Bass / Club
Top 100 Chart placements for Bass / Club
Updated 6 hours ago
Align Left/Right
Align Top/Down
-
#2
Feat. New Releases in Bass / Club
SAD
This is an album travelling through seasons in your mind. Its as close to my final form as Ive known, Ikonika aka Sara Chen says, describing in evolutionary Pokémon terms, their Sad and Sexy new album. With SAD, they take the reins as producer, songwriter, and singer for the first time, SAD marks a distinctive development from their past as a producer. Its Ikonika, transformed, intimate and of course beautifully made – with their sultry, unvarnished vocals directing the journey across an arc of ten tracks. An album for pop lovers and club music lovers alike. At a crossroads a few years back, both personally as a new parent, and with their future in music, Ikonika stepped into the hot light of the frontstage, picking up the mic to start singing and performing their own lyrics. Simultaneously, they reckoned with being queer and trans in public life and its reverberations: finding my voice without fear speaking first as Sara shares. The goal became to be undeniable, celebrated and rewarded. The albums airy production reflects the music they DJ and enjoy; theres credit to a plethora of African electronic music on the album. Sara is half Egyptian and tracks such as WHATCHUREALLYWANT feature rhythms that their long ago dad taught them on the Egyptian tabla, carried over and spoken into other hand drums such as the djembe. A log drum preset on a DX7 cartridge used for their early records, became a prelude to their later interest in Amapiano culminating in an early 80s-ish wedding music sound – fiddly solos, overlays and trills. Through their close-knit circle of dancing queers too, Ikonika became inspired by more music of South Africa; Gqom and Bacardi. Ikonika got pen and paper out with interdisciplinary artist and writer Tice Cin to add further nuance to the narrative world of SAD. Cin finishes SAD on Make It Better, barring in her North London vernacular, as the only vocal guest on the album. Ikonika was encouraged by Tice to see SAD from a writers point of view, taking the listener into SAD WORLD. Ikonika weaves a storyline into the project, that begins on a sloshing train and ends on a stolen Lime bike. Whatsmore In light of a recent diagnosis of Autism (which Sara first clocked through videos on socials), every lyric is towards activating an understanding of self. Living post-diagnosis has offered the direct clarity that so many live without and has shifted Saras life. Enjoy this new adventure into Ikonikas world, more intimate than ever before.
-
#6
Feat. New Releases in Bass / Club
RUTHLESS
Dutch-Indonesian artist LE KACANG distills the tension between raw club instinct and tight precision, threading lines from Baltimore and Jersey Club through future beats and European club mutations. With RUTHLESS EP, he delivers his two-track debut for United Identities, holding chopped funk intuitively rendered with drum intensity and heavy bass mutations. RUTHLESS EP is a no-miss for fans of Black Rave Culture, Juke Bounce Werk, and AceMoMA. Opening with Around in Space, LE KACANG drives the Lyn Collins break through bass kicks, lush key stabs, and vocal chops that bounce in your face. With broken roller Wrong Territory, he makes his sample chops talk back to the drums. Its a highlight in DJ sets on many occasions. Born and bred in Heerlen, a small city in the south of the Netherlands, LE KACANG was shaped by a bass-fuelled underground and graffiti culture. Now in Amsterdam, the Dutch-Indonesian producer connects that foundation with his deep curiosity for club culture and the ever-inspiring sound of the citys nightlife.
-
#13
Feat. New Releases in Bass / Club
Rodeado de Batida
At 19, Helviofox adds his signature to the batida template that by now seems to have been in existence since forever. Such is the strength of this primordial fountain, a source of rejuvenation. Also within the literal family: Helvio cites brothers Dadifox and Erycox as main influences. Curiosity for the sound made him go into production by the time he was 13. A couple of years later (2020) he became co-founder of TLS with E8Prod, Alberfox, DiionyG and other mates. His talent fully developed since then, opening a slight detour that became a new path parallel to the main road. Lively basslines anchor the beat directly lifted from tradition and clearly channeled to the dancefloor. Strong, well rounded grooves, a spot-on sense of timing and tempo, elegant atmospheres, all part of Helvios notion of arrangement and his perception of dance music boundaries, stretching them just enough to present a challenge but not as far as to disconnect head and feet and risk losing the floor. This liminal space between experimentation and popularity is both dangerous and attractive. There is no one formula. Precisely why it still retains plenty of fuel for current and future generations to contribute personal visions. Lisboa, 2025
-
#37
Feat. New Releases in Bass / Club
Mantis 17
Carving vast chasms of space with exacting sound design and deadly poise, Katatonic Silentio returns to the Mantis series for another round of highly detailed leftfield techno exploration. The Turin based sound artist continues to plot her own path through contemporary electronic music, taking cues from soundsystem pressure and dubwise minimalism as much as glitchy experimentation and the meditative repetition of techno. While her output across many different labels can reach to noisy extremes and beatless atmospheres, on her latest for Mantis the Italian artist zeroes in on a hypnotic, mysterious sound cast in the icy moods of late 90s tech step and early dubstep. At all times she finds space for surprise interference even in the most austere of situations, creating a palpable tension that amplifies the deep dancefloor potential of her music and moulding powerful physicality out of subtle elements.
