast Boys Club took to the stage with their high-energy blend of bassline cuts, grime instrumentals and crowd-pleasing vocals. Reeling off a mix of RL Grime’s ‘Scylla’ and Wiley’s timeless ‘Step 20’ was a highlight, backed up by a slew of nasty tracks, namely Champion’s ‘Gunshot’, Notion’s ‘Crooklyn VIP’, Q’s Classic MC Bonez-featured ‘You Wot’, Sammy Virji’s sought after refix of Darkzy’s ‘One Dance’ and Goof’s weighty ‘All Eyes On You’. After the boys ended their set to a rapturous reception from the crowd, it was time for Kane to step up on the wax as everyone’s favourite bass/house hybrid, Cause & Affect.


The thing that made this set so special was the fact that half of it was purely dubs. Dub, after dub, after dub. As the scene has grown in popularity, and the numbers associated with Lengoland and Krudd has grown (highlighted by the amount of merch in XOYO), it seems the focus on Chris Lorenzo dubs has reached an all time high, and for good reason. Reaching for Lorenzo & Taiki Nulight’s bouncy ‘Don’t Stop’, the much sought after ‘Gammy Elbow’ and Chris’ eerie remix of Deadmau5’s ‘Raise Your Weapon, Cause & Affect sent shockwaves through the dancefloor. VIP’s of ‘Round The Clock’, ‘Get To The Chopper’ and their remix of Zinc’s euphoric ‘Show Me’ followed before flooring into top gear with Hazard’s anthemic ‘Bricks Don’t Roll’. I’ve never seen C&A play dnb, but it was joyfully lapped up by the punters.


Despite C&A topping the bill, I’d say Darkzy’s set was the most anticipated, with queues forming to get downstairs just before he came on. With a set that produced most of my current collection of wanted ID’s, Darkzy swapped between the most high-octane genres you could think of, effortlessly switching up heavy bassline, bass-house, dubstep, dnb & jump up. He wasted no time in steaming through ‘In For The Kill’, his ‘Bullacake’ VIP and Cryptic’s deadly, heinous remix of P Jam’s ‘Hand On My Heart’ before bringing in some equally nasty dubstep and one of the dubs of the moment, Sekko’s ‘Dickhead’ feat. Bru-C. Then came the drums. Cutting from a loop of the infamous ‘Ol Tite’ vocal straight into Hedex’s ‘Hotel Bass’ VIP, Phibes’ epic refix of ‘Voodoo People’ was due to come in, and it did – spawning arguably the reaction of the night. Closing with Dimension’s ‘Love To Me’, the lights came up and the night had come to an end, but what a night it was. PLTFRM hit the nail on the head with the lineup, bringing together some of the shining lights of the bass scene, and proving why this is perhaps the strongest it’s been in a long time.

Until next time, XOYO.


Read more from Cal over on his blog, SØRENSØUND.

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FooR are taking over Southampton with 4 huge B2B sets


Following on from curating the latest Pure Garage release, FooR have put together some of the biggest b2b sets this year.

FooR are having quite the year. After releasing one of the biggest compilations of the year on their label, Yosh, in January and curating and mixing the most recent Pure Garage instalment last month, they have now released the huge lineup for Friends of Foor.

Taking place on July 1st at Switch Southampton, their are some ridiculously weighty looking b2bs planned for, including Royal T b2b Holy Goof as the headlining slot.

Also on the bill is Notion b2b Bushbaby, Shapes b2b Tengu and special guests Huack b2b Ryan B whilst FooR themselves will be going b2b with Bassic. Tyrone b2b Kier completes the lineup.

You can get your tickets for Friends of Foor here, and check out the Facebook event here.

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Building a family, making the most of the weekend and not wanting to be a DJ; Behind The Scene with Jakob Plant [ATI Management]


For the next instalment of ‘Behind The Scene’, we spoke to current manager of J69, Palizé and Livsey – Jakob Plant – about his relationships in the Bassline scene, starting out and perks of the job.

It’s easy to forget that behind every great artist is a great manager, seemingly creating opportunities from thin air and making sure the talent is where it needs to be, when it needs to be there.

Good managers within dance music are unsung hero’s, especially in todays climate, with every man and his dog trying to make a living from their respective scenes; pulling in bookings, making sure music gets wrapped up and introducing artists to likeminded brands are some of the biggest jobs on a manager’s to-do list.

We spoke to Jakob Plant, the man behind the talent at ATI (Aspire to Inspire) Management. As the guy working behind the scenes for a crop of Bassline’s promising fresh artists, we wanted to get his insight into the world of UK Bass music.

Easy Jakob! Firstly, tell us how you ended up getting in to Bass music in general?

Bass music is a madness! It was in it’s prime when I was a teenager, then it faded for a bit and now its back. Because it was around when I was growing up, it’s one of those thing that sticks with you. Tunes like ‘Heartbroken’; that was chart topping. When I first met T2 it was a madness because obviously when we were young we had ‘Heartbroken’ being Bluetoothed at school. So the interest’s always been there. One day I’ll be listening to Bassline, next it’ll be Hip Hop, then Classical; there’s a genre for everyday but for me Bassline is a mood lifter.

From there, how did you get into managing artists within Bass music?

Managing came naturally. All of my mates were DJs and/or producers and Livsey really kicked it all of for me. We’ve known each other for years, since he first started out and was producing off this ancient Macbook in my bedroom at 16. I was going to all the nights he played at, meeting people and making relationships, so I wanted to be involved in the scene but had no interest in being a DJ.  We were driving to a gig one day and Livsey just turned and asked “Do you want to be my manager?” and I snapped at the chance.


