Category Archives: Reviews

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. 

Contact Selecta:

Find us on Facebook,  Twitter or Instagram, or email us at 

Tik&Borrow – Neurality [In:flux Audio] [Review]


After a string of successful EPs on various labels as well as their own creation, In:flux Audio, Tik&Borrow have worked for 9 months on their debut album, drawing influence from a huge variety of music whilst maintaining their signature gritty style across 8 tracks.


Tik&Borrow kick off their LP in epic fashion with tension-fuelled, cinematic strings that rapidly build to a climax before dropping into facemelting Neuro style basses and immaculate drums. The glitchy percussion is very much on point, working in tandem with the sketchiness of the bass sounds, and also does a brilliant job of filling empty gaps along with ample amounts of reverb. As far as album openers go, this is a statement and a half – pure aggression on a huge scale, straight from the off. We’re slightly intimidated…

Come Selecta (ft Tengu)

Any thoughts of an early breather are dashed out the window the moment the weighty 4×4 kick of ‘Come Selecta’ starts up, as subtle drum rolls and dubby lasers sound off in the background and a stab teases ahead of the drop. The main bassline is chunky and chugs along in tandem with the drums, making this one a certified stomper and ready for the dance. The assortment of drum rolls is genuinely pleasing, and along with the staccato strings and brief flashes of brass, they add a natural feel and a more interesting texture when placed against the rigidity of the main sounds. Lets be honest too; anything Tengu touch is sick.


‘Wastelands’ starts by throwing back to the cinematic vibe already visited by the opening track, though this time it’s not as tense. The main bass sound struggles to contain itself as a sinister vocal sample builds to the drop, where the long drawn out strings are switched out for shrill staccato stabs. Though the bass is again on a Neuro tip, the drums are actually more aligned to Grime, skipping along with flourishes of hi hat and other (extremely well produced) percussive rolls and occasionally thinning out to build up and drop again. With elements constantly coming and going and patterns subtly switching up, the attention to detail is incredible.


If you need to catch your breath, the first 30 seconds of ‘Predicate’ is the time to do so, as an assortment of sounds from the East gently swell around stuttering claps and snares. The state of calm doesn’t last long however as the track lurches into a huge melting pot of UK Bass influences. Elements of Grime, Dubstep and Breaks are all present as ‘Predicate”s drums rattle forward over a steady bassline made of pulses, wobs and more drawn out, metallic notes. There’s another short reprieve during the breakdown, before once again being thrown into the blender of bass, drums and percussion.

First Child

Talking of blends of UK genres – ‘First Child’ actually starts on a far more positive vibe than every other tune on the release, with genius Sean Paul samples and a bright string riff. There’s percussion galore once again, wrapping around more grime drum patterns, with a snare that would sound right at home on a UKG banger. ‘First Child’ is more measured and precise than ‘Predicate’, though the patterns are still skippy and with Neuro basses appearing again alongside low end content that’s more modern Bassline inspired. There’s even a couple of synths that sporadically appear that put us in mind of Joker, adding melodic content and higher frequencies. With so much going on, the mix down for ‘First Child’ must have been a bitch, but it’s been executed brilliantly and the tune itself is incredibly versatile.


The closest thing to a 2step beat on the album, ‘0101’ is a monster. Long, guttural bass notes stretch themselves out as shorter, more metallic sounds duck and dive between the scattershot snares and an assortment of vocal chops. It’s like an audible warzone and energy is high from the start, with the intro clocking in at a rapid 28 seconds. Intensity gradually builds as more and more ideas are brought in, but ‘0101’ never actually seems over crowded – in fact there is still space for reverb tails to weave round each other – which only highlights again how good the duo’s mixing skills are.

Vision VIP

If the hints of Dubstep so far hadn’t been enough for you then ‘Vision VIP’ is your tune. Chainsaw basses and rasping Reeses wrap themselves around the barrage of kick drums and shuffling hi hats. The typical, reverb smothered snares are also present and though the main sections of the track are dark and sinister (especially with samples of Heath Ledger’s Joker), the breakdowns are hugely contrasting – a gorgeous, angelic choir acts as a vivid shard of light. Another mad tune.


