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Mind of a Dragon continues his soulful UKG endeavours on ‘vibes & that (volume one)’


The London based producer is on a great run right now, cementing himself right at the forefront of Garage.

In August last year Grant Dragon released his debut album; 10 tracks of melodic, soul drenched UK Garage that defined his sound of bubbling, popping basslines and syncopated drum work with a healthy dose of work on the keys. The title of that album was ‘keep cracking on’, and that is exactly what MOAD has been doing.

Since the album release, we’ve seen the Londoner put out a steady stream of high quality UKG as well as announce he’s finished up a second album, this time focusing on UK Funky – something we can’t wait to wrap our ears around.

Not content with all that music, MOAD has just released a brand new 7 track EP, entitled ‘vibes & that (volume one).’ and as you can imagine, it’s full to the brim with vibes (& that).

Each track centres round a vocal (which is when we think MOAD’s at his best), covering a multitude of themes and feelings with each one being an indication of his versatility whilst being easily identifiable as a piece of music from Mind of a Dragon. Daniel Caesar & H.E.R, Krept & Konan, Sampha, and SZA’s voices are all used with Sinéad Hartnett featuring twice, including on standout track ‘Unconditional’, and Drake on ‘Hype M8’ – the one track on the release that feels 100% focused towards the dancefloor.

If volume one isn’t enough to satisfy your craving for beautifully crafted UKG then don’t panic – ‘vibes & that (volume two)’ is already available for pre-order on Bandcamp. Until then you can buy the first instalment here, and stream it below.

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J69 has dropped a load of sick new bootlegs on his BandCamp


The Sheffield native is back with a big batch of tunes

We think it’s fair to say you’ll struggle to find a new school artist that channels the energy and rawness of old school Bassline quite like J69; whilst it’s easy to see he’s influenced by many different genres, you really get a sense that he’d rep that particular sound from Sheff until he dies.

After his quick (but very sick) foray into UK Funky on 1Forty’s last compilation, J69 is kicking off the first part of the year with a huge choice of new bootlegs and there is something for everyone. Taking on tracks from hip hop and house as well as his preferred genres of Grime and Bassline, each of the 10 tracks is as hard as the last and whilst not all of them stick to your standard 140bpm template, the signature J69 wobs and wobbles over frantic drums are present and accounted for.

We’re particularly fond of the 2step take on David Zowie’s anthemic ‘House Every Weekend’, the guttural bass onslaught on Jay Z’s ‘Tom Ford’ and the transformation of Musical Mob’s ‘Pulse X’ from classic grime banger to frenzied Bassline roller.

You can stream J69 – ‘Bootlegs Vol. 1’ below and pay what you like for it here.

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Daze Prism on his versatile production style, avoiding writers block and his forthcoming Southpoint EP [Interview]


After a monumental 2017 that saw Daze Prism hone his sound across a series of high quality EPs on a handful of the scene’s biggest labels, we caught up with him ahead of his first release of the year.

First of all, in research for this interview we had a quick look on Juno Download and saw in 2017 you featured on 1 compilation and put out 8 EPs AND your debut album – talk about work rate! Is writer’s block something you find easy to avoid?

Yeah 2017 was a busy one for me! Through the summer I was producing tracks everyday, and luckily didn’t have any issues with writers block. I was writing my dissertation at the time for my MSc and having the music as an outlet really helped with creativity. My advice for writers block would be to have a little jam with a keyboard/guitar – you never know what ideas might come from it…

Something we’re noticing more of at the moment is artists sticking to a small group of labels again rather than the phase of releasing everywhere and anywhere – you’ve consistently released on PAR and Southpoint, who we know try and encourage label loyalty. What are the advantages in having that kind of relationship with labels?

The great thing about sticking to a label is that you can be more selective with tracks you put out. If there’s sound you’re really feeling, the freedom to release that type of music only comes with a familiar label in most cases. When you’re trying to land a release with a new label you have less control over which tracks will end up on an EP – and sometimes you find yourself producing for a label rather than for yourself. 

You’ve got a really versatile sound and no 2 of your releases really sound similar. What are your influences?

At the moment there is a lot of sick music to take inspiration from, you don’t have to search for long to find a track which makes you want to go and start a new production!

