SECURE SHOPPING
Maddslinky, Rustie and Africa Hitech will all appear on the second volume of Adventures In Dubstep & Beyond, an exploration of the nether regions of UK bass music curated by highly respected music journalist Joe Muggs.
Cosmin Nicolae is a producer who debunks the notion that musical styles are specific to certain locations. Cosmin’s breakthrough single “Put You Down”/”Broken Hearts” launched Ben UFO, Ramadanman and Pangaea’s Hessle Audio imprint in 2007, an outlet that has since become inextricably linked with contemporary UK bass music. That release, particularly the ethereal, post–hardcore vocals of “Broken Hearts”, sound like they were inspired by the early morning vista from a council tower block in Hackney rather than downtown Bucharest.
Various – Scientist Launches Dubstep Into Outer Space review
by Juno Plus on 22.12.2010 at 12:23pm
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A project that has taken over a year to come into full fruition, Scientist Launches Dubstep Into Outer Space is an ambitious and impressive project spearheaded by Tectonic boss Pinch to bring dubstep’s primary influence into the forefront of our collective consciousness. The album sees King Tubby’s protégé, engineer extraordinaire and dub pioneer in his own right, Hopeton Brown aka Scientist, rework twelve exclusive and previously unreleased tracks from the contemporary dubstep landscape and put them back into the context of their heritage. Released as a double disc, with original tracks on one and Scientist’s dubs on the other, it’s a stunning and evocative opus of work, featuring tracks from influential artists such as Kode9, RSD, Cyrus, Guido, Mala, Shackleton and of course Pinch himself.
The album starts with Pinch and Ninja Tune artist Emika’s “2012″. Poignant, melancholic murmurings prevail from the off which Scientist draws out to the max, so that the soft, barely there vocal snakes around the pattering beats like whisps of smoke. Then there’s Guido’s signature synth-led psychadelia in “Korg Back”, bearing all the hallmarks of the sound he has become so known for. Scientist teases this out and adds his own touch, deftly dissecting but not destroying the sounds but rather re-moulding them like warm putty. Shackleton’s “Hackney Marshes” is another stand out, which Scientist re-works to perfection, with its pattering percussion and sparse, hollowed soundscape.
Continuing the journey into outer space, we are taken through the vocal-led whisperings of King Midas Sound, through contributions from Asbo and Distance, to seminal Bristol junglist-turned dubstep don, RSD who adds a more intrinsically reggae flavoured template to the proceedings. This immediately lends itself to Scientists’ sparkle, as he breathes a new life into the original, before we move on to newcomer Jack Sparrow, who shakes things up as we enter the finale. DMZ’s Mala brooding “City Cycle” is another milestone from the final tripartite of tracks and Scientist’s dub version really brings out the warm, fuzzy elements to the fore, before Hyperdub head honcho Kode 9 takes over for the forward thinking, tribal motif of “Abeng” which concludes the album.
Even in the opening few tracks, it is striking how the sounds and rhythms in the second generation of dub’s mutant offspring still retain the ethos of the music of its forefathers – something which becomes more and more evident as the album progresses. The project itself is nothing short of a post-modern masterpiece and its legacy will no doubt live on for future generations to enjoy, contemplate and consider late into the night.
Belinda Rowse
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A taster for the trio’s forthcoming third album, Horizontal Structure, this single sees Von Oswald and collaborators Max Loderbauer and Sasu Ripatti (aka Vladislav Delay) further explore the notion of merging dub techno with other, previously unconnected styles. “Restructure 2” is a swirling, atmospheric piece, its languid, low-tempo groove accompanied by some tastefully spacey guitar playing and mellow jazzy vibes. It sounds like what would happen if late-stage Velvet Underground were to happen upon Charlie Parker in a wormhole and decide to decamp to modern-day Berlin to do cover versions of Burial Mix. It’s understated, studied and about as far removed from Maurizio’s “Ploy” as one can get, but yet it still retains much of the same cavernous production sound.
The choice of remixer, Mala, is also surprising as it eschews Von Oswald’s techno habitat in favour of dubstep. That said, the Digital Mystikz producer has a credible string of releases for DMZ, Tectonic and Soul Jazz, and like the Basic Channel producer, fully understands the power of the bass. There is also some subtle referencing to the time that Van Oswald first rose to prominence through the use of ‘Intelligent Techno’-era melodies and the ambient outro, but Mala’s remix is all about the tumbling drums and tribal, swinging rhythms.