Rounding things off is ‘Warface’, which actually takes things down a notch in the form of another string-centric Grime cut. The atmospherics and vocals chops are especially eerie as a variety of bells and hats shuffle away amongst crisp claps (again with a healthy dose of reverb applied) and a well rounded kick and. The strings taking centre stage and the bassline takes the form of metallic wobbles and longer, sustained notes. ‘Warface’ is more concise and compact than the other tracks on the release, making it a perfect album closer, tying up all of the lose ends tidily whilst not losing any of the attitude or menace the previous 7 tunes have either.

Selecta’s Favourite Track: First Child

Overall Rating: 8/10

 The way we see it, the point of an album is to put together a body of work that encompasses all of your influences whilst simultaneously being original and it all resulting in great music. Working to that brief Tik&Borrow have smashed it with ‘Neurality’ – they manage to reference all of the music they love, including Grime, UKG, Bassline, Drum and Bass and Dubstep, across 8 high quality tracks. The attention to detail is brilliant and we can only imagine how frustrating some of the mixdown sessions must have been. If releasing your debut album isn’t a daunting prospect enough, imagine doing it as the founders of a label that prides itself on releasing diverse, hugely creative, authentic music. If these guys were feeling the pressure, we don’t think it’s shown; they’ve definitely delivered with this LP and if our recent interview is anything to go by, it’s likely this won’t be their last album project

You can buy Tik&Borrow – ‘Neurality’ here.

Contact Selecta:

Find us on Facebook,  Twitter or Instagram, or email us at 

Pavv – Falling EP [Southpoint] [Review]


Pavv returns to Southpoint with a 5 track EP featuring original vocals, a huge remix and his signature style of UKG influenced bassline.

Falling (ft Charlie Brix)

We have to open the review by saying the title track to this EP is a piece of music that all new producers in the Bass scene should look at and learn from. Original vocals – check. Musical elements – check. Good drum programming – check. Big, but clean, drop – check. Original, fresh ideas – 100% check. We loved ‘Falling’ the moment we heard it, partly down to the rich, floating strings and partly because of Charlie’s brilliant vocal, which is incredibly catchy. Both elements bring an instant degree of genuine class that we haven’t heard on a Bassline tune in a very long time. The drums are chunky and full but still manage to shuffle around each other with ease, not fighting for space in the mix and when ‘Falling’ drops we can imagine it goes off thanks to the wonky, metallic riffs bouncing off of each other. Probably Pavv’s best tune to date.

Scatter Dub

Contrasting to the brightness of ‘Falling’, ‘Scatter Dub’ takes things to darker territories. Though the reggae stabs in the intro seem lighthearted, it’s a false sense of security as dark screeches and wobbles lead the way over a heavy sub and 4×4 drums, which once more sound brilliant – we loved the shuffling fills. As well as the reggae stabs, there’s dub sirens and ragga vocals, as Pavv effortlessly merges 2 different musical styles and cultures together.

Pick Up The Pace (ft Duke)

With the second feature on the EP bringing more original vocals, Pavv reaches for sinister brass and builds tension with chopped and pitched cuts of Duke’s vocal. The bass on the drop is a bouncy one which sits juxtapose to the drums that start out with a very straight 4×4 pattern. Duke rides the beat with ease, delivering clever bars and a drawing for a variety of flows as Pavv switches from the aforementioned rigid 4×4 pattern to a more UK Funky influenced beat. ‘Pick Up The Pace’ is a sheller and also a marker of Pavv’s ability to work with vocalists; off the basis of this we’re genuinely excited to hear what he’s got coming with Bru-C and Dread too.

Gully Face

Starting off with lush, dreamy chords and scattershot snares, we can’t help but feel things are going to flip thanks to the name of the track – a feeling that’s confirmed when the bassline starts to tease itself in ahead of the building kickdrums and first drop. ‘Gully Face’ delivers exactly what it says on the tin; a weighty bassline that chugs along and destroys all in it’s path, riding the drums that almost seem to roll in to one another, as you pull your best bass face and extend your gunfingers in to the air. The bass switches are timed perfectly and we’re amazed at how well those chords work with the gully-ness. A definitive Pavv production as soulful music works hand in hand with mad basslines.

