Juno Recommends Bass July 2020

Review: ZamZam Sounds has been killing it of late, with Rider Shafique, Ishan Sound and Kahn's recent "When Shall We Rise" single arguably being one of their most potent releases yet. Here they continue that fine run of form via another must-check "45", this time via the artist formerly known as Deadboy, Al Wooton. A-side "Request" offers a deliciously contemporary take on steppers/dub fusion, with ricocheting electronics, humid aural textures and echoing vocal snippets jumping around above a killer bassline and bustling drums. He continues on a similar theme with "Philo", which is the kind of weighty, club-ready dub excursion that would sit well in many house and techno sets.

Review: Elegant Tap Dance Wobblers.

Review: Charlie Baker's second self-released EP as Breaka begins with something bold, booming and undeniably attractive: a rave-lighting number that giddily joins the dots between two-step UK garage, the rugged darkness of breakbeat garage and the piano-powered, loved-up bliss of rave era breakbeat hardcore. Throw in a spine-tingling breakdown and you have a copper-bottomed hit (as North Norfolk Digital's own Alan Partridge might say). Baker's love of life-affirming piano motifs comes to the fore once more on "Ease Up", a deeper affair rich in weighty sub-bass, snappy broken beats and dreamy chords, while "Steeze Flex" is a pleasingly jazzy number smothered in rich chords and bubbly, sun-kissed electronics.

Review: Following his releases on Planet Mu and Sneakers Social Club, the inimitable Basic Rhythm returns on his own new series Raw Basics with two club hurting versions. "Break It Down VIP" goes back to one of his earlier tunes in 2016 and flips it into an absolute rave monster. Meanwhile on the B, London bubbler Parris slows things right down to a moody dubby sludge, complete with big droning siren. Heavy, low and slow. Perfect for the summer.

Review: Jackmate, the king of off-kilter house, makes a welcome addition to Matthew Herbert's Accidental catalogue - matter of fact his style is right at home! The 'Werk' EP is the Philpot co-chief's first release in six years and he's in fine form as always. From the dry and disjointed shuffle of the title track, to the smooth and sensual deepness of B-side cut "Skeletones" - a Moodymann-ish cut which is perfect mood music for the warm-up or afterhours alike. Closing out the EP is something much more offbeat for the Sunday afternoon slot - the boppy summertime groove of "The Clarinettes' which like its namesake has some irresistible wind instrument action to get you on your feet and shaking your behind.

Review: For its second release, Climate of Fear proudly presents "So Nice," the debut LP from Soft Boi aka Pessimist aka Kristian Jabs. Following 2019's sludge-crawl collab with Karim Maas and the eco-hellscape new age of Boreal Massif's "We All Have An Impact," Jabs turns his attention to a new nightmare: dating.

Review: Since she last released some original music, Ikonika has been through a lot, including - in her own words - "pregnancy, depression and therapy". It's undoubtedly great to have her back in business, not least because "Bodies" offers a reminder of her undoubted musical talents. She begins with the spacey, bass-heavy slipped electro attractiveness of "Your Body", before opting for even bolder bass, more futuristic electronic motifs and broken beats on the arguably even better "Nobody". Turn to the flipside for the punchy, machine-gun breaks, drowsy chords and warped analogue riffs of "What Kinda Pain Are We Talking About", as well as the snappy, all-action electro/breakbeat fusion of ghostly and intergalactic closing cut "Bodied (Roller Mix)", the EP's most sweaty and percussive moment.

Review: East London queer scene darlings Super Drama continue their throbbing vein of form with three funkified breakbeat jams for all shades of the night. "Excess" is the midnight bounce. Rude bass and sweaty arrangements warming up the party. "Once Is Enough" is a much sassier, slinkier affair with Kuntessa calling the shots well into the wee hours. "Faux Pas" takes us to the afterparty; bumping drums, a classic electro groove and dubby washes. Ghetto fabulous.