Richard Brophy
Horsepower Productions – Quest For The Sonic Bounty review
by Juno Plus on 29.11.2010 at 12:49pm
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Notorious dubstep progenitors – the once eight-strong, now four man Horsepower collective return to the airwaves ten years after they first emerged from the murky depths of Croydon. Benny Ill, the long-serving lynchpin of the group, teams up with Nassis, Lev Jnr and Jay King for the third Horsepower album, Quest For The Sonic Bounty on Tempa Recordings. Much has been written on their enduring legacy and the recent re-emergence of Horsepower Productions after a five year hiatus has reminded us all of dubstep’s origins at a time when perhaps we most need to be.
From listening to cuts from the album such as “22″ and “Water” with their conversational narrative, snippets of dialogue and documentary samples, you can see these genes passed on into the DNA of Skream’s Human Traffic sampling “Rutten”, Rock Master Rock referencing “Midnight Request Line” and the work of Benga, Mala, Coki and more. Elsewhere on Quest For The Sonic Bounty the beautiful, atmospheric intro, crisp percussion and dubbed out soundscape of entrée “Rain” sets the tone for the journey, with ricocheting beats recoiling from the sheer pressure of the bass. A moody malaise seems to hover in the background throughout the album which is strangely enthralling. “Mexican Slayride” brings in the ghosts of tribal calls, pattering breaks and jungle style SFX, weaving the story in crackling film sampled snippets around these textured layers. Special edits of last year’s release “Damn It/Kingstep” bookmark “18th Special” where a more intricate, bordering on frenetic, interplay of rhythms come into semblance.
As we near the end, we are treated to a remix of Lee Scratch Perry’s “Exercising” – an evocative interpretation of the classic – before final flourish “Poison White” brings us to the end of our journey, with a wailing vocal, blissed out atmospherics and tribal rhythms dancing and pattering around deep, hypnotic sub bass. Quest For The Sonic Bounty reaffirms once again that Horsepower are one of the most important and genre defining acts of our generation. A must have album.
Belinda Rowse
Horsepower Productions, the group referred to in hushed tones as the catalyst behind the genre known as dubstep, have made five tracks available to stream from their upcoming LP for Tempa.
Dubstep has come above ground in 2010, having splintered and mutated into a host of disparate yet inexorably connected scenes.
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The output from Bristol (second home of dubstep, lest we forget) has been particularly impressive of late. There’s been Pinch’s “Boxer”, Gudio’s debut artist album Anidea and some great stuff from Komonazmuk, Appleblim and the Soul Motive camp. Amongst those leading the way, however, is Peverelist, aka Tom Ford, whose meticulous approach in everything from production to label management to A&R has meant he has become one of the key figures in Bristol’s dubstep scene and beyond. As the owner of Punch Drunk imprint he has been responsible for putting out records from the likes of Guido, RSD, Pinch, Shortstuff and Hyetal. This 12” sees the label boss teaming up with Hyetal, whose previous productions “Phoenix” and “Pixel Rainbow Sequence” have garnered huge attention from across the bass music fraternity.
Kicking off with “The Hum”, the contrast of the deep, murmuring hum of the b-line, percussive hiss and twinkling, dancing synthetic skittering of the melody is immediately striking. After a moment of doubt, where the two layers of sound are distinctly separate, it seems they accept their differences and move along in unison thereafter. The pattering drums and rippling swathes of synths which bathe the beats become more and more prominent as the track progresses. The influences and echoes are many, but it is hard to put your finger on exactly what each part reminds you of why, suffice to say that the sound is very much of that elusive “Bristol Sound”.
On the flip, “Rrrr” compliments its A-Side counterpart with a rather different flavour, but equally as impressive in terms of sonic quality. A bewildering intro paves the way for a more sparse, stripped back and intensely meditative piece. A swirling synth dies out to expose a creaky sound repeated with hollow, loping beat and gentle onomatopeiac rustlings embedded into the very fabric of the track. Textures are muffled and withdrawn, with intriguing whirring moments, rattling elements, neat blurs and bleepy arpeggios towards the end. It’s a contemplative venture all round here from Peverelist & Hyetal – hats off!
Belinda Rowse
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Oxford Dictionary have just confirmed that the new definition of heavyweight is simply a photo of this ridiculously impressive Commix remix album. Both Metalheadz and the Cambridge duo deserve a golf clap for selecting the cream of the techno and dubstep crop to rework tracks from their seminal album Call To Mind. Burial’s remix finally sees release after two years of lurking in the Metalheadz archives, but the droning atmospherics of his rework is more than matched here. Kassem Mosse drops a heavy techno throb atop the oscilatting rhythmic stutter of “Strictly” whilst Steve Spacek’s voice is married to abrasive half step syncopation that punches through the mid frequency bass of Pangaea’s remix of “How You Gonna Feel”. Dave Huisman delivers another superlative turn as A Made Up Sound transforming “Change” into a mind bending industrial techno/dubstep cross pollination. Underground Resistance equal this in the impressive stakes with a remix of “Satellite Song” that ripples with futuristic menace. Essential!