Gully Face (Hamdi Remix)

Hamdi is a dangerous producer and proves it once again on this remix. Pitching the vocal chops and chords up from the original, things once again start fairly chilled out until Hamdi does what Hamdi does best. The drop is mental – elastic, metallic bass notes stretch out then bounce back off of the rapid drums in a way that can only send a dancefloor into a frenzy. The second drop switches from elasticity into abrupt, staccato notes for the ever-favoured second reaction and it’s a simple but great idea. Top work from Hamdi.

Selecta’s Favourite Track: Falling ft Charlie Brix

Overall Rating: 8/10

When we last reviewed an EP on Southpoint we said they ‘don’t release any music that isn’t original or inspired‘, and they’ve once again proved that it’s true. Pavv is back on top form for ‘Falling’ and he’s put himself into a brilliant position by proving he can work with vocalists – something less and less producers are doing but that the scene needs. ‘Falling’ features everything we love about Pavv including genuine musical flair, big basslines and influences from other music. Every track is more than suited to the rave, and Hamdi continues his mission to destroy dancefloors with his remix. A very sick release from everyone involved.

You can buy Pavv’s ‘Falling’ EP here.

Contact Selecta:

Find us on Facebook,  Twitter or Instagram, or email us at 

Tengu & Mofaux – Jinzo EP [Southpoint] [Review]


Tengu and Mofaux join forces again on the ‘Jinzo’ EP; 3 originals and 3 remixes of pounding drums and twisted, gully bass sounds that sit right at home on the ever-consistent Southpoint.

Tengu & Mofaux – Jinzo

For anyone who doesn’t know, Jinzo is apparently an “evil Duel Spirit who seeks to become a real person by taking the souls of those who summon him” from the world of ‘Yu-Gi-Oh!’. Evil is one way to describe this track – after building tension in the intro with a mosquito-like synth and teases of the bass-line, the main drop itself is completely unforgiving. Tough 4×4 drums lay the foundation for an assortment of basses that are designed to take your head off. The only chance to catch your breath from the completely ruthless assault of screw-face worthy sounds is during the breakdown, where drum breaks fleetingly filter in and out again under the mosquito drone. With the second drop switching to 2step for 8 bars before flipping back into the full force of 4 to the floor, ‘Jinzo’ is given a new energy, and the bass line onslaught continues until the last seconds. This is not a track to be taken lightly by any means – Tengu and Mofaux have created a full on dance floor destroyer.

Tengu – Parasite (feat Duke)

Tengu take the reigns with the first solo track of the release and they team up with Brighton based MC, Duke. Intensity is high from the very beginning with Duke simply taking no prisoners as Tengu get sinister with the production. ‘Parasite’ is a barrage of bass weight, lead by a combination of the techno-esque, subby kick drum and a simple, but oh-so-effective chainsaw of a bass line. Duke’s delivery is venomous and matches the energy of the track perfectly; we’re just wondering how Tengu managed to find space in the mixdown for him.

Mofaux – Nike Airs (feat Razor)

If you thought the airy chords and stripped back percussion from the intro of ‘Nike Airs’ was a sign of things chilling out, you’d be sorely mistaken – this is the maddest track yet. Fire spitter and Southpoint regular Razor is back on mic duties, with the crisp delivery we’ve come to expect from him helping build the track up before each drop. It’s after those build ups things get mad, and we mean absolutely fucking bananas. The drums are everything you’d expect from Mofaux – heavy kicks, and scattershot snares rain down amongst various other crisply produced percussion – but it’s the metallic, rasping bass sound that is going to be causing the biggest reaction. Honestly, if the intro and breakdown were any busier, we feel ‘Nike Airs’ would be a bit too much but it’s the harsh contrast between the two sections that make this track a guaranteed pull up, every single time.

Tengu – Parasite (feat Duke) [Mofaux Remix]

Mofaux gives ‘Parasite’ the remix treatment, starting with chops of the ‘mosquito’ sound from the original under straight up 4×4 drums, with Duke’s vocals pushed right to the forefront. The track has been completely re-vibed, dropping into a stop-start, chunky bass riff that would slot right in to most of today’s Bassline sets. The various shuffling hats and skipping snares keep momentum up, along with the subtle second drop switch up and with the vocal getting room to breathe in comparison to Tengu’s original.

