Zero dB


As any avid follower will know, the Zero dBoys, Chris Vogado and Neil Combstock, have been keeping busy at the cutting edge since the release of their seminal ‘Bongos, Beeps & Basslines’ (Ninja Tune), making killer club music under various monikers, and packing out dance floors with DJ sets in some of the biggest clubs and best sound systems known to man, including Plastic People and Japan’s Club Yellow.

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Vogado, now living in Barcelona, runs the boutique Fluid Ounce label from his legendary Fl. Oz. Studios, and Combstock has also seen his muse lead him round the globe, living, DJing and making music variously in Japan and Thailand among other places.

But even if you’ve only just heard their name it’s more than likely that you’ve heard at least one or two or their beats out in the club. Be it one of their many remixes (the best of which are featured on our ‘One Offs, Remixes and B Sides’ compilation) or from either of their three previous albums, ‘Reconstruction’, ‘Bongos, Bleeps and Basslines’ or ‘Heavyweight Gringos’.

Released in 2003, ‘Reconstruction’ is a collection of early remixes, including one for Ubiquity’s Sa Ra Creative Partners. It showcased their astounding talent to expertly take apart a track and inject that extra dirty bassline goodness, establishing them as formidable remix duo. The genre defying ‘Bongos, Bleeps and Basslines’ came three years later, unleashing a cage of subs and bass quakes alongside jazz, electro, hip hop and house rhythms – firmly pinpointing them on the dance music map. Over the next two years Vogado asked the 27 members of the Fluid Ounce crew, plus established big hitters like Peter Kruder and Daedulus, to step up to the remix plate, offering them ‘Bongos, Bleeps and Baselines’ as inspiration. The resulting album, ‘Heavyweight Gringos’ was released in 2008.

‘One Offs, Remixes and B Sides’, was released on Tru Thoughts in February 2010, and is an essential listen not just for existing fans of Zero dB’s unique concoction of Latin heat, jazz colour, startling beats and pure bassline filth, but for anyone who has been remotely moved by dance music in the last half decade

Photography by: Gustavo Osorio c/o