If you’ve ever felt your chest vibrate at 140 BPM while the floor disappeared beneath you, there’s a good chance Excision was responsible. The Canadian dubstep producer and DJ — born Jeff Abel — has spent over a decade engineering some of the most sonically aggressive, emotionally overwhelming bass music on the planet. From the grimy warehouse raves of the early 2010s to the stadium-level spectacle of his Paradox Tour, Excision has never once dialed back the intensity. If anything, he keeps finding new ways to push the sub-bass deeper.
This list pulls from across his entire discography — the brutalist earworms, the fan favorites, and the newer releases that prove he’s nowhere near done evolving. Whether you’re catching these on headphones for the first time or revisiting old favorites before a live show, buckle in. This is Excision at his absolute best.
Throwin’ Elbows
Released on Virus in 2016, “Throwin’ Elbows” is the kind of track that turns a crowd into a single organism. Co-produced with longtime collaborator Space Laces, the song builds with an almost unbearable tension before dropping into one of the most satisfying bass sequences in modern dubstep. The modulated growl in the low end isn’t just loud — it’s architectural, designed to shake rooms from the inside out. Even on a decent pair of headphones, the mix reveals layer after layer of harmonic distortion that rewards close listening. It remains one of Excision’s most-played tracks in his live sets and a benchmark for what aggressive sound design can accomplish without sacrificing groove.
The Paradox
From Virus (2016), “The Paradox” operates differently from the rest of the album. Where most Excision cuts go for immediate impact, this one takes its time — building atmosphere through a tense, sci-fi-inflected intro before erupting into a syncopated bass assault. The production here is meticulous, with the mid-range frequencies carved out so carefully that the sub hits feel almost surgical. It’s the kind of track that rewards listening in a proper audio setup; if you’ve been comparing headphones for bass music, this is the track to test them with. The way it moves between restraint and chaos makes “The Paradox” one of the most intellectually satisfying entries in his catalogue.
Execute
Going back to X Rated in 2011, “Execute” is one of the tracks that established what Excision’s sound actually was before the world had a name for it. The combination of crushing bass weight and sharp, almost industrial percussion felt like nothing else in the dubstep world at the time. It was a direct statement of intent — dense, relentless, and technically precise in a way that set him apart from contemporaries chasing a more accessible sound. Listening to it now, you can hear the DNA of his entire later catalogue embedded in its structure. It holds up remarkably well.
Feel Something
Released as part of POST TRAUMATIC (Live) Deluxe in 2020, “Feel Something” is the rare Excision track that leads with vulnerability rather than aggression. The emotional core of the production is front and center — melodic elements given space to breathe, the drop designed to land with weight rather than just volume. It speaks to a maturation in his songwriting, an understanding that the most powerful bass music can make you feel something beyond the physical shock of the drop. The track has resonated enormously with fans who connected with its raw emotional honesty, and it remains one of his most discussed releases across fan communities.
Bring the Madness
Few Excision tracks have the sing-along quality that “Bring the Madness” possesses. The vocal hook is anthemic in a way that translates even outside the rave context, and the production underneath it is engineered for maximum room energy. The buildup is masterful — layers accumulating, tension ratcheting — before the drop delivers exactly what the title promises. Live, it has become one of his most reliable crowd moments, the kind of song where you can watch 10,000 people lose their collective minds simultaneously. It’s accessible without being soft, which is one of the harder balancing acts in aggressive electronic music.
Unbound
Featured on To The Grave (2021), “Unbound” carries a melancholic undertone that runs surprisingly deep beneath its aggressive surface. The juxtaposition of melodic sorrow and sub-bass violence is handled with real craft here — the emotional content doesn’t feel tacked on, it feels integrated. The vocal processing throughout the track adds a spectral quality that keeps the listener slightly unsettled, never quite comfortable, which is exactly where great bass music should put you. It’s a track that benefits enormously from quality audio reproduction; if you’re shopping for earbuds for electronic music the low-frequency extension on “Unbound” will tell you everything you need to know.
