Los Angeles (August 14^th, 2018) – Firepower Records is thrilled to announce the tenth Volume of our Flatline Compilation, Flatline X, and we’ve decided to make this release unprecedented by asking some of our OG artists to send us their extra special Heat. Traditionally, the Flatline Compilation is reserved for the filthiest tracks produced by the new future of the Bass Music movement. But to celebrate our tenth edition, we thought it fitting to tap some of our most notorious heat-slingers and have them throw down a tune for us. And they absolutely wrecked shop.

JPhelpz returns to Firepower with “International”, and he, again, proves why he might be the most versatile bass music producer in the game. From his origins in Mech Bass, to his foray into Bass House, to this deep, wonky, UK dub inspired gem, JPhelpz cannot be stopped. “International” infects your soul and takes you low.

For “Shotgun”, DJ BL3ND and Rettchit team up with the lyrical machine gun MagMag for a massive bass bomb. The tune steps firmly on your throat and pushes. This is what you get when two of the most unapologetically sinister producers come together. “Shotgun” is what the name suggests—a shotgun blast to the body.

The clever and creative musical vision of Nato Feelz never disappoints, and he comes through with “System Error”. Nato Feelz has always pushed the boundaries of bass music, and he’s never allowed himself to be boxed in. “System Error” also showcases his skill with creating cinematic soundscapes that move us to our emotional core. Let this tune transport you to some alternate headbangers Universe.

Next up is “Fission”. Chime and Jarvis have taken UK Dubstep to the next level, and while the UK gets all the credit for putting bass music on the map, we look to these two British nationals as the lads that kept the fire going. Chime’s emphasis on Euphoric, melody-forward, sound design has earned him his own niche in the bass music world. Jarvis is the heavier and more aggressive balance to Chime, and his hard as nails approach works in tandem with Chime to make for an extremely satisfying tune. Wonderfully intoxicating and perfectly chaotic, the tune is an anthem, hands down.

Rounding out the EP is Rekoil, and it’s an absolute honor to have this OG Firepower artist back in the rotation. “THOSE ARE ALIENS!” is exactly what you needed. The tune walks expertly on the border between a bass banger and Riddim roller and the result is a rail-rider’s dream. Throw this on your setlist and watch the crowd deconstruct itself.

The Tracklisting for Flatline Vol. X:

1.  JPhelpz – “International”
2. DJ BL3ND & Rettchit – “Shotgun” (feat. MagMag)
3. Nato Feelz – “System Error”
4. Chime & Jarvis – “Fission”
5. Rekoil – “THOSE ARE ALIENS!”

For more on Firepower Records:

www.firepowerrecords.com/‎

https://soundcloud.com/firepowerrecs

https://www.facebook.com/FirepowerRecs

https://twitter.com/firepowerrecs‎

www.youtube.com/user/FirepowerRecs‎

For Press Inquiries, contact:

Lee Underwood

lee@firepowerrecords.com

Publicity Manager I Firepower Records I Twitter: @leeFPRecs

Los Angeles (June 26th, 2017) – Firepower Records is excited to announce the forthcoming release of Jarvis’ brand new EP, Rise of the Phoenix, and there’s really no other way to preface your experience with this record than to say you’d better invest in some fireproof pantaloons. Jarvis has emerged as one of the UK’s most formidable forces in bass music, and this EP represents a musical intellect that’s mature, sharp, refined and ready to shine in the raging fires burning at the alters of dance music.

The first track on the EP, “Rise of the Phoenix”, features the vocal wizardry of Born I Music, and his rapid-fire lyricism parallels Jarvis’ frenetic synth structures perfectly. The tune transforms into an instant crowd pleaser, offering club and festival crowds a chance to sing along before throwing themselves into fits of head banging.

Up next is “Rowdy”, and the unique UK Grime tradition of machine gun lyricism continues here, with the polymath Jarvis himself offering up his own lyrical swordsmanship. The MC is a vital part of the UK underground Dubstep phenomenon, offering audiences a more intimate and cerebral way to engage with the music. “Rowdy” sucks you right in and latches on until the beat builds into a massive, pulverizing drop. Jarvis’ storied ability to finesse sounds into an already complex and complicated tune is evidenced here, and if you’ve never conducted a tune to an audience, real or imagined, then you will with “Rowdy”.

“Walk” is an apt title for Jarvis’ next tune. As the beat rolls on, you get the impression he was imagining a massive creature swaggering like a boss down the Boulevard, wrecking anything in its path. The rolling and lolling beat structure imposes an intoxicating urge upon the listener. The tune is extremely headnodic, balancing a subtle, riddim-esque beat with the harder and more aggressive components of a Dubstep banger. A great set opener, or even a Peak Hour scorcher to get audiences riled up.

