U.K.-structured producer Phil Klein releases Miami bass-inflected brand-new school electro in his Bass Junkie aegis. Showing up most recently over the Breakin’ Information label and by himself Parallax imprint, Klein’s Bass Junkie materials attracts liberally from classics of electro-funk and bass music — from Freestyle’s “It’s Auto” and Unidentified DJ’s “808 Beats” to Maggotron’s “Globe of Bass” — merging truckloads of examples with sharp, uptempo rhythms and, normally, the deepest of bone-rattling bass. Although his discography carries a variety of monitors released as Fight Systems, I.B.M., and Cybernet Systems, Klein’s most well-known work to time continues to be his Bass Junkie materials, probably via its association using the Breakin’ Information label (connected with Rephlex Information recording musician DMX Krew). Carrying out a couple of Bass Junkie produces for his personal Parallax label, Klein started releasing information through Breakin’ in 1997 using the Unfamiliar Funk EP. Yet another EP (In Bass NO-ONE CAN Listen to You Scream) and an LP (ºss Junkie) made an appearance through Breakin’ in 1998. Klein’s passion for bass music in addition has stretched right into a long-running cooperation with among the genre’s most acclaimed early innovators Scott Weiser, a.k.a. Miami-based Dynamix II. Bass Junkie and Cybernet Systems paths have made an appearance on several Dynamix compilations, using the label also issuing a full-length Compact disc of Klein’s Bass Junkie materials in 1996. Bass Period Continuum followed 3 years later on. Additionally, Klein and Weiser talk about a composing credit for the title monitor to Klein’s Borg EP (1996, Stress Trax), and on many produces as I.B.M.