To celebrate the landmark release of Four 40 Volume 2; which has been curated by hotly tipped
DJ & Producer Brent Kilner and is currently smashing up our charts, we have caught up with the
Four40 family to bring you the
Four40 takeover. We have caught up with Brent Kilner to get his thoughts on the release as well
as the state of the Bass and Garage scenes today and why he hopes they don't go the same way as
the Dubstep scene did. Not only that he has also brought some goodies along for you, you can download
a brand new killer bass anthem "Bad Bwoy" by Hybrid Theory
for absolutely free, and for the producers there is a
massive 50% off the Four40 Nu Era sample pack. The treats don't stop there - Brent Kilner has
also been in the studio and recorded an exclusive mix free to stream and download, 30 mins of bass anthems.
For those who are not familiar with Brent Kilner – please tell us a little bit about yourself.
Hi, I started producing in 2009 making horrible sounding Dubstep tracks using Fruityloops and an old bassline house sample pack which I used to death. In 2011 I started to produce House music and eventually managed to incorporate both genres into one sound. That pretty much sums up everything.
How did the collaboration for the “Brent Kilner Presents” come about?
I've played a few events alongside James Crone (Hybrid Theory), each time we've had a little conversation about a possible signing in the upcoming months, then a few weeks back I was offered the opportunity to present the next Four40 compilation, which I was obviously hyped about!
I can imagine it was quite an honour to be asked to present/curate an album for such an established and influential label what were your thoughts once the album was confirmed?
Oh yeah for sure, I honestly couldn't have imagined anything like this happening to me a few years back. It's all still so strange actually getting recognition for my music.
Can you tell us a little bit about the artists you have featured on the album?
Yeah, the guys which are on the album all pushing a similar sound to what I am. I can’t really put a label on the exact genre although it is mainly house influenced, but that's why it's becoming such a big scene, how unique it is.
We realise this may be a difficult question; what are your favourite tracks on the album and why?
I can't really answer that one, all the tracks are bangers and every one of them bring something different to the table.
You have also recorded a very special mix for us; can you please tell us a bit about how it was recorded and the selection process?
I've recorded a mix of all my own stuff, mixed in the order I made them. I think it would be a good way to show how my sound has changed over the years.
It seems that all flavours of UKG in vogue at the moment and the scene’s stock certainly seem to be on the rise, what are your thoughts on the state of the scene right now?
I'm loving the way the scene is moving to be fair, there's a lot of individuals that are pushing their own sounds rather than everyone copying a certain style. I'm glad the blur between deep/tech/bass has starting to be more noticeable and everyone is going away into their own sound.
You are from the north of England and Four40 Records was formed in the midlands so you would be perfectly placed to tell us the state of Garage and Bass events across the UK at the moment, are you seeing increased interest and bookings? And do you expect the Garage scene to quickly develop across Europe and the rest of the world as the Dubstep scene has?
Yeah I've played all over England, I've noticed that the music that being produced now is taking elements of music styles from all over the country. It really is a good time to be listening to UK underground music. The amount of bookings I'm getting is increasing quite rapidly, which is kinda hard to balance with my job and my daughter being in the mix too. Personally I don't think the Dubstep scene did span across the globe, I think the genre was took and ruined. It's nothing like the dubstep that originated in the UK and became unrecognisable. Personally I hope the same doesn’t happen to the sound we're pushing at the minute.
Your production sound spans the garage spectrum from up north bassline to grime so we can take an educated guess that you are influenced by the Garage scene as a whole, can you tell us a little bit about your influences and inspirations outside of the Garage scene?
Drum and bass is sort of what got me into electronic music, that and Bassline. If you were to mix the dark drum and bass vibes with a bassline 4x4 drum layout, you pretty much get what I’m making at the minute. But yeah I’ve always been a lover of the underground music scene, it just seems to have the extra something that you don’t get with commercial stuff, I can’t really put my finger on it.