In My Mind
From Fallen Embers (2021), “In My Mind” represents Excision working in a more melodically accessible space without abandoning his sonic identity. The track opens with an airy, almost dreamlike quality before the bass architecture asserts itself — and when it does, the contrast is genuinely striking. The production reveals careful attention to stereo imaging; the elements are placed with spatial precision that makes the track feel three-dimensional on a good listening setup. It became a fan favorite quickly upon release, praised for demonstrating range without feeling like a departure from what makes Excision, Excision.
Decimate
“Decimate” from the Onyx album (2022) is exactly what the title suggests: a systematic dismantling of composure. The sound design here is among the most intricate in his catalogue, with the bass tones shifting and mutating throughout in ways that take multiple listens to fully track. The mixing is exceptional — even at the track’s most saturated moments, individual elements retain their definition. It’s the kind of technical achievement that casual listeners experience as pure insanity and audio engineers experience as quiet professional respect. On a proper speaker system, it’s genuinely overwhelming in the best possible way.
Hoist The Colours
The Excision and Sullivan King Remix of “Hoist The Colours,” released in 2024, takes the nautical theme of the original and builds something entirely new around it. Sullivan King’s guitar-forward production style meshes with Excision’s bass architecture in a way that creates genuine genre-blending — the track occupies a space between metal and dubstep that neither artist could reach alone. The drop hits with the force of both worlds colliding, and the result is one of the most distinctive releases either artist has been associated with in recent memory. It’s a 2024 release that already feels like a classic.
Demisaur
From Onyx (2022), “Demisaur” leans hard into the science-fiction aesthetic that runs through much of Excision’s visual and sonic world. The sound design recalls the alien frequency experiments of early spacey dubstep but filtered through a decade of refinement — the palette is expansive, the sequencing is tight, and the overall architecture feels genuinely cinematic. It’s the kind of track that makes you want a visual component, which is probably why it fits so naturally into his live production. The modulated bass tones throughout the second half are some of the most creative sound design moments on the entire Onyx album.
Home
Released on Apex in 2018, “Home” stands as one of the most emotionally resonant tracks in Excision’s catalogue. It’s a slower, more deliberate piece — the tempo pulled back, the melodic content given room to develop — that functions almost as a palate cleanser within the context of the album while simultaneously being a highlight in its own right. The production feels warmer here than on most of his work, with a nostalgia baked into its synthesis choices that rewards headphone listening. It’s the kind of track that makes long-time fans feel something specific about what drew them to this music in the first place.
Name Drop
From Titans (2023), “Name Drop” is a masterclass in how to build momentum within a three-to-four minute runtime. The track establishes its rhythmic signature early and then progressively layers complexity over it without ever losing the essential groove that makes it work on a dancefloor. The mixing leaves room in the low-mids that makes the sub-bass hit even harder by contrast — a choice that reflects sophisticated production thinking. It’s one of the standout tracks from Titans and a reliable set piece in his live performances.
Gold
Also from Titans (2023), “Gold” has that rare quality of feeling celebratory without losing the edge that defines Excision’s aesthetic. The production glitters without becoming soft — the bass weight is maintained throughout, but the overall emotional tone is more triumphant than aggressive. It speaks to a confidence in the sound, an artist who knows his audience and knows exactly how far to push the emotional register in either direction. It’s become one of the more streamed tracks from the album for good reason.
Zombie
“Zombie,” released in 2023, does not arrive quietly. This is Excision operating in full aggression mode — the sound design is relentless, the bass sequencing is complex, and the overall effect is the kind of controlled chaos that takes real skill to produce without descending into mere noise. The track has been embraced enthusiastically by the festival circuit, where its combination of visual and sonic intensity translates perfectly to large-scale environments. It’s a 2023 single that demonstrated he wasn’t coasting on reputation.
Asteroid
From TESSERACT (2024), “Asteroid” is one of his most recent statements and it arrives with serious intention. The production sits in a slightly more experimental space than his more directly crowd-pleasing work — the arrangements are more complex, the transitions less predictable. It’s a track that reveals itself over multiple listens, offering new details each time through the mix. As a piece of forward-looking bass music, it suggests Excision’s most interesting creative work may still be ahead of him. Follow the latest explorations in bass music and electronic sound design over at GlobalMusicVibe’s songs section.
