It’s been a top notch year for the ever expanding Saucy music roster, as they continue to develop as a label and as a real staple of the UK bass scene. The last 18 months have seen a major shift in the layout of UK Bass music’s landscape, moving slowly but surely away from the more classic “niche” sound, and into a more breaks inspired, drum heavy general design. There is no doubt that Saucy have had a major influence on this progression, as they have been championing the sound for as long as any of us are able to remember.

A theme that has been prominent within the UK bass scene since it’s explosion back in 2015 has been a numerous amount of bootlegs, reworking both classic pop songs and more underground originals into scorching bassline rollers. This of course has it’s negatives and positives, but when done correctly, can cause and absolute ruckus in the dance, combining both the singalong and skanking crews.

It’s another Friday, which means off course we are looking around the stores to keep up to date with the latest releases that are gracing the shelves of JunoDownload, Beatport, Spotify and everything in-between. Today are taking a peek at a tasty new number from the Primitive UK camp, a label project that has seen a very exciting 2019 bear a tonne of fruit, with a very solid catalogue of EP’s and singles leaving their arsenal over the last 12 months.

It has been a busy month for all involved at the Threethousand Network, with some mammoth album drops, incredible new EP’s and singles alongside some incredible live shows and radio appearances. We have taken the time out to list what we believe to be the five strongest releases of the previous month, which you can check out below: 

New kid on the block ‘Wudini’, wades through with a mark and debut on Wang Records. We take a bit of time getting to know the 24 year old, from the land of the good brews, Yorkshire. Why? We stumbled across his instagram and saw his talent that doesn’t just involve sitting in front of a daw. He pretty nifty on keys, guitar, lays down vocals on a talk box and probably dabbles on other instruments too. Currently he’s just about finishing his masters in Manchester and laying down the first stepping stepping stones into the world of releasing music. If there was any time to get to know this guy is about now, so take a read of the answers we put before him…

Here at 3000 we’ve been keeping an eye on Bristol-based rising star RightMind. Over the last year he’s produced a very interesting discography, featuring a collab with Dread MC, and he’s also just remixed a track for FooR! We thought it was high time we had a chat with the man himself…

It’s an exciting time for UK music in general, after a Glastonbury dominated by stand out UK performances, the highly celebrated funky and garage revivals and general influx of high quality additions to the mainstream charts, the underground has never looked stronger or indeed more influential. 

Within the bass scene there over the last 12-18 months there has been a most definite shift towards a more tech influenced sound, be it within more minimalist drum structures or through less noisy bass design, we have seen it loud and clear that the scene is in the middle of a forward thinking evolution. There are various labels and sounds pushing this forward and today, we are taking a look at an artist who has embraced the more stripped back style with ease.

There’s nothing we like to see more here at threethousand.co.uk than an independent project thriving in their own community. We firmly believe that building something for your own city rather than moving to where the action is at is the way to go, so when we see events popping up and growing into genuinely exciting business models it fills us with joy, as it can only mean good things for our ever expanding bass community.

When it comes to the established names within the expansive realms of what we now call ‘UK Bass Music’, there aren’t many who sit higher atop the tree than Bristol’s own My Nu Leng, a partnership renowned for their incredible live performances, in-depth production skills and ability to champion multiple areas of dance music. 2019 has been a fantastic year for the pair without a shadow of a doubt. 

It’s been quite a year for the 877 team, a label which we honestly feel so honoured to be working with so closely at the moment. Headed up by Brighton’s own Dom, a true veteran of bass music culture and an ever evolving underground dance music scene, 877 Records is a true beacon of creativity and originality, a fact which is undeniable when you take a second to peek through both their roster and now extensive back catalogue. 

2019 has been an unusual year for bass music as a whole, as the genre continues to split into more and more micro-communities and genre pools, similar to the expansion D&B has seen over many many years. This isn’t a bad thing at all, as we are all able to reap the benefits of a multitude of new sounds and ideas that spring forth from the splits.

Last week was an extremely busy week in the world of release, with a number of high profile mainstream releases making their way to the surface at the same time, along with a very crowded weekend of drops within the UK’s thriving underground bass music scene, with bangers arriving from bass to dubstep. 

We are running out of words with which we can describe the consistency of the Strictly Flava movement, a project originally birthed a long time ago, but one which has seen an incredible twelve month revival period. In that time they have become seen as arguably the most consistent garage export the UK has to offer.

Who doesn’t love a multitasker? We live in a time within the music industry where simply being a producer or a DJ just isn’t enough anymore and to be honest, we don’t think this is a particularly bad thing. The music comes first, yes, that’s a concept that won’t ever disappear despite what naysayers may cry, but the opportunity to expand an artists brand and creative skill set often leads to a more focussed overall outlook on their career in the industry.

Within bass culture and beyond, The 3000 Network is constantly trying to improve and bring you new features and series’ to fully document the scene, be that articles, interviews, guestmixes, premieres or whatever else takes out fancy. 

