Hyperdub At Juno Download

Review: Given that his sound has now been referenced by countless imitators, it's testament to Burial's enduring appeal that the announcement of a new EP on a Sunday in February was enough to shake the online music press out of their collective stupor. As an EP it more than stands up to his previous work, and it may even be better than last year's Street Halo EP - where the brilliance of the title track left the EP quite top-heavy, there's no such complaints on Kindred. If UK garage was the touchpoint for his earlier releases, this EP sees Burial further developing a sound that has few obvious points of comparison, whether it's the savage, gnarled bassline of the title track, or the shambling house of "Loner", characterized by its hollowed out arpeggio and ambient crackle. But it's "Ashtray Wasp" that provides the most breathtaking moment, seeing the producer using the distinct musical language he's created and bringing confident melodic elements into play. Of course such descriptions seem trivial when trying to describe this EP - even for Burial it's far beyond what his peers and imitators could ever imagine making.

Review: Burial is back. Yes, after four years away, he's not only ambushed us with THAT collab with Four Tet and Thom Yorke, but now he springs a three track EP on Kode9's Hyperdub imprint upon us too! The eponymous "Street Halo" is a delectable, crackling 4/4 roller with buckets of emotion and texture. In other words, it's the Burial of "Archangel" fame, which we all know and love. "NYC" is the urban retort, bristling with echoes of thunder, murmurs of traffic in the distance, jingling keys, it symbolizes the minutiae of everyday existence and is underpinned by slouching beats with a small, eerie and discernibly mournful voice wailing on top. Final track, "Stolen Dog" pairs smudgy piano keys with terse, ticking beats, all shrouded in an ethereal shimmer, much like Burial himself.

Review: The double header of Truant/Rough Sleeper is the second EP from Burial in 2012, and arrives with as little fanfare as the superb Kindred EP did early this year. Unlike that more dancefloor focused record however, this EP harks back to the producer's earlier sound. Of course, being two longform compositions clocking in at 12 and 14 minutes respectively, they're hardly conventional works; each utilises the same liberal use of spectral atmospheres, emotive vocal samples, hollow 2-step beats and nods to jungle as we've come to expect from the producer, but with complex structures that come across more like two sides of an old mixtape recorded from a pair of decrepit turntables. Of course being a mixtape from Burial, this is special stuff indeed - consider it an early Christmas present to yourself.

Review: The promise of Cooly G's releases for Hyperdub et al turns into maddening anticipation as the first taste of her forthcoming album sneaks out months ahead of the game! First up it's "Landscapes", co-produced with Simbad, and utterly devastating in its use of simple elements for maximum effect. A broken beat ticks steadily away under glossy, undulating streams of pads while Cooly herself enchants with her Neneh Cherry style vocal delivery. "It's Serious" sees Cooly linking up with Karizma for a more chunky, beat-driven offering that will slay floors in the same way that Altered Natives' "Rass Out" did some years back.

Review: Hyperdub's year of excellence continues apace with the release of Playing Me, the long awaited debut album from Cooly G. Emerging as a key figure in the UK funky scene some four years ago via some highly prized Dub Organiser CDrs, Cooly's musical progression has been charted via a series of EPs for DVA Music and Hyperdub. On this thirteen track album what is most apparent is the confidence this South London producer has in her own singing, a voice that sounds dipped in pain and anguish at times. At others Cooly utilises her vocal delivery as an integral part of the music, which draws from all manner of UK music history of recent times whilst very much sounding part of her modern house template. Oh and there's a Coldplay cover to end the LP too...

Review: Previously known for their pioneering and, at times, outstanding work as Hype Williams, Dean Blunt and Inga Copeland change tack with a suitably eclectic and unusual full-length for Hyperdub. Black Is Beautiful is an odd but endearing collection that leaps between sounds, styles and genres almost at will. Opening with a blast of fuzzy jazz-rock, its 15 tracks variously touches on skewed dream-pop, E'd-up downtempo curiosities, wrongspeed electronica, calming ambience, woozy demo-pop, skittering, smacked-out rave rhythyms, droning madness and impossible-to-define strangeness. It could just be the album of the year.