Tony Poland
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Leeds based producer Jack Sparrow is somewhat of a newcomer to the UK dubstep scene, but he has swiftly managed to gain the respect of many of its pioneers and main players. Sparrow’s first release came on Senseless in 2007, followed up by 12”s on Earwax and Contagious before releasing the seminal “The Chase/The Fullest” on Tectonic only last year. Sparrow’s carefully honed sound really marks him out from the rest as he emerges with his stunning and evocative debut album Circadian on Pinch’s Tectonic imprint.
Named after the biological process the circadian rhythm, which occurs in approximately 24 hour cycles in all living entities, the title of the album, a little cryptic at first, actually exposes a great deal about the opus. In a way, there is no obvious beginning and end to the album; one could equally start with “Exit” (the final track) as “Loveless” (the opener) – an indicator of its fluid organic nature and cyclical structure. However, despite this element of looseness in the arrangement, there is undeniably a cohesive structure present overall.
Sparrow’s moody, nocturnal atmospherics rise and fall, joining the dots between blissed out entrée “Loveless”, tense, sub heavy venture “The Chase (VIP)” and murky jungle referencing riddim “Relapse” as we near the end of the album. In the process there are such highlights as “Dread (feat Ruckspin)”, in which a powerful, driving beat is sustained with flourishes of SFX and quirky growls. The restless pulsating explorative nature of “Salvation” is mellowed out by the cavernous but calming “Subterranean (feat. Indi Kaur)” later on in the cycle. “Dune” provides a seamless bridge between this part and the ensuing ventures towards D&B tempo and old skool jungle territory, as seen in “Relapse” and “Regress”, up next, with rattling breaks and a meditative, minimal slant, not entirely dissimilar to the Autonomic vibe. “Exit” marks the end of the cycle, but paradoxically, also the beginning. The beginning of something very special for Jack Sparrow.
Belinda Rowse
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If there was any doubt that UK producer James Blake was more than just a dubstep /funky artist, then Klavierwerke provides evidence to the contrary in spades. Indeed, in what is a commercially brave move by the recently re-launched Belgian label, Blake has been given the freedom to depart from the confines of the dance floor and enter a realm where there is only a passing reference to rhythm-based music. The title track is a prime example: based on a gloriously haunting piano intro that hangs in the air, Blake then introduces his somnambulant, deeply mournful vocals. The title track transposes the UK producer to a new realm, but it is also clear on this release that he doesn’t want to forget his roots either. This is evident on “Tell Her Safe”, where Blake’s eerie, indistinct vocals are also audible, but are presented over intricate, glitchy rhythms and organic percussion. “Don’t You Think I Do” also makes references of sorts to his releases for Hessle and Hemlock, as insistent claps underpin his melodic outpourings. However, the standout track, “I Only Know What I Know Now”, manages to straddle both of Blake’s worlds and understated, low-paced drums underpin the kind of ethereal piano-based songs that Nick Drake used to craft. Equal parts reflective songwriter and rhythm innovator, James Blake is a 100% exceptional talent.
Richard Brophy
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The sixth volume in the pre-eminent dubstep compilation series, Tempa Allstars, sees an excellent collection of contributions from some of the underground music scene’s pioneers and leading lights. Superlative stand out track from Skream – “Rollin’ Kicks” – begins the EP with a tapping drumbeat and a Breakage hued sonic palette (circa “Open Up”). A million miles away from Magnetic Man, melancholy instrumentals weave in and out of rounded beats and lap against hollow SFX. Next up, D&B-turned-dubstep minimalist Icicle steps up with “Anything”. Having only just released his first double-sided dubstep 12” (‘Xylophobia/Minimal Dub’) on Friction’s Shogun Audio imprint, it’s remarkable how fluidly he has made the transition, transposing key elements of his signature sound to the 140 side of town. Crisp, acerbic breaks feature heavily, perfectly calculated beats and a futuristic touch. New Yorker Drew Lustman, otherwise known as Falty DL, adds a funky touch with “Sunday”, cementing his reputation even further into the underground musical consciousness since he first emerged on to the scene three years ago. Chirpy bleeps and bellows of bass underpin the fidgeting rhythms here, with notable sunny, upbeat vibes in the synth work.