Jarvis figured out a way to add the 80’s hipster goth noir synth into his tune, “Vibrations”, and it’s perfect. Epic from the outset, the track leads the listener on a musical quest to the drop. But like any quest, there are different components, and Jarvis showcases his expertise with masterfully crafted sections that operate on our souls with a composed tenacity. It’s the kind of production skill that isn’t concerned with quantity, but quality. This track speaks volumes to that ethic.

If a producer is focused they can hook you in like a hypnotist. “Wide Awake” exemplifies this technique. The track begins with airy vocals that summon the listener like sirens from the deep. Jarvis then releases the demons with an insane riddim section simultaneously reminiscent of the underground dub plates spun in dark Surrey warehouses in the 90’s while reestablishing a connection to the big synth attitudes popular in modern Dubstep. But this track is more than that, the siren song the emerges from the depth of this tune is hypnotic, and the balance between massive sound structures with the euphoric vocalized yearnings makes “Wide Awake” an instant festival banger. Get it in your set list now!

Tracklisting for Rise of the Phoenix:

1. Jarvis – “Rise of the Phoenix” (Feat. Born I Music)
2. Jarvis – “Rowdy”
3. Jarvis – “Walk”
4. Jarvis – “Vibrations”
5. Jarvis – “Wide Awake”

For more information on Jarvis:

http://www.jarvismusic.co.uk/

https://www.facebook.com/JarvisMusic/

https://twitter.com/Jarvismusic

https://www.youtube.com/user/JarvisDubstep

For more on Firepower Records:

FirepowerRecords.com

Beatport.com/label/firepower/24439

Facebook.com/firepowerrecs

Twitter.com/firepowerrecs

Soundcloud.com/firepowerrecs

For press inquiries, please contact:

Lee Underwood

lee@firepowerrecords.com

Publicity Manager I Firepower Records I @leeFPrecs

Los Angeles (January 16, 2017) – Firepower Records is stoked to announce the release of Jarvis’ second EP with us, Bloodbath, on February 3^rd, and it’s gruesome. Jarvis has never shied away from the more grotesque side of the bass music universe, and he’s made a study of the dark and nefarious components of production. Although he’s based in the UK where the debate about how bass music should sound rages on, Jarvis has kept his music loud and filthy, and the results have led to a meteoric rise in his notoriety around the world.

The first track on the EP, “Bloodbath”, sets the tone immediately. Jarvis has developed a reputation as an incredibly meticulous music engineer, and the synths he employs in the service of this bloody mess are sharp as hell. The drop hits, and the track slashes with precision, hitting the soft flesh of the sonic underbelly in the process. Lurking in the shadows of the EP, awaiting the bloody feast, is “The Creature”. Jarvis crushes this track, establishing a sinister topline before dropping the listener off a cliff. The attention to detail with the track is insane, and it’ll have audiences air-conducting like professionals on the dance floor.

The Ragga Twins jump on for the track “Burial Ground” and do what they do best, make it bang. Jarvis shows his talent by successfully constructing multiple Dubstep beat styles here and weaving them together seamlessly. It’s a talent he continues to master in “Dropping the Heat”, layering the track so effectively with innovative sound designs, your mind will melt just trying to keep up. The shift-up is as infectious as a virus, and if the drop doesn’t kill you, the head banging that ensues will.

Rounding out the EP is “Mask”, and it’s here that Jarvis hits his stride. His range and technique cannot be refuted, but it’s this track that shows how deep his knowledge of Dubstep history goes. With so much back-and-forth about the merits of UK versus American Dubstep, Jarvis exemplifies how a classic sound combined with a modern synth arrangement can bang just as hard as the filthiest contemporary bass tune. Jarvis enables the track with more than enough playability to find a home on any DJs set-list.

The Tracklist for Bloodbath is:

1. Jarvis – “Bloodbath”
2. Jarvis – “The Creature”
3. Jarvis – “Burial Ground” (Feat. Ragga Twins)
4. Jarvis – “Dropping the Heat”
5. Jarvis – “Mask”

For more information on Jarvis:

http://www.jarvismusic.co.uk/
https://www.facebook.com/JarvisMusic/
https://twitter.com/Jarvismusic
https://www.youtube.com/user/JarvisDubstep

More on Firepower Records:

http://firepowerrecords.com/
https://www.facebook.com/FirepowerRecs/
https://twitter.com/FirepowerRecs
https://www.youtube.com/user/FirepowerRecs

For press inquiries:

LeeUnderwood
Manager of Publicity I Firepower Records I Twitter @LeeFPRecs

For more information on Jarvis:

 http://www.jarvismusic.co.uk/

https://www.facebook.com/jarvismusic

https://twitter.com/Jarvismusic

https://www.youtube.com/user/JarvisDubstep

http://www.songkick.com/artists/8095968-jarvis

https://play.spotify.com/artist/5H8evVaTzET5fbdSnOJDax

For more information on Tisoki:

https://twitter.com/tisoki

https://www.facebook.com/tisoki

http://www.songkick.com/artists/5717339-tisoki

https://www.snapchat.com/add/tisoki

https://www.instagram.com/tisoki/

For more information on Firepower Records

FirepowerRecords.com

Beatport.com/label/firepower/24439

Facebook.com/firepowerrecs

Twitter.com/firepowerrecs

Soundcloud.com/firepowerrecs

For Press Inquiries, contact:

Lee Underwood

lee@firepowerrecords.com

Publicity Manager I Firepower Records

So many of our fans are aspiring producers. What was the first step you took to becoming a producer of bass music?

