"South Bavarian producer Unimog is someone I’ve coordinated releases with closely for the past couple of years, and it was only a matter of time until we got together to release some sort of album on 4D. Consisting of 7 tracks written over the years, ‘Lord of the Farmers’ conveys a varying of his styles, from dungeon dubstep, to future garage, to trap-influenced beats, to sometimes simply unclassifiable bass music. Starting off with the orchestral-infused (yet powerful) ‘Elfenlied’, Unimog wastes no time conveying to the listener that he is capable of combining a plethora of influences to make something totally unique, and in my humble opinion, awe-inspiring. Unimog puts on his tribal mask for ‘In The Mountains’, a hectic mix of deep bass, percussions, and groove. One of the most notable aspects of this track is Unimog’s ability to convey a tribal feel, without relying on bongos and other over-used concepts that we’re hearing more and more each day. Next up is ‘Future 808’, an aptly named tune that describes what the sound is all about. A mix of hip-hop and futuristic nightmares, this is definitely another example of Unimog’s ability to combine separate ideas into something of its own. ‘Green Hills’ changes direction, bringing in future-garage beats with cinematic ambiance. ‘Shadow of the Colossus’ fans are in for a surprise with this. There’s a lot going on here- it’s something you’ll definitely have to listen to a few times to catch everything. ‘Take My Hand’ is a melting pot of various different sounds, that all converge together to be a very interesting dubstep track. Unimog hops onto remix duties with a re-working of GeNRL’s ‘Nine 0’. Here is a more traditional dubstep tune, showcasing a midranged bass, sliding subs, familiar percussions, half-time beats, and a blipping lead synth. For the last tune on this release, Unimog and his brother blΔnc team up to create a trappy- yet emotional- back-beat for a French female rapper, closing the album with yet another showcasing of genre-combining mastery. With such a wide range of music on this, there’s bound to be something for everyone. Out to Unimog on this quality free music- believe me when I say there’s a lot more where this came from." - @echomaker
4D’s own Drooka teams up with 4D regular Krease to put together this dark mechanical one called ‘Tinman’. A sparse and clean minimal intro starts off the tune, with basic percussion and an accompanying ambiance. At the 51 second mark, the Tinman announces his presence, at which point all hell breaks loose. Krease’s trademark oldschool wobbles and deep 808’s take the listener without mercy, as a screeching metallic sound dances through the air. Percussion that screams Drooka (with hints of Krease’s work) hold the track together. This beautiful formula plays on for the most of the tune, and I personally wouldn’t have it any other way. Krease switches up his bass work for the second drop, with more presence of his wobbles and the interactions of them between the other elements of the tune. Both producers’ individual talents really shine through on this one, out to Drooka and Krease for the free download! Let’s hope this isn’t the only collaboration the two see.
Epoxtacy presents his darkly written ‘Multiverse’ to the 4D world. Straight from the 00:00 mark, a dark ambiance fills the air. Hi-hats create a sort of life-raft for the listener to hold on to, later joined by kicks. This sea of darkness continues until the heavy sub and waving growl intertwine the sparse, yet groovy beat. As the tune progresses, the midrange takes more varied dominance over the track, as bongos and an even more chilling ambiance are introduced. A tastefully minimal one, despair fills this multiverse.
We at 4D are extremely proud to present the 2013 4D Xmas release, this time around it’s grown from an EP to an LP! With 15 tracks from us and our good friends especially for you, we hope you enjoy the variety of these sonic textures and the journeys these tunes present to you. Written by producers from all over the world- from Brazilian kingpin Mishva, to German producers Love the Cook and Unimog, to Canadian bossman iNTRiKeT, to Rotterdam’s finest Christopher Yikes, to New Zealand badman Kismet, to the UK and USA crews, the holiday cheer is everywhere, and we hope all involved have a great end of the year/beginning of the next. It’s safe to say that 2014 will see even more quality free bass music coming from the 4D camp, and we hope to see you there. All we ask is that if you enjoy these tunes, share them with the ones you love. Cheers and bless, 4D.