-
#39
Feat. New Releases in Bass / Club
Mantis 18
Delsins Mantis series welcomes Agonis with a heavy-hitting four-track workout geared towards adventurous dancefloors. As a leading figure in forward-thinking techno, Agonis has helped pioneer a scene that folds multiple tempos, styles and rhythms into a cohesive, dance-focused strain of psychedelic hypnotism. Co-running amenthia recordings from his base in Zurich, Agonis has long explored the creative potential where elegant, immersive 4/4 and drum & bass intrigue intertwine. On Mantis 18, he carefully adjusts his sound palette to move beyond typical smoky atmospheres towards more forceful, sharply realised tones and textures. Bold synthesis striking out in brooding soundscapes, underpinned by a powerful low-end undercurrent and playful percussion: this recipe is a polite reminder youre engaged in a corner of club music that thrives on fresh approaches, served by one of the scenes key instigators.
-
#40
Feat. New Releases in Bass / Club
In and Out EP
Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kırcaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece. After conquering the hearts and feet of the scene with his stunning debut album Rezil and the follow-up Fena EP, Impérieux caps off his stellar year with a seven track mini album on Macro. Its effortlessly mesmerizing tracks consolidate the outlines of forward-leaning club music. Experimentation is a well-established facet of Impérieux approach to the adventurous techno (left)field, but the In and Out EP brings to the table his most condensed dance floor material so far. Holistically captivating hooks, bass lines and rolling rhythms: The next step after several years of exploration and refinement. Unpredictability, bound together by a consistent, modernist glint. From the raw jacking of Gips to the warm euphoria of Baka, from the darbuka frenzy of Duman to the cutting friction of Trese - a triumph.
-
#41
Feat. New Releases in Bass / Club
Nagoya EP
A distinct blend of Nikki Nair and Foodmans musical styles, Nagoya EP started life in March when Nikki, on tour in Japan, visited Foodman, and they started to build tracks together. Later, across the net, they continued working up the material, which is flavoured as much by the memory of their days socialising together in Nagoya is it is by their time in the studio. Sorry I Lost My Glasses In The Public Bathhouse is the wild opener, Nikkis chopped and edited live drumming gives the rhythm an off kilter, jungle-like feel, switching around a strange, alien melody and occasional soft chords that in combination exude unusual energy. Deep Miso has sparse dizzying drums, chasing hiccuping sounds around the speakers, until it finally resolves over a single held chord.
-
#42
Feat. New Releases in Bass / Club
Dance To The Rhythm
HoTL Records presents Dance To The Rhythm by David Tort & Nolek, a tribal house journey built on powerful percussion, rolling basslines, and hypnotic grooves. The track blends raw rhythmic energy with a driving underground spirit, creating the perfect weapon for peak-time sets and festival stages where the drums lead the crowd into pure motion Distributed by Triplepoint - www.triplepointmusic.com
-
#43
Feat. New Releases in Bass / Club
Slipstream
sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, its only through letting go that Ive found solid ground to stand on. These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekts label, Kapsela. Slipstream is an aural document of PVASs interior life, conceived not as a grab-bag of DJ-friendly tracks (although its clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. Wetland, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of Gathering Drift recalls GAS or Monolakes Hong Kong. Sampled breakbeats dip and swerve asymmetrically through Boba and Terminal. Across the record, textures and voices are reshaped by PVASs homemade algo-software, UMT, which, in PVAS own words, reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field. But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder: when i stop framing myself as a boundaried stone immovable, and powerful, and heavy when i stop figuring my deepest space as my own something which i am solely responsible i surrender, i surrender PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.
-
#54
Feat. New Releases in Bass / Club
WASTED
xins WASTED lands on Appendix.files with nine pieces that drag the club through a compost heap of trash(ed) recordings, corroded basslines and scraps of rave memory, forming a porous archive of dance musics residues transfigured. Composed of field recordings of waste, the album doesnt recycle so much as ferment, mulching the detritus of dance culture into something gurgling, volatile, and eerily alive. Alongside the music WASTED expands into print and website: a zine and wasted.reluctant.promo hold xins texts hospicing dance music and unsustainability, extending the artists reflections on exhaustion, precarity and the cultural afterlife. Theres a sonic depth and mood here that sits somewhere between Raimes shadowed tension, Carriers electro-acoustic sleight and the spacious dub mutations of T++, while its textural apparitions feel as though theyve been dubbed over a battered Jon Hassell cassette the otherworldly nostalgia burned away, replaced with a hard-won momentum, like flooring it toward the next gas station before Immortan Joes war party closes in. WASTED reads as dance music after the fire: glamour gone, structures wrecked, a stubborn pulse still smouldering underneath. opening drifts in on fizzing debris and low-end churn, like a bin bag caught on a breeze. trash dub assembles a crooked percussion grid; compost believes in life after death hovers between hymn and hiss before plunging into the jagged kicks of wasted anew. Mid-record, enough to exhaust and indoors in time stretch the remnants thin, teasing collapse. The last sweep plastic legacy, no permanence, for now and apocalypse era (i dreamt i glimpsed eternity) folds exhaustion and faint euphoria into a single long exhale. Mastered by Ike Zwanikken, artwork and design by Amos Turner, WASTED is Appendix.files at its most thematically aligned: a porous document of cultural leftovers, decomposed into new sonic growths. For media inquiries, review requests, or interviews, please contact: info@appendixfiles.com
-
#55
Feat. New Releases in Bass / Club
Attention Shift
XL Regular returns home with a new EP! Attention Shift is the Italian producers sonic reflection, which showcases the evolution of his sound, stepping away from everyday duties to shift the attention back towards music. Were very happy to have Ale again following his previous works on the label - these five tracks show exactly why weve been excited to have him back!
![::BLUE:: [Remixes] (Earth)](https://geo-media.beatport.com/image_size/400x500/880826b2-ac1b-4d7a-b949-3bfe01a40f07.jpg)