It’s been a top notch year for the Southpoint team when it comes to releases. The label itself has always found a major amount of pride in the fact they are able to move around different areas of bass music with such freedom, often leading to incredible collaborative material and scorching remix link ups, giving them a bit of an edge on the competition. This year has seen them deliver in grime with Jakebob’s debut album and KXVU’s most recent EP both reaching MixMag status, along with a launch into the realms of UK funky and garage with Moony & Movement presents earlier in the year. 

As far as labels go, there are few out there right now who have had as much influence on the bass scene as Night Bass. Created by the legend that is AC Slater, to collate and release forward thinking 4×4 music, the label has gone from strength to strength over the years, with their current standing landing them as one of the most influential dance music strongholds in the world. 2019 has been a hell of a year, as they have expanded from their homeland of LA to across the globe, as their sound becomes more and more centralized to the scene.

As we often discuss here on threethousand.co.uk, the expansion of Bassline and music in general across the global stage is something we find truly fascinating, from the UK faces putting together sellout, global tours and the projects that spring up in the places they visit. The whole evolution of bass music into a worldwide sound phenomenon is truly spectacular, and something we can all be very part to have plaid a significant part in.

Over the last few years we have seen somewhat of an explosion onto the scene from the team at YosH, a project that has set out to showcase both rapidly rising talents and the established faces within bass music, providing both with an excellent platform. Headed up by Foor’s Gavin Ford with Tengu now heavily involved in the A&R process, the label most definitely appears to have found it’s rhythm.

There are a few names within the UK bass music scene specifically that continue to rise to the top of the pile, whatever trends appear to happening within the 4×4 bracket. Two of the names that will always find themselves floating around the upper echelons of the expansive genre are of course both Chris Lorenzo and Redlight, producers who hold extremely high levels of respect among the bass music community. The scene is growing, and it’s truly exciting to witness.

Something we absolutely love about the expansion of bass music around the world, is the steady but undeniable overlapping with other, more established genres, blurring the lines to the point where everything falls under one all powerful umbrella genre. This latest outing is a perfect example of that, as we are joined by the good folk at House Of Hustle to get involved with their latest release from Boa & Mar alongside Lalzin.

Ah, Lengoland, what a place it is. Really, there aren’t many online communities that have grown into such a consistent Goliath as the team at Lengoland, who starting as a Facebook group a few years back, have gone on to become one of the most reliable imprints in the scene. Between their sell out live events and forward thinking label arm, there aren’t many people who have been able to keep pace with the Leng movement, with the brand constantly evolving and bringing in fresh, exciting new producers to bless our bass-deprived ear drums. 

As a platform, Southpoint have been one of the most consistent projects to grace the South of England since their formation in mid 2015. Since then, the label has gone on to pull together one of the most exciting rosters in UK bass music, ranging from early releases with high flyers such as Skepsis, Darkzy, Sammy Virji and Distinkt, to their high profile flag flyers, including Bushbaby, Freddie Martin, Zero, Movement, Moony and more.

It’s safe to say that dubstep is sitting in somewhat of a high point as we look towards to end of 2019. The genre has most definitely re-established itself within bass music culture and to see the quality of original creations that has been flowing out of both the established label projects and newly launched imprints has been nothing short of an absolute pleasure.

At three thousand.co.uk we make a serious effort to keep up with bass music the world over, as we start to see multiple different pockets of community spring up all over the glove. Today we are taking a more specific look at the LA scene, which alongside the explosion of Night Bass over the last few years, seems to have become somewhat of a hot bed for new school bass production in recent times.

It’s been one hell of a month in realms of dance and bass music, as we start to trickle towards the end of year rush. Traditionally, the music industry shuts down for the best part of December, so labels and multiple other platforms are currently attempting to get their years finished up and start work on 2020 ASAP.

Within a crowded bass scene, it is often difficult to even contemplate the idea of longevity, especially when projects seem to come and go quicker than the seasons in the UK’s current climate. It is for these reasons that large scale milestones need to be celebrated properly, with long term release structures being hailed. It’s easy to throw in the towel after 10, 20 or even 30 full drops, remember that means 30 pieces of artwork, 30 promotional campaigns, 30 sets of video content, 30 mailouts etc etc, it’s tiring stuff.

One thing 2019 has given us for certain, is an eye opener into the number of extremely exciting grime selectors that are currently rising out of LDN. There are a number of different DJ’s who have honed their skills on a number of different stations. This rise in top quality DJ’s gives us a fantastic opportunity to experience fresh new grime music quicker than ever before.

The platform of 3000 was founded with the original intention of supplying a platform for underground bass music to flourish, be the through glistening label projects or artist led initiatives. We have therefore followed the progress of the rapidly rising Low End Records imprint since their formation and are therefore super excited to see just how far they have come as a label project.