Over the course of the last few years, we have seen somewhat of a major revival for the deeper side of dubstep. Although the genre has been plodding away beneath the vision of the mainstream since it’s conception, we are very happy to see more and more projects gaining momentum with more and more popularity ensuing.

Over the years we have seen the UK Funky genre constantly evolve, with twists and turns at every corner and popularity growing and shrinking year to year. We feel currently however that the genre has regained somewhat of a high point, with creativity at an all time high and new releases hitting the shelves from numerous different exciting label projects every week.

Well well well. If there was one act that we could use to personify the rise in UK bass and bassline in particular, it would 100% be Skepsis. Since shooting up the ranks back in 2015 via his super well received Rhythm & Gash remix, Skepsis has literally gone from strength to strength, become one of the scene’s major champions, touring constantly whilst also showcasing the best newcomers relentlessly.

For quite some time now, we have been seriously admiring the work that Barely Royal has been putting into the scene, with a stack of  extremely well received releases at his side and a constantly evolving production style, we have no doubts that he sits currently among the upper echelons of UK bass producers. 

What an exciting 12 months it has been for Jakebob, a grime producer who has gone from strength to strength in recent times, honing his unique production style into a state of near mastery, at least enough for him to be able to produce incredible new 140 music at a daily rate. His incredible work rate has seen him become one of the scenes most favoured producers, gaining DJ support from the biggest names in the business, including Spooky, Slimzee, Kirby T and more.

One thing we are seriously enjoying about the bass scene worldwide at the minute is it’s sense of versatility, as we are seeing a number of producers actively evolving their production style to keep them standing out from the rest of the crop. We are seeing this mostly within the garage / bass crossover as producer utilize different elements to add a softer, more colourful tone to their production.

It’s a genuine pleasure viewing the full revitalized UKG scene at the moment, with multiple label projects putting on somewhat of a masterclass when it comes to release runs. In general, the underground end of the UKG scene has never looked healthier, with the mainstream clearly seeing it’s impact as we see more and more pop-angled garage tracks emerge, including Mira May & JME’s ‘Angles’ and of course AJ Tracey and Jorja Smith’s newschool heater ‘Ladbroke Grove’.

It’s a very exciting time for dance music in general in the UK. We are seeing incredible resurgences across genres such as funky and garage and a number of producers seriously levelling up in the process. One genre we are keen to see retain it’s importance to the UK Dance music scene is breaks, an often forgotten element in creating a seriously spicy composition.

Now, as one of the writers for JunoDownload, I can start to predict when different projects are going to make an appearance in the store purely through watching promotional campaigns and announcements, however, nobody prepared me for the absolute madness that was soon to ensue at the hands of long stand UK bass imprint Four40 Records.

Today we are back to kick off your week with a very exciting new premiere as the team at Low Pitched move forward with a brand new compilation. Over the years, DJ Spookz’s Low Pitched imprint has played host to some of the most exciting up and comers and established bassline originals, constantly providing the scene with classy original releases and forward thinking musical themes. 

We are absolutely loving the expansion of bass music in recent times, with a wash of new labels really finding their feet, not only in the music they are releasing, but in their general content curation, their social media presence, their branding and timing. One label that is doing everything right from what we can see is Incursion recordings, a label that has been active for just over 14 months, held together by TVU, Ryan Gallus, Zero Trash & Lowkey.

As the UK bass scene moves forward and progresses across different areas, it’s often the occurrence that some of the original names from the scene’s earlier days will start to fall into memory, rather than maintaining their positions at the top. One artist we have seen successfully return to the forefront of the bass explosion we are currently living amongst is Kissy Sell Out, a producer and DJ who has previously held down numerous Radio 1 residencies along with a multitude of major festival bookings. 

As one of the world’s most esteemed melting pots of music, Berlin is rife with parties and takes place against a setting, and in an atmosphere that is incomparable the world over. What rarely enters the discussion if ever, is the small but dedicated UK underground music scene that gathers in Berlin’s many iconic music venues.

As we move forward on this threethousand platform, we want to continue to incorporate as many different genres of underground UK dance music as possible. With the recent re-emergence of dubstep on a major scale, we felt it was only right to get in contact with one of the new school front runners of the scene: Opus.

Today we are here to look at something slightly different as we dive into the deeper, more techy realms of house music. As a platform we want to reach as many different genres of music as possible, which is why we are super excited to bring you today’s exclusive premiere, courtesy of 3-4-1 Cuts. 

