Ladies and gentlemen, dubstep is not dead. In fact, it’s back and better than ever. On Saturday, May 6, we experienced the heaviest old school dubstep set that’s gone down in a long time, which also happened to be the last stop of Eptic and Must Die’s Hyper Future Tour, and the last show at the Yost Theater in Santa Ana. The four hour insanity that was this show could not have started off with a bigger bang, thanks to ⅔ of the members of Gentlemen’s Club, 50 Carrot and Coffi, that kicked off the show with Coffi’s remix of Flux’s “Bass Cannon.” Unfortunately, Soloman was not in attendance, but this did not slow the energy whatsoever. Immediately, the crowd opened up into a huge mosh pit that stretched across the entirety of the lower GA section. Throughout the entire show, not one person’s head was up, due to the headbanging that each oldschool dubstep song that Gentlemen’s Club dropped demanded. Once they played a heavy remix of Flux’s classic, “Got 2 Know,”  Trampa’s banger, “Blow Up,” and their fucking unreal remix of Eptic & Must Die’s single, “Ectoplasm,” it was evident that the crowd was loving their style. Everyone was constantly moshing, headbanging, and losing their f*cking minds. Although the sound could have been louder for the set, at no fault of the DJs, being surrounded by a crowd of die-hard, old school dubstep junkies was an all-round amazing experience. They dropped the cleanest, heaviest dubstep remixes of 21 Savage’s classic, “No Heart”, and Alesso’s crowd favorite, “Heroes.” To top off their set, the duo dropped a tribute to Rusko with his old classic, “Woo Boost”. You’re in our thoughts and hearts, Rusko!

Gentlemen’s Club clearly set a great precedent for the night, and the crowd knew it could only go up from there. Michaël Bella, who we know as Eptic, kicked off his set with a high pitch, heavy remix of “Gun Finga.” He followed up with “Bitch You Guessed It”, which dropped straight into “The End,” which the crowd was instantly headbanging to. He dropped his classic crowd favorites like “Cosmic”, “Mastermind,” and “The End.” The Snails-like sound was recurring throughout his set but very noticeable with Snails and Space Laces’s song, “Squishy Riddim.” He also dropped a heavy remix of Flosstradamus’s classic, “MFU” and “Prison Riot,” which caused each person into the crowd to commit to the biggest, growing headbang circle. Eptic’s visuals were on point, and I found it most interesting that he creates his own visuals as a graphic designer, which he stated are “not (intentionally) satanic. All the graphic design is based on vampires [and] witchcraft.” These unique visuals were paired with equally visually appealing lasers. To continue on with the show, Eptic dropped Wavedash’s recent hit single, “Like That,” and his famous collaboration with Jauz, “Get Down,” which was the only time I saw the crowd’s heads come up, but strictly only to groove. This continued on when he played his collaboration with Habstrakt, “Lazor 3000.” He constantly kept the crowd on their toes, with not one song failing to be a have a heavy, dubstep drop. As someone who is truly capable of commanding a room of any size, it’s easy to deem him a master in his own rite.  He kept up this energy even later on in the set by dropping the heaviest dubstep track I think I’ve ever heard in my life. Five seconds into this insane, unreleased drop, he tells everyone, “I don’t think you guys are ready for that one. Let’s try it again.” Everyone’s anticipation was already at its peak when he turned off all the house lights and started with a euphoric visual and light show, but he heightened everyone’s excitement by re-dropping the track, which you guys can check in the linked video above. Eptic perfectly tailored the set to everyone’s favorite songs, including a remix of Skrillex’s old classic, “Cinema,” my two personal favorites, his remix of “Get With the Program” with Trampa and “Throwin Elbows,” for which he demanded the largest mosh pit to be formed in the crowd. To end off the perfect set, he dropped Kill the Noise’s remix of “Propaganda,” which the entire crowd was instantly headbanging to.  Overall, Eptic’s ability to craft such a hard-hitting, dirty dubstep that maintains such a clean production style makes for a perfect bass-ridden sonic experience. 

With each set of the night having been abnormally long, Must Die came out for his set at around 1 A.M.,  everyone had already headbanged  ¾ of their energy out. This significant reduction in the crowd’s energy was very noticeable, to the point that Must Die even pushed the crowd to keep their energy up by saying, “You still with me?” The transition from Gentlemen’s Club, to Eptic, to Must Die was perfect, since each person in the lineup was very similar in hard, dubstep sounds and styles. He started off with heavy dubstep tracks with drops that mimicked Doctor P’s old sounds. He transitioned into playing his own stuff, including “Fever Dream (Part ll)” and “Gem Shards.” He played a remix of “Don’t Let Me Down,” that dropped into a Flux-like screeching sound, that continued straight into some heavy “wub.” What seemed to be a crowd favorite, Excision’s “Throwin Elbows,” was dropped for a second time, although, Must Die remixed this well-known track into one of the dirtiest, heaviest drops of the evening. Mid-set, Must Die brought out Habstrakt, an artist climbing up the charts with his recent collaboration with Skrillex, released on Owsla’s new album, “HOWSLA.” Once the crowd found their groove, and more importantly a second wind, Must Die dropped a remix of “Get With The Program,” which did not surpass Eptic’s remix but was definitely a close second, followed by Kendrick’s new hit, “Humble,” that everybody in the crowd was grooving and singing along to. Must Die mixed Flosstradamus’s “Prison Riot” with Slushii’s insane remix of Phiso’s track, “Jotaro.” When everyone was just about done for the night, Must Die finished off his set with his masterpiece of a remix to Flux Pavillion’s song, “Emotional.” The drop is by far one of the heaviest, screechiest bangers of all time. The lead up has a very melodic voice, and the juxtaposition is undeniable. The contrast of this is what makes this track so good, and the crowd’s mind blown reaction was the best way to end off a set.  It’s indicative of his style, which compares and contrasts with that of Eptic’s in a perfect manner.  Where Eptic has a clean-cut production style and pattern, Must Die! finds a way to bring his participants on a long-rolling, dirty, gritty sound that offers concert-goers an adventure through all matters of sound, just don’t expect it to be light.  Overall, this show was the all-round perfect way to end off Eptic & Must Die’s Hyper Future Tour, as well as the last show at the Yost Theater.