4D Xmas 2013 LP Tracklisting: 01 Christopher Yikes & M.A.K.Z. – Reformists 02 Mishva – Zephyr 03 Drooka – Quiver 04 Echomaker – Rudeboy Dub 05 Weapon X – System 06 Unimog – Diamond Tower 07 Love The Cook – Snakes 08 Karnage & MarkIV – Currents 09 Atnos – Arnica 10 el Jeffe – When It’s Cold 11 Step-A-Side – Optionless 12 Kismet – Mind Sphere 13 Krease – Krypton 14 Black Sun Empire & Noisia – Hideous (Fabricator Remix) 15 iNTRiKeT - Fanaa
"Russian born, now London based producer FJH steps up with a very generous offering to the bass music community: the Metamorphosis EP. This EP takes no time getting to the point; ‘Cursed Triangle’ instantly surrounds the listener with cool chords, beating percussion, and a warm sub. Horns swell as the bass line gallops along, all the while fuzzy hints of a vocal hum embraces the listener. ‘Dirty Hands’ slows down the action with a smooth lead and laid back plucks. A driving sub guides the track along as minimally appropriate percussion accompany. Midway though the track electro stabs command attention, further adding to the downtempo- yet grooving and lustful- rhythm. ‘Mort’ picks the pace back up with piano chords, guitar licks, smooth vocals, and other tasteful orchestrations. A hollow bass hits first while the familiar sub follows in aftermath. The track does not let up, as new and interesting orchestrations take turns presenting themselves within the music, all the while the beat keeps the listener’s head moving. Last but definitely not least is ‘Second Jahz’. Reversed female vocals play as jittery percussion, guitar chords, piano hits, and a melancholic violin open the track. Sub and piano guide the track as precise beats and fx fills the air around the sad vocals. A twisting midrange presents itself after the vocalist takes a break, only to be joined in duet moments later. This brilliant collaboration plays through the rest of the track until a solitary piano, reminiscent of a pianist playing out a vocalist in a small, dark, and smoke-filled 20th century lounge, closes the EP. With no moment short of sonic brilliance, FJH really sets the bar high and takes no prisoners with the Metamorphosis EP. This is not one to miss for lovers of smooth, yet driving, bass music." - @echomaker
No stranger to the 4D blog, Scottish producer The Nibelheim Incident presents “The Snake Devil”. Ancient, mysterious pads open the story-tale of a track, while hissing and bending hats pick up and lead the way. The narrator does his job at explaining the Snake Devil, but the music really does the telling. Quick hits ferry the track along, while driving percussion sit in the back ground. The Snake Devil lets out a horrendous scream in the second drop, neatly wrapping up the kind of narrative track that we would expect from The Nibelheim Incident.
Ibiza-based producer kai li’s Whalesong is a special one. A lush pad invites the listener in, only to be bombarded with a wild pulsating sub line. Swinging drums and percussion lines intertwine while dark growls mysteriously fill the air, all while the the somber pad washes over the beat, like slow sad waves on a beach. If Whalesong serves as any clue into the future, it’s safe to say that we can expect a lot more from the one known as kai li… @kailimusic
Italian producer Stereotipate presents a unique track called “Misanthropic”, and what a track it is. The soft sound of wind, accompanied by a kick, crash, and hat, grab the listener instantly from the beginning of the track. Shakers fasten the pace while the occasional midrange growl sneaks in and out, eventually leading to the first drop. Rather than dominating the track like most first drops do, the first drop in “Misanthropic “ seems to be more-or-less a part of the introduction, as the real magic happens later in the first drop, and predominantly in the second. Clear percussion, grooving kicks, a throbbing sub, and the occasional midrange keep the listener interested throughout this adventure of a track. While you’d think a track titled Misantrophic would aim to alienate one from humanity, Stereotipate’s production seems to lend to the opposite effect.