What can we expect from yourself and also Four40 Records over 2015?
Hopefully more releases! I’ve enjoyed working with four40 and I am looking forward to seeing how this release does.
Our final question is a bit of a standard question whenever we interview people here at JD HQ. Which up and coming producers should we be keeping our ears out for in 2015 and beyond?
At the minute that’s a really hard one to answer. My inbox on Facebook is constantly full of different up and coming producers asking for feedback on works in progress, I too send a lot a unfinished stuff out for that second opinion. It’s really good to get everyone talking about music and we all give each other advice and feedback on each other’s tracks it’s a really good scene to be in.
Killyjoy's back and he's brandishing an ode to the girls of his hometown Nottingham. "Gyalist Riddim" proves that wobble ain't dead yet, with the original and its three mixes going heavy on the full on fat low end. The title track adds some serious snare roll chaos to the mix, whilst Deadbeat adds a slammin' 4x4 twist. Asa & Sorrow keep it hard and underground and Doctor Jeep wraps up the package with some deliciously doomy tropical vibes.
Having already turned more than a few heads with a strong appearance opposite Tuff Sherm on a split disc for Plastic World, Australian producer Cassius Select makes a fully-fledged outing on Unknown To The Unknown with a very savvy blend of sharp-edged club wreckers in line with DJ Haus's own riotous vision of 21st century dance music. "Cross Strut" places the emphasis on clattering percussion locked into a hard funk, while "Crook" lets a few more atmospheric splatters of melody and reverb into the twitchy mix. The ideas come flying thick and fast without losing sight of the dancefloor, just like all good UTTU releases.
Parisian grit from the Rinse-supported Le Dom. Sitting somewhere between techno, classic 80s electro and future beats, "Oazis" is premium piece of raw groove physicality that melts down genres quicker than a debt administrator. Dig a little deeper for "Bang Us". With pitched down vocal shots on the rhythm dynamic and strange off-beat middy bass, again it could lend itself well to all corners of the dance from techno to breakbeat. Finally "Rub Up" is the most authentic electro jam on the release; all spiky paranoid synths, isolated drum elements and an ice cold groove. Thirst quenching.
Bristol bassman Bromley steps up to 877 with two originals that purr with understated, techy menace. Spacious and just the right amount of twisted, fans of Mak & Pasteman, Wen and My Nu Leng will instantly connect:. "Related" is a two-step hummer that ploughs through the low end soundcape with a well-oiled mechanical flow, while "Check" comes complete with pads so icy they could reverse global warming. Remix-wise Hostage adds a steppy, militant swing and additional bass gurgles while Sly-One adds a whole new line of synth textures before stripping the vibe right back to its bare rhythmic bones. This will relate with a lot of dancefloors and DJs right now.
Bok Bok is back in action on his own label with this sprightly two-tracker featuring fresh-faced collaborator Sweyn Jupiter who is making a debut appearance on this record. The "Club Mix" of "Papaya Lipgloss" is a plush affair that revels in the sweetest chimes of melody that linger in mid-air surrounded by a pleasantly sleek rhythm section. It's a joyous affair that keeps an upbeat mood without reaching over into banality, instead letting subtle but impressive flairs of production shine through in the simple surroundings. The "Sour Mix" doesn't actually loose any of that sweetness, but rather deploys it in a more staggered, playful mix that revels in more broken drum patterns and dramatic pauses.
There can be few curves in artistic development between albums as the one Jam City has undertaken here with Dream A Garden. His 2012 debut album Classical Curves has had a seismic influence on the structure of much UK club music since then, but instead of further developing and finessing those sonic ideas Jack Latham has gone a whole other route into fully fledged song writing. Or perhaps not, Night Slugs suggest the nine track album is not a total break from the hyper-realised world Latham explored on Classical Curves, it should be seen as an inversion, asking "what becomes of the people struggling to live and love beneath the chrome-plated, vacuous and superficial machinery that we must fight to see beyond?" A bold move by artist and label that demands further investigation!
