As a label, Punks have been one of the most consistent outlets for bass and breaks music throughout the entirety of 2018, constantly providing the scene with original creativity within their releases, always moving forward into exciting new ground. The label has gained a lot of steam in recent months, seeing them propelled rapidly to the forefront of their genres, which is no less than they deserve in our humble opinion!
For their latest drop, they have enlisted the production services of label favourites: Mafia Kiss, who themselves have a solid association with the project. This latest single sees them flexing their bassy arsenal, bringing a whole different approach to their previous appearance, which was a stripped back remix of Nixon’s ‘Gods Choir’ on the infamous ‘Basement Selection’ compilation.
As a composition ‘Sick’ is exactly what a crowded bass and breaks scene is crying out for, that being original, synth driven energy. Many of the releases we are passing through the stores and hitting our feeds seem to fall quite flat into strict 4×4 rhythms, whereas this track takes a move techy drum route, providing alternate pockets of groove around every corner. The bass notation itself is marvellous, writhing away through a stuttered alarm like LFO synthesiser, causing havoc wherever it hits.
We were lucky enough to grab an interview with Mafia Kiss, which we have compiled for you below:
So, first of all, how long have you been working with Punks?
I would say since 2014 when my first EP ‘It Began In Detroit’ came out.
I had already been doing gigs on the Stanton Session nights with Dom & Mark for a few years and they had plans to expand the label from being just a platform for them into a full label. Marten Hørger and myself were first up to release stuff and it was always a massive aim of mine to work with them.
What is it about the Punks sound that does it for you?
It strives to be different by looking for artists with fresh takes and ideas on bass music. It’s mainly based around the broken beat sound that I’ve always loved but it doesn’t conform to your regular breakbeat bracket.
Back when I first started with Punks it was more 808 driven but it’s adapting and evolving constantly due to it’s vast roster and even tapping into that bassline sound mixed in with 808 bounce.
So, what’s the story behind this track?
I literally wanted something sick to play at the last Punks boat party in London last June and knocked this up quick within a day or two before the gig.
I grabbed the vocal sample off a Virgin Broadband advert I kept seeing, I won’t say the original artist’s name for obvious reasons. I’d been loving the sounds coming from Holy Goof, Lorenzo & Zinc at that time and wanted to do something similar with a broken twist. Cam up with the riff and the rest kinda wrote itself.
Didn’t wanna over complicate it so just ran with it and tested it out at the gig, Dom from Stanton’s hit me up straight after and has been opening his sets up with it since. Mark Yardley did some mixing down on it and that was it wrapped up, prob my quickest release yet! lol
How has the support been looking?
Been really good so far, had a mad spectrum of DJs supporting it like Shockone, Micky Slim, Mollie Collins, Marten Hørger, Hybrid Theory, Plump DJs, Echo Knight and a ton. Big up for the support!
Is this a track you would use to describe your overall sound?
No but I would say it’s a point in a direction I’m going at the moment.
I like to make stuff that is relevant to me at that point in time and right now I feel like making bangers! I’ve got some moody melodic stuff under my belt and now I’m feeling more music for the floor.
What else do we have to look forward to from yourself?
I’m writing a load of heaters that I’ll either put out as an EP or a track at a time in 2019. I’ve been playing around with different styles like house and even D&B so for the first since making tunes I won’t be just one sound.
My sets have got more experimental too and I had some stick in the past from some of the hardcore breakbeat followers for not keeping it broken but them days are over. No one cares what genre it is these days as long as it’s a good tune, people will have it!