SECURE SHOPPING
Hessle Audio have announced that highly touted producer Objekt (aka TJ Hertz) will provide the label’s next release.
News arrives of Pangaea stepping out of the Hessle Audio comfort zone with Hex/Fatalist, a double helping for Untold’s Hemlock Recordings imprint which is set for release next month.
Details surrounding Ben UFO’s keenly awaited Rinse:016 mix have emerged today, with the Hessle Audio co-founder’s 29-track selection due for release in September.
So we’ve spent a large portion of this week gazing admiringly at the vinyl edition of the new Hessle Audio compilation 116 & Rising. It’s a Hessle release so you know the standard of music is going to be high – featuring exclusive material from label regulars such as Untold, James Blake, Blawan and Cosmin TRG along with equally fresh Hessle debuts from the likes of Addison Groove and D1.
It’s the work that’s gone into the presentation that has further impressed us though, with the vinyl edition featuring the twelve new and exclusive tracks from the release spread across three twelve inches, housed in a gatefold sleeve designed by Will Bankhead of Trilogy Tapes fame. Hessle have also sneaked in all tracks from the compilation on two CDs too.
When you digest all of the above it’s no surprise that Ben UFO, one third of the Hessle Audio decision making team, is a big fan of vinyl – the above picture is a mighty clue too! Thus we were very keen to get an insight into which records are doing it for Ben right now and why, and we’re suitably impressed with his choices.
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At a time when music critics and fans alike are more than happy to endlessly debate what the next stage of dubstep’s progression should be called, Hessle Audio present 116 & Rising – a rich demonstration of how the label has progressed over the past four years and an exciting portent of where they might go in the future. Whichever format you choose to sink into, when you come out the other side you can’t help but be fully impressed.
As anyone who has followed the label’s progression will attest, it’s natural that the triple vinyl edition contains the most swagger, with the design work from regular collaborator Will Bankhead looking stunning across the gatefold sleeve and the twelve new and exclusive tracks spread across three slabs of vinyl, two to a side. Furthermore the inclusion in this edition of all 24 tracks on CD makes it the smart choice to indulge in.
If you can see past the temptation to merely sit and admire the artwork and actually bask in the music on offer, you will be richly rewarded with an array of brilliant material from the Hessle camp. Mainstays such as Elgato, Untold and James Blake naturally feature alongside contributions from the two thirds of the Hessle Audio decision-making team that produce. Flexing their status at the top of the game, Hessle can also call on new tracks from Addison Groove, Peverelist and D1, which is clearly a move to show which of their contemporaries has helped to shape the direction of the label since it launched in 2007.
So far so impressive, but how does the actual music sound? It surpasses expectation and has you gripped from the moment Elgato’s “Music (Body Mix)” starts. Along the way Blawan serves further notice that he’s got the best drum flex in the game on “Potchla Vee” which might just work in the rattle of a can of spray paint. Sitting next to this is “Stifle”, the one Pearson Sound submission, which sounds like a 23rd century twist on “Din Da Da”. Fans of David Kennedy are well stocked though, as he graces 116 & Rising with no less than three Ramadanman productions – perhaps finally putting this alias to bed?
Elsewhere, Cosmin TRG’s “Bijoux” is every bit as impressive as the four tracks that made up A Universal Crush, his EP for the Rush Hour Direct Current series (this reviewers favourite release of 2011 so far), whilst Joe invokes the spirit of West London circa 2001 on the tinny broken sensation of “Twice”. Amidst such celebrated company, Addison Groove might just steal the show on “Fuk Da 101” which combines dexterous sampling of urgent vocals with a cacophony of crazed percussive touches.
More words could be said on the music that features on the second CD but followers of Hessle Audio will be familiar with the brilliance of tracks such as “Fram”, “Rut” and Martyn’s ever excellent remix of TRG’s “Broken Heart” and happy to have them on CD for the first time, whilst late comers will delight in experiencing these and the nine other inclusions for the first time. With such a detailed musical representation of the label’s past, present and future, you might wonder why there was no thought given to the inclusion of sleeve notes. However the music is strong enough to speak for itself, and perhaps enough people spend far too much column space discussing their music anyway?
Tony Poland
The Hessle Audio imprint overseen by Ben UFO, Pearson Sound and Pangaea will release a 24 track compilation entitled 116 & Rising next month with such luminaries as Untold, Cosmin TRG, Addison Groove and James Blake contributing.
Amidst all the excitement of the forthcoming Pearson Sound white label for Night Slugs it’s easy to forget that Fabric will soon be unleashing the stellar Ramadanman/Pearson Sound Fabric Live 56 mix. A timely reminder from the Farringdon institution is provided via the chance to win entrance to the launch party and a copy of the CD.
