Vocal drum and bass usually uses the singer as a fuse. Light it in the intro, get clear, let the break handle the rest. SABOTAGE keeps sanna frankie in the room a lot longer than that, and Killin’ Void builds the drop around her instead of straight over the top of her.
The first drop hits around forty-five seconds and it is bright and strangely hollow through the middle. The sub sits way down under the floor, the synths scream up top, and the chest register where most dnb parks its punch is close to empty. Then at 0:57, mid-bar, the whole thing cuts to silence. Dead air. Half a second of it. I rewound that.
It pulls the same stunt at 2:14 before the last drop, and knowing it is coming does not help you. Killing the low end outright is a genuine risk at 174, because a floor can lose the plot in half a second flat. This one snaps back hard enough that it does not.
sanna frankie sings it like someone who has quit arguing, giving in rather than fighting back, and that is what makes the silences read as collapse instead of a party trick. It is the first Killin’ Void record in the bythewavs archive, out on Dim Mak since April, and what I want from the follow-up is that same nerve.
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