In terms of my ‘base ingredient’ influences, I’d have to say Vangelis (the composer of the original Blade Runner sountrack) is a key inspiration for the melodic and more musical side to my tracks. For the more dark and modern parts of my productions I draw a lot of influences from early My Nu Leng, Taiki Nulight and Sly One tracks. Aside from that I try to take influences from any music I listen to, even some mainstream tracks in the charts might have a cool snippet of production in them that can be applied to a track.

Up until ‘Lose Control’ your music has been consistently dark and gritty – is that a choice on your part?

Most of the time the tracks develop into something dark – I don’t usually make a conscious effort to make them dark.

What was the defining moment/track when you realised you had your own original sound?

My favourite production to date is “React”, I think once I got the master back for that I knew I’d found my sound.

Talk us through the Daze Prism approach for putting together an EP?

I don’t really have an approach as such; I’m making tracks all the time and if one ends up sounding right I’ll try produce a few more in the style/mood to fit.

You’ve worked with Sabrina Gunston and Danny Jaqq on your forthcoming release – how did those collaborations come together?

Jay from Southpoint contacted me about getting an EP together for the label. I’d made a few WIP tracks and we decided to get some original vocals in on them. Having the vocals really transformed the tracks – it’s the first time I’d worked with original vocals so it was really cool!

SaidWho and Freddie Martin are also on the EP, supplying the remixes. If you could add anyone else to the remix credits who would it be?

Taiki Nulight!

If there was one track in the world you could remix, what would it be?

Hard question haha, I think I’d choose My Nu Leng – ‘Pushed’ Feat. Detour City. The vocals are really cool and I’ve looked up to those guys since day one. I think they should make more chilled/vocal stuff – I really dig their take on more melodic stuff.

Finally, what should we look out for from Daze Prism in 2018?

I’ve got a new single and remix EP out with Articulate Records later this year – there’s some sick remixers on there! I’m looking to get another EP out with PAR as well. Other than that I’ll see where 2018 takes me…

You can listen to the previews of Daze Prism’s forthcoming ‘Lose Control’ EP below, and pre-order it here.

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eatmybeat release their 3rd ‘Bonus Snacks’ compilation with all proceeds going to charity


The London based imprint enlist the help of some heavyweights, all for a good cause

It’s been a year since ‘Bonus Snacks Vol 2’ and eatmybeat are back with the next instalment of huge, tasty tracks. This time there’s more behind the release than pushing good music, with 100% of the money spent on the release going to West London charity, City Harvest.

As ever with the eatmybeat compilation series, there’s a combination of established producers and artists who are on the rise, with this years heavyweights including Bromley, KXVU, 9TRANE and Cloaka.

The music policy is also in keeping with eatmybeat’s traditions; its eclectic, UK underground music, though not all the artists are from or based in the UK; mainland Europe and New Zealand also get appearances. Whilst there’s tracks that hint at techier influences and outright grime bangers on the release, it’s all glued together by a common appreciation for bass heavy music.

You can stream eatmybeat’s ‘Bonus Snacks Vol 3’ below and either download it for free or for a ‘name your price’ donation towards City Harvest here.

City Havest is a charity based in West London who focus their efforts on redistributing excess food from supermarkets and farms to the homeless, hungry, and needy. 

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Premiere: Ozwald – Attention Seeker [Forthcoming Resonate Sounds]


Resonate Sounds’ 4th release is a slick 2 tracker from Ozwald

After heavy support on their past releases from Priceless, Sammy Virji and Resonate resident High Class Filter, the London based collective-turned record label are back with fresh music from Ozwald.

After his massive standout release, ‘Raspberry Flutes’, on RKS Dubz, Ozwald’s latest EP consists of 2 melodic yet bass heavy UKG bangers. ‘Burgundy Methods’ is a brass inspired rinseout as the rasping bassline marches up and down bulky drums and bright flashes of organ intersperse. ‘Attention Seeker’ is an energetic 2 stepper based around a very chunky kick and a simple but effective bass riff. These act as a foundation for vibrant stabs, shuffling percussion and a bubbly arpeggiated lead sweet enough to give you tooth ache.

We’re premiering the brilliant title track on our Soundcloud which you can stream down below. You can pre-order Ozwald’s ‘Attention Seeker’ EP, out on Resonate Sounds 2/2/18, here.