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Now if there’s a name that is on pretty much every bass music fan’s lips at the moment, it’s that of Hessle Audio. Home to the ineffable Ramadanman (now primarily known as Pearson Sound), who heads up the label, alongside Ben UFO and Pangaea himself, the imprint cemented its reputation as one of the leading lights in UK bass music throughout 2010 and continues to do so in 2011. Pangaea, otherwise known as Kevin McAuley, clearly leads by example, masterfully blending dubstep, house, techno, dark electronica and all shades of bass music to widespread critical acclaim. We’ve seen his production prowess clearly displayed in his previous releases; take Bear Witness, his release on Scuba’s Hotflush in 2008, for example, or perhaps his self-titled EP of 2010. Here, however, Pangaea takes a trip down the 130bpm road and boy, is it a path worth following.
“Inna Daze”, to us at least, immediately conjures images of reggae-laced jungle riddims, and there is a slight hint of that in the echoing SFX, hollow drum kicks and flummoxing chirrups of the intro. The tribal pattering, anguished yelps and distant wailing atmospheric tones send you deep into another head space. It’s deep, brooding, rather meditative stuff with the occasional rave horn embellishment and ticking beats keeping things firmly on the dancefloor for the seven minute duration. Over on the flip, Pangaea tunes in to an altogether different vibe in “Won’t Hurt”. A tense intro (slightly reminiscent of early Mala material) is filled with primeval humming and speaker-shattering sub bass. After a full two minutes, slightly discordant, strained strings herald a progression into a more explorative passage before it falls back into the bass heavy section, rumbling away beautifully. This is a sterling release from Pangaea which once again affirms his considerable credentials as a producer.
Belinda Rowse
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It’s fair to say that Leeds via London Hessle Audio co-founder David Kennedy has had a pretty outstanding year. This year alone, he has released a collaboration with Midland on Will Saul’s Aus imprint; “Glut” on Untold’s Hemlock; the Ramadanman EP on Hessle Audio and “Work Them” (the ubiquitous summer anthem, and arguably the new “Hyph Mngo”) on Loefah’s Swamp 81. Earning the respect and admiration of every DJ and tastemaker worth their salt, plus a legion of loyal followers, twenty one year old Pearson Sound (aka Ramadanman) has blown the music industry away with his sophisticated production, devastating DJ sets and creative prowess. And make no mistake, his next 12” on the Hessle imprint is no exception to the rule.
For anyone who heard Kennedy on Benji B’s Radio One show a few weeks back, you will know of his current interest in Chicago Juke, and it is from this sonic palette that he paints his picture here. A gorgeous, hazy atmospheric intro with a shimmering glow grows as the beats begin to patter with increasing insistence in “Blanked”. Building the atmosphere like a master craftsman, he sculpts and moulds the sounds around one another adeptly, like a potter working clay, or an artist sketching a drawing. As the track moves along, a warm hum of bass, sonorous organ-like instrumentals and chopped up future garage style vocals lead into a drop around the midway point. The progression and development continues right until the end, as the tune disappears into a crackle of background noise, hums and whirs.
It’s a hard act to follow, but “Blue Eyes” on the flip makes a sterling attempt to live up to its counterpart. Tuning into a less brooding sensibility, Kennedy lets the tension build in a gently nudging, hissing intro before flurrying bleepy ripples reign free with cooing female vox. These chirrups are no sooner articulated then they are drowned out and disappear; the ticking beats and percussion return to the fore, but then again, teasingly, the vocals return, only to be towed away on a tidal wave of synth work and sobriety. So we are drawn into the world of Pearson Sound with a superb release and another gem in Kennedy’s ever-expanding musical canon.
Belinda Rowse
As disclosed in an interview with the NME last week, it was today confirmed that James Blake’s debut self titled album will be released on February 7 next year via his own (major label funded) Atlas imprint.
Fresh from helping Juno Plus to celebrate a year in existence in fine style down Curtain Rd, our friends Firecracker have sent out fresh details of their new sub label Unthank, with the first release a three track EP from the mysterious Bakey Ustl due next month.
The latest Hotflush release signals the beginning of another superlative roundup of the latest music that veers in and around the genre of dubstep – watch out for the new Joe on hessle Audio!