It’s safe to say that over the last two years or so, we have seen a massive influx of hybridized 140BPM underground music. Now we can explore this further, seeing that dubstep, grime and even some drill & trap fall into this extremely popular tempo slot. We believe that as music evolves, especially around 140, we will see more and more hybrid style releases, primarily fusing dubstep and grime themes to create some truly magnificent sounds.

There are a lot of different faces involved in this ever expanding bass scene, and that often expands beyond the realms of just producers and DJs. A lot of people have multiple outlets for their creativity, including event promotion, label curation, written content and much more. All of these elements are what make up a healthy backbone for any music scene, with the press coverage and backroom staff being crucial for smooth improvement. 

For those that don’t already know about the Lengoland movement, we firstly ask, what rock have you been dwelling under to not have done so. As a platform there is no doubt that Lengoland is one of the strongest outposts for bass music on the ground level, bringing producers, DJ’s, promoters and fans all together in one big bundle, all to enjoy the pure mass of bass music being produced around the world.

Within the UK dance music scene, there are a few people who truly qualify for legend status. By this we mean artists and DJ’s that have stayed at the top of the game for extended period of time. There aren’t many people ahead of the legendary DJ Zinc in this field, a DJ and producer who has overseen so many different eras of dance music, from jungle to crack house, featuring everything in between.

Today we have an absolute treat for you as we have arranged a very exclusive interview and mix with none other than Dommix. As an artist he is a name that he gained quite a heavy bit of traction through clever bootleg mixes and reworks through SoundCloud. These remixes have pushed him into the line of sight of hard hitting UK names such as Darkzy, Skepsis and more, as well as worldwide tastemakers such as DJ Zinc and therefore: Bingo Bass.

As we have said countless times here at threethousand.co.uk, we are always on the look our for the latest and most innovative creations within the realms of bass music. There aren’t many labels who hit this definition as Swamp 81, a label stooped in creativity and a constantly forward thinking approach to underground dance music, expanding the boundaries and exploring areas as yet undiscovered

So, over the last 2-3 years we have seen somewhat of a domination from UK bass music take place across the underground, primarily landing in bassline as have seen numerous artists head out for world tours, headline and smash out some of the UK’s biggest festival set ups and seemingly endless runs of club nights.

What a time we have upon us for UK music, with the explosion of UKG, the resurgence of dubstep, the worldwide expansions of bass and grime, and of course, the fantastic new delvings into the realms of UK Funky, spearheaded by some of the most exciting producers the UK has seen in quite some time. 

Garage is clearly at forefront of UK dance music right about now, I think to deny that at this point is just shaking your head at the painfully obvious. We are witnessing such a fantastic resurgence, with labels such as Kiwi, Strictly Flava, Slime, Four40 and more all chipping into the pot to create a fantastic new combined catalogue of sounds, bringing in exciting new faces and showcasing the more seasoned in the same light.

At threethousand, we love to look into different areas of bass driven underground music, be it grime, garage, bassline, breaks or anything else that fits the bill. Today we are here to take a more specific look at the dubstep end of the spectrum. We have noticed a fantastic spike in the quality and consistency that a lot of the newer dubstep labels have been operating at, and we are keen to work out exactly what is driving it so.

Now in the UK, something we are super proud of is our incredible musical diversity, as we see so many different genres emerge from our sainted little island, drawing influence from around the world. We look at the explosions of underground genres such as UKG and dubstep and grime around the world, and see that the UK sound is one that the world seems to just take to.

The 3000 Network is a platform that is here to showcase the best in bass music from the UK and rest of the world. Therefore when we stumble across a new artist seemingly doing everything correctly, right from the off, we find it a bit difficult not to get too excited. We live to see new artists emerging and thriving, and across all of the different outlets within the network, this is something we will always remain true to helping where we can!

Presenting May’s instalment of ‘The 3000 Selection’ our guide to the hottest tracks we think you should be paying attention to, all brought to you on a monthly basis courtesy of our very own bass connoisseur Pundit.

At 3000, we are always looking to remain as current as possible, be that exploring the newest artists emerging onto the bass circuit, or taking a look at what the more established labels are working on at the time. Today we are here to look at the latter as we witness a brand new drop from the legendary Champion Records, a project that may go under the radar for some, but who have been responsible for some of the most popular dance music tracks of all time. 

We love to keep an eye on the new label projects that are emerging around the bass scene, and with so many new faces to keep up with, it’s proving to be quite the task indeed! Today, we are here to take a little look at SubSound, a label project that has been floating around the UK scene for around three years, but are just starting to really pick up some major steeam, locking in some of the most exciting up and coming names on both full releases and remix duty.