Review: Getting stuck into a single for Hyperdub as juke and footwork continue to blend into the wider electronic music landscape, DJ Rashad keeps his style true to his roots with rapid fire samples, manic drum patterns and an otherworldly atmosphere. "Rollin" is a bittersweet jam that emotionally pivots on a heartbreak R&B centrepoint, but "Let It Go" soon puts paid to such melancholia with a nod to jungle that finds snappy slices of breakbeat hammering out in a vibe reminiscent of the early days of rave. "Drums Please" builds on that theme with a thrilling jaunt through a moody landscape powered by intricate snare rolls, entering a more adventurous and thought provoking headspace where footwork can show its true potential. Coming full circle, "Broken Hearted" works back into the chopped up balladry of the first track.

Review: Sporting the quintessential neon-lit flair that typifies much of Hyperdub's output, D.O.K bowls onto the radar after something of a potted discography to date. As the EP title might suggest, there's plenty of G-funk styling at work on the synths, daubed across the top of some rigid drum machine breaks. The VIP of "West Coast" wins out over the original's half-step lurch, with a manic approach to the rhythmic content. That said, "East Coast" will do more favours on the dancefloor with its rugged drum machine backbone capturing the ghetto-tech resurgence in fine style, albeit maintaining the lurid melodic content.

Review: With the energy unleashed by his Pretty Ugly LP still crackling in the atmosphere, DVA drops another EP of technicolour bass mutant business for Hyperdub, delivering seven tracks of mind-bending freshness with a French Fries remix thrown in for good measure. There's some rougher club-ready tackle on offer here such as the abrasive "Do It" with it's hammering drums, but then round the next corner you're plunged into the minimal 4/4 bubble that is "Walk It Out". Really though the lead track "Fly Juice" is the winner with its soulful key licks and hyped up switch for the latter half of the track.

Review: Scratcha DVA delivers his debut 12" for Hyperdub with "Natty," taking dub step's funky phenomenon even further with two funky, yet tribal tunes.

This is a highly anticipated Hyperdub release. Having received plays from Kode 9 affiliates, Cooly G and Ikonika in addition to players like Oneman to Marcus Nasty and Jackmaster - expectations were high. The iconic label, perhaps sensing this, have even issued the record in a resplendent spot-gloss sleeve.

Known originally for his grime beats, DVA has been bubbling away just under the surface for a while now. It is his unique take on the funkier side of dub step that is getting him all the recognition now. Serving as an answer to all those who believe this new movement is a step in the wrong direction for the genre, this release showcases DVA adapting to the dynamic production levels of European house and techno and twisting them for a ruder, contemporary London-centric audience.

"Natty" is based around a heavily staggered snare-driven rhythm that gives the track its infectious off-centre, skippy nature. It is a slow, percussive trip that swaggers and staggers with tribal influences. It is a truly unique track, almost free from any other labelling whatsoever. "Ganja" however, is much simpler. It follows a 4/4 pulse but feels loose and rolls along to some jackin' polyrhthms and loopy lead synth. Perhaps the better track for the dancefloor, "Ganja's" catchy bassline merges perfectly DVA's more minimal approach to funky dub step.

Hyperdub are always pushing dub step, helping forge new sounds and different techniques. Even within the funky sound, the label's output shows varying approaches. Through DVA, it shows a darker, more minimal take on the sound through splicing elements of house and techno into the genre.

Review: Rinse's breakfast show champion makes good on his blossoming relationship with Hyperdub and delivers this exotic and flavoursome debut LP. The first thing you notice is the strength of the vocal contributions, from Fatima on "Just Vybe" to Cornelia's elfin tones on "Pretty Ugly"; the combined effect of over half the tracks featuring a different singer somehow winds up with Pretty Ugly feeling like the best neo-soul album in recent times. DVA's production is wild, like a ranging beast he has no hope of taming. The sheer richness of sounds on offer, mixed with the oddball synths, noises, squiggles and jiggles, combine with the vocals for an utterly fresh album.

Review: Both an intriguing and very cool release on Hyperdub, Philly producer King Britt surfaces after a long absence with this new project that goes beyond his traditionally lush and funky nu-jazz and broken beat releases into a darker and chillier place. The Gary Numan-meets-Prince spank of "Chasing Rainbows" is a great starter, while the off-the-wall drum programming of "The Chase" and the filmic swathe of "Lilloo's Seduction" show a breadth of talent that can only come from being in the game for 15 years plus.