Benga’s “I Come From London” injects a dose of humour to the proceedings, with the ticking percussive lisp and robotic chant – “I come from London/Dubstep is my problem…I come from London/Benga is my problem” – driving things along into a hypnotic state of sentiency. A similar soundscape is referenced by lauded experimentalist SBTRKT in his dreamy, ethereal incantation, “Sleep In Tokyo”, up next – all broken, funked up beats, warm keys and delicately textured rhythms. Shogun Audio stalwart Alix Perez brings the EP to a close with his first published foray into the dubstep genre. His D&B production has always leaned towards the leftfield; his debut album, 1984, which was released late last year, certainly seemed to sow the seeds for the Autonomic-style experimental and downtempo work which becomes actualised here. Deep, atmospheric crackling, crisp SFX and rumbling subs roll along with dark menace. A superb finale to one of the finest releases in the Tempa Allstars series so far.
Belinda Rowse
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Future Bass is the sound of right now, all new music, all exclusives. Compiled by Soul Jazz A&R Nicole McKenzie with the assistance of Deep Medi Muzik’s Kris Jones, it’s a comprehensive induction into the many strands of music that have splintered out of dubstep in recent times. The preceding vinyl sampler consisting of Mala and Four Tet will have set the tone for what unfurls on this selection. The contrast between the more traditionalist melodica heavy steppas riddim of Mala’s “Don’t Let Go” and Four Tet’s “Nothing To See”, a nine minute organic sounding house groove is echoed in the tracks that follow after they open Future Bass. For example, Hemlock’s Untold, no stranger to Soul Jazz, follows with the glacial future retro electro funk of “Fly Girls” which sounds a world apart from Coki’s “Ransom”, a track that delights with its rusted bass twists and jack hammer half step crunch.
Somewhere in-between there are tracks such as “Bass Music” from vinyl fetishist Ramadanman, which mutates superbly from a descending spiral of woozy vocal edits wrapped around typically crisp syncopation into an all encompassing low end thrust. Space is made too for rising producers with tracks from V.I.V.E.K, Distal and Randomer. The latter’s “Puzzled” provides one of the many highlights here, with a Gameboy melody expertly shifted around by the menacing bass patterns and layers of metallic percussion. Special mention is reserved for “Air” a track from Kevin Martin’s new project Black Chow. A dizzying combination of narcotic torch dub atmospherics and Kiki Hitomi’s cavernous spectral vocals make for a truly captivating listen and proof enough of the potential for crafting songs within the admittedly expansive parameters of Future Bass.
Tony Poland
Dubstep compilations are all the rage at the moment, and Mad Decent chief Diplo has become the latest to get in on the act, according to Pitchfork.
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An exciting EP here from Dutchman Dave Huisman – most widely known for his work as 2562 on Pinch’s Tectonic label – under his A Made Up Sound moniker. Since his first 12” on Philpot back in 2006, he has gone on to establish his own self-titled label, releasing the Shortcuts album in 2008 – a collection of dubstep, techno, broken beat and house cuts – and now in 2010 returns with his third release of the year on his own imprint.
Track one, “Demons” gets the ball rolling with dribbling squeaks, hollow knocks, quirky bleeps and hints of foreboding in the atmospherics before a firm drum beat kicks in, disturbs the peace and sets things on the straight and narrow. Setting a steady pace for the five-minute duration, the soundscape is one of slow and gradual metamorphosis; deeply intriguing to its core. It’s a track that definitely bears for revisiting and re-listening. Moving on through “Extra Time” with its tense, shimmering poise and reverberating funked up beats, we are struck by the sheer artistry A Made Up Sound displays. “Demons (reprise)”, the final track from the bunch, rounds off the release, with a stripped back judder of machine gun-like drum kicks in the intro and textures building up gradually in layers as the tune progresses – blissful instrumentation, echoing beats and tense atmospherics all come into play before a glossy, glimmering, chiming final passage eases us towards the end. Incredible.
Belinda Rowse
Peverelist’s Punch Drunk imprint will release a compilation that celebrates five years of Bristol dubstep history.
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The fifth release from Modeselektor’s flourishing 50 Weapons label-project is something rather special indeed. They’ve recruited Bordeaux bass-hound Humanleft and former Venom and Damage producer Benjamin Damage to drop these two exclusive tunes, and they’re both well worth getting excited about.
Offering a European perspective on crunky beats mixed with kaleidoscopic synth work has become Humanleft’s (aka Remy Teruel) strong suit, with some excellent releases on Tigerbeat6 already under his belt. On “Arnaud and Bernard” however, the influence of Modeselektor really shines through with some incredible bubble ‘n’ gurgle synthwork plastered throughout the track. Riding a beat that’s both crunky and UK funky, the tropical-step drums are balanced thrillingly by the pace of the arpeggio synths, which rise in octaves until a beautifully arranged breakdown. It’s a truly warm and well-constructed slab of techy-funk goodness will prove a devastating battle weapon for DJs.