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Tigs – Don’t Get Rude EP [Raw Tactics Records] [Review]

Tigs - Dont Get Rude EP (Artwork)

Raw Tactics’ label boss Tigs is back with 3 clever, dancefloor ready cuts inspired by all things underground UK Bass music

Don’t Get Rude

Tigs kicks off his latest EP channeling the best bits of both Grime and UKG. As a call-and -response motif filters it’s way in over bulky stop-start drums, a sample of a particularly upset MC from an archive recording sets the tone for the track; moody and aggressive. ‘Don’t Get Rude’ then drops, with a bass sound that wouldn’t be out of place on a classic grime instrumental, still following the tune from the intro. The way the bassline works with the drums actually leaves plenty of space for MCs on the radio or in the dance.

Best Not Miss

Let it be known – when Tigs first sent us ‘Best Not Miss’ to premiere, it got wheeled. Not once, not twice, but 3 times.  It’s not the heaviest of tracks by any means but it’s sick; anyone who has liked TC4 or Wölfe’s recent output should be all over this. Staccato strings and tense atmospheric pulses combine over UK Funky inspired drums, building more and more suspense until a G-Funk style lead rings out and things go a bit mad. As in the previous track, the bassline follows a similar pattern as already played in the intro, switching between a grimey square wave and a more crunchy, metallic sound. The way the drums flow around the bassline is brilliant and they sound great too. The dark flourishes of strings are a sick little detail, as are the airhorns blasting away in the background. There is absolutely no way you cannot skank to ‘Best Not Miss – at the very least, you’ll find yourself nodding along without even realising. Banger.


‘Voodoo’ is the most sinister track on the EP, coming with a more tribal vibe from the off. Haunting vocals float in the background as brooding riffs build things up over a massive kick and echoing shakers. The tension rises before a sudden pause, then drops into a gully, mid range bass assault that takes it’s cues from the kick drum. The drums themselves are spacious, but still carry a Funky groove with the hats and shakers providing most of the momentum and reverb drenched cymbals adding to the atmospherics. The bass changes up on drop number 2 to a thicker, less resonant sound, giving good cause for a second reaction.

Selecta’s Favourite Track: Best Not Miss

Overall Rating: 8.5/10

It’s been a while since we’ve heard anything from Tigs but he’s clearly been working hard on developing his sound and working all of his influences in to his music. One of the best things about UK Funky right now is all the forms it’s taking through the sheer amount of styles that bleed through into it. The Funky tracks on the ‘Don’t Get Rude’ EP are a prime example of how those styles work together without any compromise. With a solid UKG tune and 2 Funky tunes that are crying out for a reload every time they get played, Tigs has provided DJs with a bitesize armoury capable of shutting down any rave. 

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Premiere: Zemon – Hungry Riddim [Forthcoming In:Flux Audio]

INFLUX 033 Bosh, Dinner!

Zemon serves up 3 original bangers accompanied by a tasty remix from 10sion

After a couple of recent releases on In:Flux (White Label 005 and their 2017 Selection Box compilation), the label have taken on their first EP from the Berlin based UKG and Bass producer. Whilst our opening line for this post was awful, these food related tracks are sick!

‘Peas and Potatoes’ is a gritty 2step track with the bass line swapping between a chunky warp and more brass inspired sound over stop-start drums and interspersed chord flutters. ‘Simmer Skank’ is a rigid 4×4 dancefloor pounder; think old school bassline with a twist of Zemon’s signature sound. We’re particularly fond of the eerie offbeat stabs on this one. 10sion’s remix of the ‘Peas and Potatoes’ flips the original into dark UK Funky x Bassline style stepper – the drums aren’t quite flowing enough for it to be out and out Funky but the vibe is there for sure and we’re highly rating it.

In:Flux have been kind enough to let us premiere the second track on the release, ‘Hungry Riddim’. Also taking on the form of 2step, ‘Hungry Riddim’ is instant wheel up material – gully metallic basses play call-and-respond with an alien sounding lead, rolling over the shuffling drums in a way that you cannot help skank to. It’s a certified banger.

You can hear the premiere of ‘Hungry Riddim’ below; it’s out on Zemon’s ‘Bosh! Dinner’ EP on 29/1/18 via In:Flux Audio.

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