Artist: Ramadanman
Title: Mystic Voyage
Label: Hessle Audio
Genre: Dubstep/Grime
Format: 12″, Digital
Buy From: Juno Records, Juno Download
The latest release from Hessle Audio comes in the form of a six-track, double vinyl pack from label co-founder, Ramadanman. For those that don’t know, Ramadanman – also known by his other moniker, the lesser spotted Pearson Sound – has been sending shockwaves across the electronic music scene since he emerged in 2006, armed with a couple of WAVS which he sold digitally on the dubstep forum. Now at the forefront of cutting edge music, Ramadanman’s label, which he runs with Ben UFO and Panagea, the zeitgeist imprint, ’Hessle Audio’ has become a code word for fresh, genre-defying electronic music of the highest calibre, loosely revolving around the 140bpm mark, but delving into house, techno, minimal and future garage territory.
Kicking off with ‘I Beg You’, with its ominous sounding groaning and sampled French vocals, which would not go amiss in a Pinter play, Ramadanman goes in deep, with trademark glockenspiel like percussion and grouchy b-line. Next is ‘No Swing’, with its gently taut, echoing soundscape and gloopy SFX adding deeper dimension to the slow burning piece. ‘Tumble’ showcases squeaky, grating synths which come in and out of focus until it falls into the most minimal of drops, heralded by live drum rolls, rather reminiscent of fellow Hessler, James Blake.
On the second vinyl, ‘A Couple More Years’ gets things going nicely, whilst the stabbing detached rhythms of ‘Bleeper’, with sampled city noises, refined bleeps, quirky, panting atmospherics and all manner of oddities, sees Ramadanman take things on a more experimental tip. Finishing up with ‘Don’t Change For Me’, the EP closes with this hissing percussive, synth-drenched piece, with chiming gong-like sounds and strained vocal snatches, plus distinct echoes of Joy Orbison creeping in here and there. A finely crafted EP.
Review: Belinda Rowse
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Artist: James Blake
Title: The Bells Sketch
Label: Hessle Audio
Genre: Dubstep/Grime
Format: 12″, Digital
Buy From: Juno Records, Juno Download
21 year old south London producer James Blake certainly turned many heads in 2009 with one of the strangest yet most beautiful remixes of the Bass world with his rendering of Untold’s “Stop What You’re Doing”, championed by the likes of Mary Ann Hobbs and Gilles Peterson. Incredibly, this came from a man with only one solo release to his name, the dubstep-heavy “Air and Lack Thereof” on Hemlock Recordings. Blake, also a live singer with the group Mount Kimbie, is building on the momentum of last year with his new release on Hessle Audio, the label run by Ramadanman, Ben UFO, and Pangaea.
James Blake’s combined use of his own warbled, pitch shifted vocals and freaky, manic synths conjure up aural images of a Burial-Joker hybrid wonderkid. On “The Bells Sketch”, Blake’s eerie bent vocals unfold over backwards sounding synths and flickering cricket-like sounds that all collapse together over slow, throbbing thumps. On “Give a Man a Rod”, Blake mutates his voice even more (if possible) over serene rolling beats with more space in between. Meanwhile “Buzzard and Kestral” starts with snare hits that give way to harmonic yet disjointed sounds of voice and keys that playfully keep you listening for new sounds every time you play it. In fact, every time you listen to this whole EP, you’ll notice something interestingly different—quite a feat in the increasingly crowded world of bass.
Review: Steve Phillips
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Artist: Pangaea
Title: Pangaea EP
Label: Hessle Audio
Genre: Dubstep/Grime
Format: 12″, Digital
Buy From: Juno Records, Juno Download
Following the highly acclaimed and anthemic “Memories”, expectations have risen around Pangaea. Following a short interim period, Kevin McAuley’s return lives up to these heightened expectations and proves that the 24 year old has positioned himself nicely as the pioneer an emerging dubstep soul sound.
The Pangaea EP showcases McAuley’s refined approach to production as he parades a somewhat more high-brow sense of musicality than many of his dubstep counterparts. Throughout the six tracks, the EP maintains a fine gloss of quality through a meticulous and scientific-like fusion of his modern dub beats and his music heritage. Drawing on influences across D n’ B, garage, and house Pangaea’s sound is sensitive and often stripped but still keeps the raw asthetic that lays inbedded in dubstep.
From the rolling drums and ascending organ coupled with the female vocal hook of “Why” we move into McAuley’s aforementioned more sensitive side. “Sunset Yellow” is a more minimal, softer effort with hushed percussion and organs. “5-HPT” is the centre of the EP, where deep subbass and tough breaks emerge from a twisted and sinister intro. Grumbling synths, drums and an eerie vocal all collide to manifest in the rave-infested “Neurons” before the pitch shifting “Because Of You” closes the EP in beautiful style.
Despite its dancefloor moments, it’s the subtle undertones and intricate musicality that make this such an interesting EP. Much like his approach to his Hessle Audio label as a whole, Pangaea’s EP evolves gradually, never forcing itself on the listener but totally engaging them nonetheless.
Review: Tom Jones
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