Mofaux – Nike Airs (feat Razor) [Tengu Remix]

Tengu pay back the favour, also opting for the 4×4 vibe. Channeling the aggressive tone of Razor’s voice, Tengu’s remix is menacing yet surprisingly catchy. The slowly panning riff during the intro is a wicked touch, and the main bass line itself is almost sing along material for the rave. The sounds themselves are haunting, with additional elongated basses almost groaning in the background. The octave switch before the breakdown adds an urgency to the track over the weighty sub. The second drops starts with a 2 step section before dropping back into the original 4×4 pattern, finishing off with energy on a high.

Tengu & Mofaux – Jinzo [Habouchi Remix]

There’s a reason why Habouchi is one of the top rated up and coming producers in the scene, and he gives a perfect example of why with this remix of the title track. Expertly building tension using elements of the original, Habouchi’s drums are punchy and we love the shuffle of the hats – especially the splashy open hi-hat. The bassline is teased in, as the track builds, before dropping into a wide, metallic earworm of a bass riff. The wideness of the bass really allows for the sub to power through, even when the sounds switch on the second section to something slightly denser. It’s the next section after that’s going to catch people out though – the track flips into a naughty, rhythmic helter-skelter, perfect for anyone who likes their tunes on the wonky side. There’s a brief breakdown to allow people to catch their thoughts, before everything runs through once more.

Selecta’s Favourite Track: Mofaux – Nike Airs (feat Razor)

Overall Rating: 8.5/10

Simply put, Southpoint don’t release any music that isn’t original or inspired and this EP is both. Tengu and Mofaux are both in top form with each track being not only dance floor ready, but clever and interesting too. It’s clear that they know how each other work, and how to get the best from one another. The MC’s can’t be faulted either, both providing great vocals and Habouchi’s remix is going to be getting played for a long time. Everyone involved with the release has been forward thinking, and that can only mean good things for the scene. 

You can buy Tengu & Mofaux – ‘Jinzo’ EP here.

Contact Selecta:

Find us on Facebook,  Twitter or Instagram, or email us at

DJ Mag x Garage Splash: NoFaking DJs, DJ Cartier, Mind of a Dragon, Smokey Bubblin’ B & Junior Buzz hosted by Loskiboy [Review]


Teaming up with DJ Mag for a livestream, Garage Splash put together a lineup of big names within UKG alongside their well respected residents – it would have been silly not to go to down to Work Bar and experience it all for free.

Garage nights in London generally consist of similar lineups of DJs from back in the genre’s heyday, playing music as old as the youngest people in the club. Garage Splash however have a different idea; they put on regular, free events with UKG’s current top dons, up and comers and the odd old school head on the lineup, drawing crowds of up to 2000 people.

On August 3rd, Garage Splash were invited to take over DJ Mag’s livestream setup at Work Bar in Angel, and co-founder Junior Buzz called in good friends (and residents) NoFaking DJs and Smokey Bubblin’ B as well as UKG don DJ Cartier and current king of garage, Mind of a Dragon, with Loskiboy and MC Uno on hosting duties for the night.

When we arrived and walked down the steps into the basement of Work Bar, our first thought was how busy it was already – the room wasn’t full yet, but to see so many people already there at 7pm on a Thursday night, for a night focused on new Garage and UK Bass music was very encouraging and highlighted straight away the support Garage Splash receive.


Kicking things off were NoFaking DJs and they weren’t messing about, creating instant vibes and setting pace for the rest of the night with tunes from the likes of TQD and Killjoy blended with grime acapellas and the occasional classic. It took 23 minutes for the first reload of the night –  GUNDAMN’s ‘Pulse Ü’ edit, with another highlight being El-B’s wobbly ‘Neighbourhood’ remix. Even a recurring emergency loop problem wasn’t enough to stress the NoFaking boys as they effortlessly traversed through garage to the broader UK Bass spectrum and back again, and by the time they handed the decks over to Cartier, the dancefloor was bubbling nicely.