I started making music properly around 5 years ago, probably a bit longer than that now even! I remember hearing Skrillex – “First Of The Year” on the radio while I was in the car and i couldn’t quite understand or believe what I was hearing. These days it’s like 90% of what I listen to but back then there had never really been anything that sounded like that before. I went straight home that evening and opened up my old copy of Fruity Loops and started trying to learn how to create music like that! I quickly moved into Ableton and found it much easier to use for me personally. I think in terms of my first steps, I learned pretty much everything I know online, from youtube tutorials mostly or from lurking on music production forums. I think there’s a huge amount of information out there these days–you can learn a great deal if you’re willing to put in the hours of scouring the web!

What was your most important production tool you used on this EP?

The most important thing I have when it comes to making music in general is Sonnox Inflator. Not many people have heard of this, and, when I’m doing a collab, it tends to cause problems because I seem to be the only one who has it, but for me its absolutely essential! I’m not even sure exactly what it does, I think its some kind of exciter/distortion plugin. Its basically a magic plugin that makes things sound a lot louder without raising the actual volume and without compromising audio quality (within reason).

What would you say to critics of bass music who feel it has strayed too far away from its roots?

There certainly was that attitude here in London when America got hold of Dubstep and morphed it into the crazy noisy beast that it is today. But to be honest there’s no need to get yourself annoyed about it, things change, especially music and that’s definitely a good thing. The old school sound of Dubstep still has its place in the world, Caspa & Rusko are still making music and the DMZ lot are still about every now and then playing shows. Yes Skream left to make disco or whatever he does now but you can still go and listen to his old filthy tunes from back in the day if you want, he’s not going to stop you!

If bass music is to innovate, what needs to happen?

I think Virtual Riot needs to stop making preset packs. Just kidding haha, shout out Virtual Riot… But seriously I hear a lot of new producers coming through who are clearly talented and their music is well produced, but sometimes the ideas and the sound design isn’t anything new or exciting and it sounds a little bit contrived. I think it’s important for people to switch it up and experiment with different tempos and styles. It’s easy to fall into a trap of making a certain style because you feel its what people want to hear, we’ve all been there I think. But lately I’ve been having a lot of fun making Breakbeat at House tempo (around 125-135bpm) for instance my track ‘The Discoteque’ . Breakbeat was pretty popular in the UK in the late 90’s early 00’s and i think with a bit of modern production and some heavy bass and crazy sound design it could potentially be reborn.

What is the best way to waste time?

I think the best way to waste time is social media. Sometimes i quickly check my twitter & facebook for 5 minutes and when i’m done i realize an hour as passed and i’ve started 5 different online beefs with people i don’t know.

Leading the EP is “All I need”. The track takes no time at all sinking its hooks in by offering up a catchy vocal that eventually acts to balance out the essentially aggressive edge of the track. But the strength of this track is in the range of bass music beat structures Jarvis explores. Halfway through, the track shifts surprisingly into a filthy rolling swampy beat. RIP your neck.

With “Discotheque”, Jarvis dips back into rave history and creates a superior homage of sorts to the electronica rave anthems of the past. The top lines and melodies reflect the subtle and less intense synth arrangements of modern dubstep. Listeners can experience this track while imagining slipping into a warehouse party circa 1997. This would be a solid track to shift up the vibe of any festival set.

The title track “Hit The Deck” featuring Born I Music goes all in. This is Jarvis at his finest, and he’s created a fantasy track putting forward his best sound design techniques in one 3-minute stretch. From an 808-fuelled buildup, to insane growls and murderous synth stabs, the track is a perfect canvas for Born I Music’s vocal swagger.

Rounding out the EP is “Wait For Me” and it shows off Jarvis’ skill as a true composer. A pop hook is absolutely slayed by Jarvis’ superb synth structures. His use of a live guitar feature over a trap beat is incredibly intoxicating, and it proves his far-reaching vision. Perfect for massive festival sets.

More on Jarvis:

http://www.jarvismusic.co.uk/
https://www.facebook.com/JarvisMusic/
https://twitter.com/Jarvismusic
https://www.youtube.com/user/JarvisDubstep

More on Firepower Records:

http://firepowerrecords.com/
https://www.facebook.com/FirepowerRecs/
https://twitter.com/FirepowerRecs
https://www.youtube.com/user/FirepowerRecs

For press inquiries:

Lee Underwood
Manager of Publicity I Firepower Records I Twitter @LeeFPRecs