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Though new to the Downpour Recordings family, Wess has already begun making a name for himself both locally and abroad. The minimal-dub produce from our home town Toronto gained an avid understanding of the underground electronic scene during his years as a promoter. After changing his directional output from promoter to full-time producer Wess has developed the ability to be an effective storyteller both in the studio and behind the decks. He has performed at some of Toronto's biggest and best nightclubs alongside some of this city's best known tallent. As a producer Wess' 2016 has been onward and up. With his last EP on Deep Tech Records reaching the number 5 spot in the Beatport Minimal Charts and number 25 on the Beatport Techno Charts. Wess has also secured a string of brilliant releases throughout the year on labels like Berlin Aufenhamen, Major League Recordings and DC 10 Records. We are happy to now welcome Wess to Downpour with his debut release, All Alone. This release comes as a double sided feature with a signature rework from our progressive techno label head Guyus Grey.

Wess begins All Alone with his classic minimal-dub sound. The pulsating low kick bouncing alongside a deep four bar bassline. These two elements are followed by a filtered hat that modulates throughout the track, swinging up and down alongside the other percussive elements as they are introduced. At the 1:30 mark Wess welcomes his listeners to an uncanny shizzle-like sound. This sound is preceded by a series of minimal blips that come in and out of the record every two bars. At the drop Wess brings in classic 808 and 909 drums that groove throughout the piece until its closure. Wess keeps the elements throughout the track simplistic and stylistic using less to create more. In doing this he gives his listeners the ability to actively engage in each of his personally curated sounds and the application of them.

Our label head, Guyus Grey, tells us that he was reading Percy Bysshe Shelley's classic 1818 poem titled, "Ozymandias" when he first heard All Alone. Shelley's poem speaks to the contrast on how all great empires eventually decline, leaving behind baren memorials throughout time. Upon hearing the record Grey knew that he wanted to base his remix off of this poem's theme. This concept becomes the sonic motif throughout Guyus Grey's rework. With an introduction and first movement that build into the record's progressive chords, a second, third and fourth movement that expand upon those chords, and a coda that has them collapse into the musical abyss. In doing this Grey depicts the literary nature of Shelley's poem with the sonic motion of Wess' original.
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