Our Fire
From Onyx (2022), “Our Fire” has a communal energy that distinguishes it from the more solitary, introspective tracks on the album. The production feels designed to be experienced collectively — the builds invite participation, the drops invite release, the overall arc feels like a shared journey rather than a private one. Live, it carries enormous weight as a moment of connection within what is often an intensely physical show experience. It’s one of the tracks that speaks most directly to why Excision’s fanbase, the Headbangers, have such a strong collective identity.
Drowning
The third Virus (2016) entry on this list, “Drowning,” earns its place through sheer emotional texture. The track uses its watery thematic to build an atmosphere of genuine unease — the bass tones are darker, more submerged, the overall production murkier in a deliberate way that creates mood rather than just impact. It’s one of the more atmospheric pieces in his discography, demonstrating an understanding of sonic color that goes beyond simple volume and aggression. The way the track resolves — or refuses to resolve — is genuinely affecting.
End of the World
From Onyx (2022), “End of the World” carries the weight its title implies. The production is expansive, almost orchestral in ambition if not in instrumentation, with a sense of scale that distinguishes it from more compact tracks. The bass work is exceptional — the frequency relationships between elements are handled with care, creating a mix that feels both massive and coherent. As a closing statement or a moment of peak intensity within a set, it functions beautifully. It’s the kind of track that makes you look up at the stage and feel genuinely grateful to be in the room.
Dinosaurs From Outer Space
The 2024 single is exactly what it sounds like — Excision having an absolute blast with a concept, channeling the playful energy of a kid who just discovered both dinosaurs and outer space and decided they belong together. The production is technically accomplished but the dominant quality is joy, which is not always the first word associated with his music. The bass design has a cartoonish exaggeration to it that fits the premise perfectly, and the overall track carries an infectious enthusiasm that makes it impossible not to grin through the chaos. It’s a reminder that relentless intensity and genuine fun are not mutually exclusive.
Bunker Buster VIP
Closing on ANTIFRACTALS (2022), “Bunker Buster VIP” is the kind of track that earns its VIP designation by genuinely expanding and improving on its source material. The production is dense and layered, with a sonic architecture that rewards the kind of focused listening that quality headphones enable. It’s a fitting closer to this list — a track that encompasses the full range of what Excision does best, from the technical precision to the overwhelming physical impact to the underlying musicianship that keeps it from being mere noise. After twenty tracks, this is the one that sends you back to track one.
Frequently Asked Questions
What genre is Excision music?
Excision primarily produces dubstep and bass music, often characterized by extreme sub-bass weight, complex sound design, and aggressive modulated bass sequences. His music also incorporates elements of riddim, melodic dubstep, and occasionally touches of metal and orchestral music, particularly in his more recent collaborative work.
What is Excision best album?
Fan opinion varies, but Virus (2016), Onyx (2022), and Titans (2023) are frequently cited as among his strongest full-length projects. Virus is often recommended as the ideal starting point for new listeners due to its balance of accessibility and full sonic intensity.
Who does Excision frequently collaborate with?
Some of his most notable collaborators include Space Laces, Sullivan King, Dion Timmer, and Barely Alive. His 2024 remix of Hoist The Colours with Sullivan King is one of the more celebrated recent collaborations, blending guitar-driven production with classic Excision bass architecture.
What is Excision Paradox Tour?
The Paradox Tour is one of the most ambitious touring productions in bass music history, featuring a custom-built stage called The Paradox that includes an enormous LED screen, a world-class sound system, and production elements designed specifically around Excision music and visual aesthetic. It established him as a headliner capable of filling major venues nationwide.
Where can I find more bass music recommendations like Excision?
For ongoing coverage of bass music, dubstep, and related electronic genres, check out the GlobalMusicVibe songs section for regularly updated recommendations, artist profiles, and genre guides.