“The best thing about Garage Splash is that there’s no restrictions; old or new UKG, it’s wicked vibes from start to finish. Big shouts to Junior Buzz and the gang”

– DJ Cartier

DJ Cartier opened with his name ringing through the speakers, before cutting and chopping his way across a selection of the biggest current UKG tracks. Like NoFaking before him, Cartier also explored a bit further than garage, bringing UK Funky and Bassline into the mix and also touching on Grime with one of the highlights of the set being a dub of Donae’O’s ‘Black’ switched into Nativ’s ‘Shifty’. As expected, Cartier was not only technically on point but his tune selection was brilliant and he had everyone inside eating out the palm of his hand; near enough every track that teased it’s way in was met with cheers, resulting in a fair few pull ups.


“It’s all vibes; new school or old school,  every DJ plays what they want. With Garage Splash there’s no drama.”

–  Mind of a Dragon

 Stepping up next was Mind of a Dragon who, in our opinion, played the best set of the night. Working between cuts from his new album, past productions and collaborations and forthcoming releases such as the glorious Lemonade, it was easy to see why he’s the top producer in Garage at the moment; every single track was weighted perfectly with kicks and subs, but with clever vocals and flourishes of keys and other instrumentation. It has been said before that producers who are at the top of their game don’t really cut it as DJs – that it’s a ‘one or the other’ trade off of skills – but thats not true of MOAD. The set felt like an experience, rather than a a string of tracks mixed together; an hour long glance into Mind of a Dragon as a producer and DJ with some proper goosebump-inducing moments, such as the beautiful ‘Untitled m8”s intro being played pretty much in full before being allowed to drop. It’s the first set we’ve seen where an artist plays 100% of their own productions, and it was incredible.


Smokey Bubblin’ B opened up with his huge track ‘License’, released on NM Recordings last year, before weaving through a selection of his own grime tinged productions (including his slick edit of Novelist’s ‘One Sec’), UKG classics and UK Funky, touching on broader UK Bass too with tracks like Tessela’s Hackney Parrot. Champion and MC Shantie’s ‘Running It Red’ got arguably the biggest reload of the night as Smokey kept the dancefloor full and energy high ahead of the last set.


Garage Splash co-founder Junior Buzz stepped up to the decks for the closing set, starting with TC4’s ‘Savage’ and proceeded to roll through new music from some of the UK’s most exciting up and comers, including new cuts from Arridim and Witchdoctor. A mash up of Royal T’s ‘I Know You Want Me’ with Ms Dynamites ‘What You Talking About’ got a huge reaction, and was rightfully pulled up. By the time it was over, it was clear that Junior Buzz leads from the front with Garage Splash’s music policy.

Overall, Garage Splash got their message heard loud and clear – they’re all about  championing as much new music as possible with a focus on UKG but ultimately the end goal is good vibes, from old school garage to Bassline.

It’s obvious talking to the artists who have worked with Garage Splash that they’re trying to build a family of resident DJs with the same attitude towards creating a vibe, whilst at the same time welcoming new talent to the scene.

DJ Redhot, who was there on the night, summed it up:

Garage Splash is introducing the younger crowd to what UKG is. I’d like to think UKG has gone a bit more ‘overground’ over the last 12 months and Garage Splash has helped by incorporating old and new music with a bias towards the new. If you’re talking about raves within London, Garage Splash is the best regular UKG rave right now’

You can watch the livestream from the night below:

Garage Splash will be taking place on the following dates:

01/09 – Record Label Launch – Lightbox

15/09 – Fire

13/10- Fire & Lightbox

26/10 – Garage Splash Live – Work Bar

Contact Selecta:

Find us on FacebookTwitter or Instagram, or email us at


Moony – Bullion EP [Southpoint] [Review]


UKG don Moony is in a rich vein of form right now, and has teamed up with hometown label Southpoint for his latest release, the ‘Bullion’ EP, featuring 5 brand new originals.


Right from the opening seconds of the title track, it’s easy to tell you’re listening to a Moony production. A catchy riff with a tinge of Asian influence leads the way with and is quickly joined by soulful, pitched vocal snippets and straightforward 4×4 drums. The first drop descends into long bass wobs that are heavy enough for a reaction in the rave but don’t overpower the tune and the vocal reappears alongside a reverb-heavy stab. Then we’re back into breakdown territory; Moony opens the vocal up a bit more here, extending what was an already catchy hook, and then heads in to the second drop. This time the bass wob has been layered with a higher pitched sound that wouldn’t be out of place on a modern Bassline track. It’s a very solid start to the EP, with Moony laying down his signature style early on.