Review: Four-headed UKF groove-merchants Funkystepz return with two new tunes on Hyperdub, both excellent and both giving off wildly different vibes. Title-tune "Fuller" is the colder of the two, with a minimal soca-step beat with echoed claps supporting a gnarly lead. "Hurricane Rhythm" on the other hand is overflowing with warm strings and pianos, with a huge arrangement that keeps the tune naturally bubbly and funky. Two different sides of UKF, but one great release none the less - Funkystepz keep their unblemished rep strong on this Hyperdub essential.

Review: After their massive single on Hyperdub earlier this year, Funkystepz return to the label for the Trouble EP. If you're familiar with their razor sharp UKF formula, then there won't be any surprises, but with production this tight there's no need for any kind of deviation from the norm. "Trouble" is the most stripped back, utilising tight drum rolls and rave whistles in combination with deep subs, while "Dirty Dutch" takes a less rhythm based approach, and fills its space with bleeps and squelching bass, with heady melodies brought into check with its inbuilt rewinds. Finally, "John Wayne" offers the most atmospheric track on the EP, taking a deeper techno bassline and melding it with a synth stab, elastic melody and emotive strings, whilst still retaining their insistent rhythmic power.

Review: The news that arch mystic sonic brewers Hype Williams had been signed up for single duties on Hyperdub might have seemed odd at first, but listening to the four tracks here proves that it was a sound move. There's a bewitching sensation that creeps over the hazed, lo-fi beatdown jams that ensures you keep flipping the vinyl over repeatedly to seek out the subtle sonics beneath. At times it sounds like Dean and Inga have been watching Akira on the reg, with the chimed melodies present on "Rise Up" and "Badmind" certainly reminiscent of the iconic anime's soundtrack. As with previous output from the group, Kelly Price W8 Gain Vol II is likely to split opinion but for those ardent fans this is an essential purchase.

Review: One of Hyperdub's many forward-thinking talents, Ikonika follows on from the exceptional Contact, Want, Love, Have album with four dancefloor-orientated versions of the album's highlights. Rejigged with DJs in mind, songs like "Look (Final Boss Stage)" are given longer intros for greater mixing potential, and they'll certainly create heavy dancefloor moments. Listen to the rollicking kwaito funk of "Psoriasis" if you don't believe us - that walking synthline has to be one of the highlights of the year!

Review: On a slow and steady rise with a distinctive take on UK Funky, Ill Blu haven't given the people much to chew on with their career so far, but one can only assume the duo have been hunkering down honing their craft as this trumps their last outing on Numbers. "Clapper" is a brawny cut with a nagging mid-range squawk and tasty rolling brushes of snares on a milatiristic tip. Juke's man of the moment Traxman does a hefty chop up of the original with a stomping rave era cut that wouldn't sound out of place on The Prodigy's Experience.

Review: With his own album twitching at the gates, Kuedo brings his synth-laden delirium to King Midas Sound's "Goodbye Girl". He starts proceedings on a tart melodic line underpinned by some monolithic bass tones. The mournful quality of the original wafts through, acting as just the right counterbalance to Kuedo's day-glo styles. Mala opts for a bleak, dread fuelled take on "Earth A Kill Ya". A menacing, drawn out intro peppered with ghostly tones kicks into gear with a minimum of fuss over a persistent sub stab. If you appreciate music written to conjure up demons then this track has everything you need.

Review: After the woozy dread of Waiting For You, a sterling cast refigures the uneasy tones of King Midas Sound. Flying Lotus dismembers "Lost" into a three-minute cauldron of avant-garde hip-hop swagger, and Gang Gang Dance conjure up a bonkers romp with "Earth A Kill Ya". Cooly G tackles "Spin Me Around" with her own honey-coated delivery, while dBridge's taut synths and heart-broken croon threatens to drop at any moment on "Without You". The album feels like a celebration of the original rather than of the assembled artists, and it's testament to the curation of both projects that disparate elements can sit so well together.