Electro zing! There’s no better description of the squeaks and yelps that has a perfectly christened producer of some expertise and repute (though don’t spoil the secret) consistently hitting treble top. The White Label (that’s the title in a non under-the-counter way) divvies up into arcade bubbliness urging you to insert another coin and a mean undertone that bristles like it’s just nicked the high score you’ve spent umpteen hours achieving. Fizzy party goodness that goes on a tad too long without variation and almost regresses back to year zero of electro-house being hot property this decade, though it never goes flat and is good for tossing the dancefloor a quickie.
Bassline house from R1 is a mix to give the scene a good name, because in layman’s terms, the bassline doesn’t go all over the place. It flanges, flings and flips out out by all means, giving the electro groundwork its dues, yet it does not prioritize creating the mother of all mazes that just sounds like someone throwing up a Niche multi-disc compilation. R1 deals a boss downward churn mixing organs and digitalism in sticking to its smoking guns and not found farting totally, wildly out of control: tough top and bottom end trouble mate.
Dubstep house is a functional at best tagging of the mix dished out by Rogue Industries’ kamikaze bass pilot Spector. Especially when there’s a sneaking suspicion of punk funk looking to make trouble as well, though to be fair it’s well larruped by gnashing frequencies that set off a twisted metal bushfire, Spector twiddling knobs and dials into a loop of wrist-severing guarantee. Setting well-placed traps of drama that act as barriers for the bass to smash through, Spector flattens the electro exuberance with a warehouse-sized rolling pin and trips a current to spark out subs cold like a fucked off Flat Beat.