‘Mutton’ opens with some seriously good shuffling two step, with snares and rim shots falling over each other into lush chords, before giving way to some of the smoothest sampling we’ve heard for ages. This builds to the drop, and the drums return with a bassline weaved in between the empty gaps. The bass sound itself takes turns switching between the more upfront sounds for the dance, and a well rounded, subtler sub. There’s a real warmth to the track as the vocal sample filters back in, which is a recurring theme, and there’s a few breakdowns and build ups, with fresh elements carefully added throughout. Some our favourites include the delicate work on the keys and the panning chime sweep. Overall ‘Mutton’ is a great modern take on the old school sound.

Moments In Dub

If there’s one thing we know about Moony, it’s that he clearly has a huge collection of gorgeous sounding stabs and keys. ‘Moments In Dub’ is another track that makes great use of this collection, as a Moony flicks between dreamy chords and and some seriously sexy key work underneath a sultry vocal. The main part of the track is not what we were expecting at all, and it’s a brilliant switch up. The bassline is wonky as it wonders up and down, and the drums remain fairly sparse, powered mostly by a weighty kick and clap combination. We really do enjoy the small details at Selecta, and the pitched tom rolls are an exquisite touch, making us think Moony had a lot of fun making this one.

Be Your Only

In our pre-release interview with Moony, he said that ‘Be Your Only’ was his favourite track on the release down to the musicality. Listening to it, it’s easy to understand where he’s coming from. It’s clear from the beginning that the old school vibes are strong, with classic organs rolling over 2step drums, accompanied by tasteful vocal and brass chops. The bass on the main section is deep and fairly understated, allowing for the vocals and instrumentation to cut through and take centre stage. The best part about ‘Be Your Only’  though, is the g funk style lead that occasionally freestyles over the top of everything. Collectively, this track is exactly how Moony explained it when we spoke to him: ‘It’s got that old school sound without sounding dated, it’s melodic without being cheesy and still bangs…’

Young Tony

‘Young Tony’ is the last original tune on the EP, and starts with some sick sampling of an old Soul song. The chopped samples ride a bumpy 2 step beat and are soon layered with silky piano work, before heading towards one of the classy drops that are so ingrained in Moony’s style of production. Everything has room to breathe as the bassline temporarily takes the lead, working around the shuffle of the drums and interjecting stabs. The breakdown is fairly short on ‘Young Tony’, just allowing for a quick refresh of the melodies the tune is based around. As a track, it serves as one final reminder of Moony’s ability to create classy cuts of UKG that work both as a piece of music, and as a tune for the rave.

Young Tony [Tengu Remix]

Tengu’s intense remix of ‘Young Tony’ initially borrows the riffs, stabs and piano from the original, backed by a seriously big sub before descending into bass heavy madness. Metallic screeches tear through as the focal point, riding 4×4 drums lead by a fierce kick. The original is never fully forgotten as Moony’s stabs act as a sort of ‘call & response’ to the bassline, and also as the transition into the breakdown. The second drop switches the sound completely, relying on a variety of new basses to get another reaction from the audience in the dance, but it doesn’t feel disjointed as the notes played are still the same. As a remix it’s exactly how you would want it to be; there’s enough of the original elements but used to create a different vibe and, as such, a different reaction. Perfect execution from from Tengu.

Selecta’s Favourite Track: Moments In Dub

Overall Rating: 9/10

There’s not many better UKG producers than Moony right now and he’s shown why yet again. Inventive sampling and genuine musical ability coupled with knowing what works in a club is a heavy combination, and one Moony applies to full effect. The whole release is a touch a class, and is a perfect example of how to reference the old school influences of a genre without relying on them, whilst simultaneously showing progression. Southpoint are brilliant content curators and it’s clear a lot of thought goes into sourcing their output, with this potentially being our favourite release from them so far. Moony and Southpoint have struck gold with ‘Bullion’. 