Livsey was the first artist on ATI’s roster

Image property of Sticky Feet

After that, how did you build relationships with, and progress to managing more and more artists?

Well like I said it all started with Livsey, and after him was J69, Kristian James, Palizé, ma?k, and Ferguson. I’m not at the huge level that some agencies are but we’ve built a family. J69 is another close friend who came on board a few days after Livsey. Kristian James happened through helping out with [event] Reminisce who are killing things in Leeds at the moment. So are 1Forty, which is where Ferguson came in. Palizé was another friendship made through Livsey & J69. They all happened naturally and the only person I’ve approached is Palizé which felt right because of how close we were anyway. There is a few more in the pipeline that may happen but that’s on the hush hush at the moment.

What’s a standard day for you as an Artist Manager within the bass scene?

Standard days as an Artist Manager are on the weekend; through the week I still work a full time job. When I get home though I open my laptop and just work until I go to sleep.

There’s countless emails to go through and sorting out current projects, scouting, contracts and invoices, liasing with promotors, organising calendars and travel and looking on how to improve each artist as a brand. Theres a lot of ‘behind the scenes’ work as well.


J69 has recently been booked for BassFest’s 2017 Summer Festival

Photo taken by Elliot Young

The weekend is when things come to life. Once I clock out on Friday it begins – driving to and from gigs, networking, sorting pay for the artists, working with promoters and just being about is all equally important.

We also have a lot of work to do as a team. We could look for bookings but no one really wants to book an artist they don’t know, so we focus on building our artists to make them more bookable in a sense. From that we’re working on big collaborations (Palizé has just had a song on Pure Bassline), clothing, EP’s, festival bookings and most importantly, work on building relationships.

What would you look for in new artists you may consider approaching?

An artist needs to be humble, with no ego; aspire to be the best but treat everyone equally. There’s nothing worse then a hierarchy. Chris Lorenzo is the perfect example of humble – I had chance to catch up with him at Reminisce at Mint Warehouse, we were talking, and some kids stopped him to tell him how amazing he was. He replied “I’m just a normal guy who made a couple of bangers”. Super down to earth guy.

Work rate is a must as well. Someone who wants to hone their craft and do well and has the right attitude to do so.


Palizé, with KDot on mic duties, at Parked Out Festival

What are the perks of being a manger, and are there any downsides?

There are downsides. It takes a lot of time and effort and it can get exhausting when you work a full day then come home and start working again, or working a full day Friday then driving up and down the country Friday/Saturday night. I’ve fallen asleep in countless clubs, sat next to the monitors slumped snoring away, but its all for the love of progression and the job!

There’s a lot of perks too though. Making friendships and meeting people I used to look up to is sick, because after all I was a fan before i was involved. There’s also a lot of free entries and free alcohol which is always a bonus, but I’m in it more for the love. Seeing my guys play out or in the lab making a banger, I literally get goosebumps.

If you would like to get in contact with ATI Management about representation, or enquire about booking one of their artists, you can do so at atimanagement.co.uk

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TC4 get tropical on ‘Play Samba’


Are TC4 the freshest producers in UK Bass music right now? We think so…

TC4’s ‘Play Samba’ has finally seen the light of day, after being released on Heka Trax. We’ve been dying for the full release ever since hearing it start to take shape over on the West Midlands based duo’s Instagram (@tc4wolves).

The track sees the pair continue their work merging everyone’s favourite elements from Latin and Afro-Caribbean music with the best bits of the UK’s underground scenes, following on from the spicy UK Funky roller ‘Zola‘ (in collaboration with Bassboy).

Thinking about making an ep of this samba shit, kate jamming on a new one 🌴🌴🍸

A post shared by TC4 (@tc4wolves) on

‘Play Samba’ is 100% our favourite piece of music from TC4 so far, featuring rapid samba-esque guitars (played in by Kate herself, see the video above), soulful vocals and fresh brass, before dropping into a weighty, Funky-inspired beast with enough whistle to make you feel like you’re at Carnival.

Everything is immaculately produced, from the bossa nova percussion to the snippets of vocal used in the drum groove, and we can see this one getting played all summer, all over the world. Pure good vibes.

Stream TC4 – ‘Play Samba’ below, and buy it from Juno here or Itunes here.

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Vex Records bring the summer vibes with their latest release from Moony


Vex Records continue their UKG assault with a summer infused 3 track EP from Moony

Vex Records have been very consistent lately, both in terms of their release schedule and the quality of the music they’ve been putting out. Of course, the quality shouldn’t be a problem, with releases from the likes of Mind of a Dragon, Pavv and Joedan over the past 12 months.

Adding to their growing list of releases from new school UKG greats is their latest output; 3 injections of sunshine from Brighton’s Moony on the ‘3 Days’ EP.

The title track is all lush chords and sultry vocals, riffing against a sexy guitar sample, before the rumbling Reese in the build up on ‘Minutes Feel Like Days’, which eventually drops into shuffling drums smothered in dreamy chords, clever vocal cuts and some genuinely beautiful piano work. ‘Savage’ closes the release, and whilst it’s got a slightly rawer, rougher edge to it, it’s entirely in keeping with the rest of the EP; the catchy vocal is the highlight for us, working well as it fills the gaps left by crisp drums and the metallic bass.

The ‘3 Days’ EP is further evidence to us that Moony is one of the most original, capable producers in UKG, and shows his versatility after being released hot on the heels of his more club focused ‘Addiction EP‘, on Ghost House Records.

We’re looking forward to seeing what both Vex Records and Moony have coming next, as UKG seemingly grows stronger, week on week.

You can buy Moony – ‘3 Days’ EP, out now on Vex Records, here and stream the release below.

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