East End Dubs 5 Most Tantalizing Cuts
Nov 1, 2022
3 min read
London-based DJ and producer East End Dubs has been producing electrifying house music for the last decade. Not tethered to one specific sub-genre, he traverses across the stylistic spectrum. Some songs thrive in technical precision, others are more free-flowing and organic, and still, others have a tantalizing twist of acid. It's this versatility that's sustained East End Dubs as an essential name within the underground electronic scene.
While his catalog is vast, with a healthy ten years of creations to choose from, below are five essential cuts that stand above the rest in East End Dubs' expansive arsenal.
1. Bec's Groove
Out in 2020 via Chris Stussy's Up The Stuss label, "Bec's Groove" is an atmospheric house scorcher. With a sub-tickling deep end complemented by crisp percussive claps, it evolves into electronic hypnosis and is an unmistakable highlight from the EP of the same name. Chris Stussy (who has also appeared on East End Dubs' Eastenderz imprint) tops off the project with his deep-tech take on the B-side, "Jazzed In Time."
2. What's Goin On
One of East End Dubs' most acclaimed cuts, "What's Goin On," lives up to the hype as a gritty, acidic synth line steeped in classic house sentiments kicks off the track. With an anticipatory percussive swell, the single drops into dancefloor catharsis meant for the club's collective masses.
3. Swing Riddim
Clocking in at over seven minutes (as any proper house track should), "Swing Riddim" gradually reveals aspects of itself throughout its lengthy runtime. Its opening groove is enough to warrant the journey, but East End Dubs surprises with warped synths slinking into the single alongside a percussive switch-up where the kicks disappear before reigniting the riddim's sweaty grind. "Swing Riddim" also comes paired with "Lexa Groove" on ENDZ012 via Eastenderz.
4. London Thing
The self-released "London Thing" is one of East End Dubs' most nuanced singles as it bops along with a playful bounce before immersing itself in warped vocal samples and chilling synth stabs that make for an intimidating edge. It perpetually surprises, evolving at every turn. It's definitely a London thing.
An additionally self-released cut, "Hip," is structured around a picture-perfect vocal sample of Total Refraction's "We Don't Stop" that declares, "they can't believe a girl as cute as me can sit with the rhyme" before exploding into an irresistible house turn. It's yet another ecstatic club weapon from East End Dubs' expansive catalog and affirms why he's an essential voice in the scene.