Previously of Venom and Damage, who’ve rocked London’s booty bass scene for all it’s worth and dropped gems on Doc Daneeka’s Ten Thousand Yen label (anyone who heard Mdslktr-favourite”Deeper” from this year will know what’s up), Benjamin Damage goes on a solo excursion with the epic “Zeppelin”. Going heavier on a funky tip, snares and rounded sub kicks dominate giving it that real kwaito skank. A softly-building set of distressed chords are smothered over the top and filtered subtly up and down to keep you hooked for the entirety. The breakdowns reveal just how pitch-perfect those drums are, while the bass is given plenty of room to keep your ass shaking. It’s yet another marvel, and like “Arnaud & Bernard”, an instrumental that’s sure to make its way into a variety of DJ sets very quickly. So far, 50 Weapons hasn’t failed to release anything other than sheer gold – this is no exception.
Oliver Keens
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Bristol based dubstep pioneer and Tectonic label boss Rob Ellis (aka Pinch) is a producer whose long-standing reputation and prestige within the scene is consistently reaffirmed by each release. Pinch sits alongside the likes of DMZ’s Mala, Coki and Loefah, promoting a more cerebral, dubbed out sound which will undoubtedly continue to lead the way forward in bass music for years to come. His inaugural 12” “War Dub/Alien Tongue” was released on Tectonic back in 2005 and led on to a series of high profile releases on Mike Paradinas’ Planet Mu imprint as well as his debut artist album Underwater Dancehall in 2007 – an opus of work that remains one of the defining long players of the genre to date. Yet despite all this, Pinch is not a prolific producer. A graduate of the “quality, not quantity” school of production, Rob Ellis makes a welcome return to the airwaves with the exceptional and superlative heavyweight dancefloor driven cut, “The Boxer”.
Kicking off with a restrained whir of rumbling and murmured squeaking, pattering bongos pace a well trodden, taunting pattern around hissing percussion in the intro. A punishing kick drum lays down the law with a firm and threatening gravitas, which is sustained for the duration. Stepping intricately around the ring with adept footwork and poised balance, “The Boxer” dances tentatively before metamorphosing into the main tune with a smooth and sustained progression. Thunderous subs and crackling bass build with mounting intensity. An epic choral passage, like Handel’s “Messiah” steeped in melancholia, sits beneath the frenetic, tribal drums as the tune rises and falls before reaching an awe-inspiring finale. Oris Jay, under his Darqwan alias, provides a remix over on the flip. Taking things on a tougher, rougher tip, with raw, metallic SFX, driving aggression and mounting suspense, Darqwan certainly doesn’t eclipse the original in style and panache, but he does provide a satisfying alternative version in which the addition of a growling, glitchy vocal snippet “boxerrr” intensifies the leering grimaced confrontation. Outstanding and essential.
Belinda Rowse
This week’s Juno Download dubstep podcast boasts new tunes from a host of impressive labels, including Deep Medi, Tube10 and !K7.
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A relative newcomer from Austin, Texas, VVV has been a name to drop over the last few months, and someone we’ve been following closely all summer (see our “One’s To Watch” interview here). His Projects EP on Fortified Audio was a stormer, and the anticipation for this latest release on Tube10 has been palpable in the Juno Plus office.
Lead tune “Vertigo And Flames” is a deep, future garage anthem in the making – a mix of razorblade snares and hats, blissful atmospheric sweeps that get sharply delayed, sub-aquatic vocals time-stretched into weirdsville and bumping booty bass that won’t give an audience even the faintest hope of standing still. Very much in the ghostly-garage mould of Burial, Falty DL and Joy Orbison, this is really soul-affecting stuff – as heart-tugging as it is danceable – and it well and truly lives up to the hype.
“Slacktide” is also included on the release and yet again it’s a startling 2-stepper, on a more fierce and moody tip than its predecessor. Punchy kicks bolster the tune while thin 808-hats buzz in the background, as the dubby and highly menacing chords crash in and out of the tune, giving it another haunting and brilliantly subtle melody. It still bears all the hallmarks of modern funky though, with fidgety percussion laced and diced over every bar perfectly, giving it a Roska flavour but with much more of a sour times vibe. A really special release, with two fresh tunes that will get a lot of reach very quickly. If you’re not on board with VVV, now is definitely the time to start.
Oliver Keens