With momentum gaining on every bass-heavy release, the Tuffster steps up to the currently on-point Four40 with "Artillery". With a dark-but-not-dangerous UKG silky finish, it belies its militant title and offers something that lends itself well to a much wider audience beyond the front row murkers. Hybrid Theory's remix, meanwhile, is straight up toxic trap business. If you ain't thugging by the end of it, you need to take a long hard look at yourself.
Earlier this year Houndstooth regulars Akkord released the HTH020 EP, in which the duo took their bass-heavy sound to darker, more industrial places. It's something explored more explicitly on this remix package, which may well have two of the year's most radical tracks revisions. Tri Angle artist The Haxan Cloak delivers the epic 10-minute "Cloud of Witness" remix, taking elements from all four of the original Akkord EP's tracks, and turning them into an unclassifiable behemoth of bass, drone and strobing beats. Vatican Shadow's take on "Greyscale" and "Typeface" is a little more conventional, but nevertheless turns the two tracks into a powerful piece of techno that would demolish a dance floor in the right setting.
253 is the number of miles between dance veteran Mr C's Huddersfield home and bass loving Pavv down in Brighton. That hasn't stopped them from teaming up for a split EP though, and here they both perfectly capture the sound of In:fluX. There's a tough, no nonsense vibe throughout the EP, with Pavv dropping the deep and dirty wobble-garage hybrid "Don't Look" and the epic, trance-bass delirium of "The Fantasy". Mr C also steps in to deliver the skippy future-bouncer "Dance With Me" which sustains the already high standard of quality on offer here.
Polyrhythms abound on this debut release by DJ Khalab. It's a five-track EP which combines calypso melodies, Middle Eastern themes and deeper African flow, chant and percussion. The dubbier, West Indian vibe comes through on "Tiende" which features regular DJ Khalab collaborator Clap Clap, while for sounds you'd imagine coming from the island of Cabo Verde check out "Malala". Criss-crossing drums flutter in "Amagquoboka" while there's an 8-bit, ragga-rave - almost Shangaan electro feel - to "Medal Of Freedom".
Wow, this is quite some album from Planet Mu! You may not be so familiar with Jlin, a footwork producer with a couple of contributions to the second Bangs & Works compilation Planet Mu released, but the Indiana based artist is quite the talent on the basis of Dark Energy. Jlin has gone on record to say this album has been in gestation from some time and explores darker themes than you would usually get on a footwork album. There's a real confidence to her productions at times on this album, "Black Diamond" in particular has a wonderful swagger to its syncopation, and in "Expand" Jlin offers an intriguing collaboration with RVNG Intl's resident voice manipulator Holly Herndon.
Be prepared for a daring ride through the imagination of a truly unclassifiable force in British electronic music, as Mumdance delivers a veritable statement of a Fabric mix. Far from plying a safe and steady club rocking trade, the London-based producer swerves wildly about across the run time with excursions into noise and sparse avant-garde states before sliding into twitchy techno only to be waylaid by dismembered jungle breaks and bass stabs. There are swerves around every corner, and each turn goes deeper into the nether regions of Mumdance's mind before the mix barges its way to the top via a deft progression from grime to nostalgic hardcore.
Fresh from Italy: Humus and Solstice are a brand new label and a brand new artist, both with rather wholesome names... And sounds. "Blue Husky" looks towards the classic US house sound with shuffling shakers and hi-hats and a Kerri Chandler-style synth riff. With an ability to sit pretty in both bass and deep house playlists, it's an impressive first release. As is "Ari Gold", a much darker, droney tech-funk affair, it comes complete with splashing cymbals and a groove that hugs you like a chubby relative who's a bit too excited to see you. As if that's not impressive enough, there's an awesome Pinch remix thrown in for good measure. What a way to launch a label.