Contact Selecta:

Find us on Facebook,  Twitter or Instagram, or email us at

WOB! Debut Event – Notion, Bassboy b2b J.G, DJ EJ & Nadine [Review]


As soon as the lineup was announced for WOB!’s debut event, we knew we had to get someone down there on the night. Amar Puaar paid a visit to Tunnel Club earlier this month to see how things panned out.

– Words & Photos by Amar Puaar

On July 8th, Birmingham welcomed a brand new, strictly bass night to the city – WOB! Bassline is something that has sporadically come and gone from the Midlands, but the core fans have stayed and judging by the crowd on the night, they were more open to its return than ever.

WOB! arranged for some of the biggest names in the scene to shake Tunnel Club and get everyone moving; old school legends DJ EJ and Bassboy joined some of the biggest current names in the scene – Nadine, Notion and J.G with OJE and WOB! resident Rhys Bowker in the Main Room. Room 2 housed local DJs Zach Hamp, Jade Marie B2B with Ash Turner, Tom Fire, D Moore and NXTMVMNT.

Housed in the newly refurbished Tunnel Club, Seedy Sonics resident OJE warmed up the main room with Rhys Bowker, making their way through Bassline and Bass House selections whilst the room filled. NXTMVMNT opened the second room seamlessly mixing everything from Bassline and Funky to Trap and House, almost filling the room with punters.


Seeing the first headliner, DJ EJ, play the music I used to hear at the back of the bus in Year 8 as an adult through wall to wall speakers was a bit of a surreal experience. EJ’s set was filled with classic Bassline from the EJucation series alongside the more commercial side of the bass scene. Highlights included Solo 45’s ‘Feed ‘Em to the Lions’ vocals over a medley of ‘Where Are U Now’ and Benga and Coki’s ‘Night’ getting a spin. If the steam from EJ’s head was anything to go by the room was well and truly warmed up.


Next up was Nadine. This was the first time I had seen her live, having only previously listened to her Get Darker set with Bru-C. I wasn’t sure what to expect but I was blown away – both her track selection and mixing ability were excellent. Switching the second drop of Skepsis’ massively popular ‘Goes Like’ for Chris Lorenzo’s face melter ‘Nightmares’ surprised the crowd and earned a well-deserved reload. The rest of the set was bass heavy and fast paced making the room go mad to Skue-K’s new release ‘Criminals”, Holy Goof’s remix of “When I’m ‘Ere” and her own “Average Rudeboy” with Bru-C and Darkzy. Easily my favourite set of the night.


Next on was Bassboy – who was fresh off the plane from Ayia Napa and ready to bring the energy from the island back to Tunnel Club – going back to back with Sheffield royalty, J.G. This was the set I was most excited for. Being away from Sheffield for almost two years, I hadn’t seen J.G. bless the crowd with his endless supply of dubs for just as long. Together, they delivered a set that tore the roof off and even had Bassboy on top of the decks hyping the crowd. Bassboy and J.G. drew for a mix of tracks from their immense back catalogue and also played newer releases such as Bassboy’s ‘Definitely’ with Bru C on vocals and his ‘Babycakes’ remix which received an instant wheel-up. Whilst Bassboy and J.G. held down the main room WOB! competition winner Cargo provided a punchy set in Room 2.

Notion saw off the end of the night keeping the energy alive with Holy Goof’s remix of “It Ain’t Safe” and DJ Q’s remix of Swindle’s “Connecta” whilst Bassboy wasted no time in jumping into the crowd starting the mosh pit. Towards the end of Notion’s set, he switched up the pace and delved into faster Drum and Bass and Jump Up, pulling out screamer after screamer. Right up to the last track the crowd was packed and skanking hard so credit to Notion for that.


Walking out to sunlight made me want the night to last for another few hours but sadly it was over. WOB! hosted a night that put them firmly on the map as a Birmingham Bass event, bringing together some of the biggest DJs across the scene for their debut night. I can only imagine what WOB! has in store for the future…

See the full gallery from WOB!’s debut event here. If you’d like to book Amar to photograph your event, you can contact him here.

Want to write for Selecta?

Contact us:

Find us on Facebook,  Twitter or Instagram, or email us at